USS Barnett (APA-5) was a McCawley-class attack transport that served with the US Navy during World War II.

Barnett was launched in 1928 as the passenger ship Santa Maria by the Furness Shipbuilding Company of Haverton-on-Tees, England for the Grace Line. The ship was purchased by the Navy 11 August 1940 and commissioned 25 September 1940.

World War II
From 25 September 1940 until the end of the year, Barnett was engaged in training Marines in the Culebra-Vieques Islands area. In January 1941 she returned to Norfolk, Virginia for an overhaul which was completed 3 April 1941. Between April and December 1941 she again participated in amphibious and gunnery exercises with Marines.  August was spent conducting landing exercises at New River, North Carolina. On 19 February 1942 Barnett sailed from New York City with convoy AT 12 escorted by USS New York (BB-34), USS Quincy (CA-39) and USS Philadelphia (CL-41); and arrived in the British Isles on 2 March 1942.  On 15 March 1942 Perelle sank following a collision with Barnett.  On 9 April 1942 Barnett left the British Isles with convoy TA 12 escorted by New York and Philadelphia, and returned to New York City on 25 March 1942.

Battles of Coral Sea and Midway
Barnett moved troops to defensive positions in the southwest Pacific with convoy BT 202 leaving New York City on 9 April 1942, transiting the Panama Canal on 18 April 1942, and arriving in Wellington, New Zealand, on 22 May 1942.  Following the Battle of the Coral Sea, Barnett transported 1,360 survivors from USS Lexington (CV-2) from Nouméa to San Diego. Among those survivors were Lexingtons executive officer, Commander Morton T. Seligman, Chicago Tribune war correspondent Stanley Johnston, and dive bomber pilot Robert Dixon, who sent the most remembered message of the Coral Sea battle: "Scratch one flattop." During the trip, Dixon observed Seligman sharing classified message traffic with Johnston including decrypted information about Japanese planning for the Battle of Midway. Johnston's Chicago Tribune article following the battle included information potentially revealing Japanese naval codes were no longer secure. Admiral Ernest King discovered the source of the security breach through Dixon's response to FBI investigators. Japanese cryptography remained unchanged following the article, so Seligman's punishment was a permanent ban on promotion to avoid possible publicity about more formal proceedings. Seligman retired in 1944.

Guadalcanal
After delivering Lexington survivors to San Diego, Barnett sailed to San Francisco to embark men of the 1st Marines for transport to the South Pacific.  Barnett sailed from San Francisco with convoy PW 2095 on 23 June 1942.  Assignment of the 1st Marines to the Guadalcanal landing occurred after Barnett had been commercially loaded to cram the most material into available cargo holds.  Barnett was assigned to Transport Division B for the Guadalcanal landing carrying the Headquarters, 1st Marines and 1st Battalion, 1st Marines.  Barnett arrived in Wellington, New Zealand in early July to reshuffle cargo into combat loading so less important items were under material necessary during the early stages of amphibious assault.  Barnett sailed from New Zealand on 22 July for a landing rehearsal on 26 July at Koro Island in Fiji.  The landing force then sailed from Koro on 31 July and commenced the Guadalcanal landing on 7 August.  Barnett was damaged by a crashing Mitsubishi G4M bomber during an air raid on 8 August.  Barnett sailed for Nouméa on 9 August carrying 860 survivors of ships sunk at the Battle of Savo Island.  After transporting the 2nd battalion, 8th Marines from Tonga to Guadalcanal in late October, Barnett spent the month of November 1942 shuttling troops and supplies between Tulagi and Guadalcanal.  Barnett was anchored off Lunga Point offloading when accompanying USS Alchiba (AKA-6) was torpedoed by midget submarine Ha-10 on 28 November 1942.  Barnett carried 94 wounded Marines and 381 American survivors from destroyers sunk at the Naval Battle of Guadalcanal to Espiritu Santo and then transported 866 Northampton survivors from the Battle of Tassafaronga home to San Diego a few days before Christmas.

Sicily
After a month of west coast shipyard overhaul, Barnett was reclassified APA-5 on 1 February 1943 and transferred to the east coast in March.  Barnett loaded troops of the 45th Infantry Division for a Chesapeake Bay landing exercise at Cedar Point, Maryland, on 12 April.  Barnett sailed from Norfolk, Virginia, on 10 May 1943 with convoy UGF 8A as flagship of the Third Transport Division commanded by Commodore Campbell Edgar, escorted by USS Savannah (CL-42) and 12 destroyers, and arrived in Oran, Algeria, on 23 May 1943.  On 5 July 1943 Barnett sailed with convoy NCF 1 carrying the 26th Regimental Combat Team with General Theodore Roosevelt Jr. to the Sicilian occupation.  Barnett arrived at Gela, Sicily, at 0025 10 July 1943 and began landing troops at 0245 for the Amphibious Battle of Gela.  During an Italian SM-79 bombing attack off the coast of Sicily on 11 July 1943, a bomb burst close aboard Barnett'''s port bow abreast of the forward hatch putting a hole in the hull and causing subsequent flooding. The ship was made to list to starboard to bring the hole above the water line. Seven men were killed and 35 injured; all were Army personnel. On the evening of 12 July Barnett steamed under her own power with convoy CNF 1 to Algiers, Algeria, for repairs, arriving 15 July.

SalernoBarnett sailed from Oran with 1,398 troops of the 36th Infantry Division on 5 September 1943 in convoy SNF 1 to the Salerno landings on 9 September, and left Salerno on 10 September with convoy NSF 1 to return to Oran on 14 September.  Barnett left Oran on 30 September with 1,011 signal, police, and ordnance specialists in convoy NSF 4 and arrived in Naples, Italy, on 6 October.  After offloading, Barnett left Naples on 7 October with convoy SNF 4 and returned to Oran on 10 October.  On 25 October Barnett again sailed from Oran with 1,247 men from the 1st Armored Division in convoy NSF 6 arriving in Naples on 28 October and leaving the same day with convoy SNF 6 to return to Oran on 1 November 1943.  Barnett then transported 1,383 service force troops to Italy on 13 November and embarked Commonwealth troops to leave Oran with convoy MKF 26, escorted by HMS Glasgow (C21), and arrive in Liverpool, England, on 9 December 1943.  Barnett left England on 18 December 1943 with convoy UC 8 and arrived in New York City on 2 January 1944.

Normandy
After shipyard overhaul, Barnett sailed from New York City with convoy UT 8 on 11 February 1944 to reach Gourock, Scotland, on 23 February 1944.  Barnett then made several trips shuttling troops between Gourock and Plymouth, England, and conducting landing exercises in Start Bay in preparation for the invasion of Normandy.  On 27 May 1944 Barnett anchored in Tor Bay to load troops of the 2d Battalion of the 4th Infantry Division's 8th Infantry Regiment.  These men were landed on Utah Beach on 6 June before transporting casualties back to Falmouth, England, on 7 June.

Southern FranceBarnett loaded troops at Gourock in late June and delivered those troops to Naples on 16 July.  Barnett then sailed from Naples on 13 August 1944 with convoy SF 1A in the first of three trips furnishing logistic support and transporting American and Free French troops from Naples to Cavalaire, St. Tropez, and Marseille during Operation Dragoon.  Barnett left France on 20 October and arrived in Norfolk, Virginia, on 8 November 1944.

Okinawa
After a month of shipyard overhaul at Norfolk, Barnett loaded troops at Newport, Rhode Island, in December, and transported them via the Panama Canal to Long Beach, California, in January.  Barnett departed Long Beach on 18 January 1945 and reached Guadalcanal on 9 February.  There Barnett embarked elements of the 1st Marine Division and transported them to Ulithi in March as part of Transport Group "Baker" (TG 53.2) for the battle of Okinawa.  Barnett arrived off Okinawa on 1 April and was damaged by a friendly fire incident on 6 April.  Repairs required return to Seattle on 5 May 1945.  Barnett transported 1,163 Army personnel from Seattle to Hawaii in June, and 1,308 troops from Hawaii to Leyte in July.  Barnett then transported casualties from the Philippines back to California and was in San Diego when Japan surrendered.  Barnett received seven battle stars for her World War II service.

DecommissionBarnett was engaged in "Magic Carpet" duty transporting military personnel back to the United States from Pacific Islands until 9 January 1946, then sailed from San Francisco to Boston in January, was decommissioned at Newport, Rhode Island on 30 April 1946, and struck from the Naval Vessel Register on 21 May 1946.

Commercial serviceBarnett'' was transferred to the War Shipping Administration on 3 July 1946. On 13 April 1948 she was sold to Flotta Lauro, renamed  and subsequently refitted as a passenger liner in Genoa. She was used by Flotta Lauro on liner services from Italy to Australia and Central America until 1965, when she was withdrawn. Following a brief charter to ZIM Lines the ship was scrapped in La Spezia, Italy in September 1966.

Footnotes

References

 Arnold Hague's Convoy Database.
USS Barnett (APA-5), DANFS Online.
APA-5 Barnett, Navsource Online.

McCawley-class attack transports
World War II auxiliary ships of the United States
World War II amphibious warfare vessels of the United States
Ships built on the River Tees
1928 ships

USS Barnett


Alexandra is a work by the Greek poet Lykophron, who is only known through this work. It was written between 196 and 190 BC.  The work has 1474 lines, which are done in jambic trimeters. This is what most Greek tragedies were written in.

Story
Paris left for Sparta, to abduct Helena, the wife of Menelaos. This was going to cause the Trojan War. Kassandra is left in the temple, guarded by someone instructed by Priamos, her father. The text is the report this guard gives to Priamos, about what Kassandra had said.

Kassandra (named ALexandra) first recalls how Herakles destroyed Troy. She then tells about the Trojan War. A large central part is devoted to how the Greek heroes return home. She tells about Odysseus, his travels, and how he went home to his wife Penelope. Penelope later kills him. Kassandra also tells how Aeneas successfully settled in Rome, and how Rome became a big empire. The final part of the poem is devoted to the eternal war between Europe and Asia, about the Persian Wars and Alexander the Great. Kassandra says that six generations after him, a relative will win over the Macendonians, which will end the warring. Kassandra's speech ends with resignation, as she cannot stop the events. The guard ends his speech with a blessing for the Trojans.

Language
The dark language of the poem comes from its vocabulary, its use of special, and old forms of words. Of about 3000 words of the poem, 518 words are only known from this poem, 117 occur in this poem for the first time. The main problems with this poem are that the persons are usually not named. Rather they are described with what they did. Geographical places are similarly unnamed, and only described using places in them. Many scholars have tried to identify places and people, in some cases this is no longer possible though.

Other websites
 Alexandra - This is the Engilsh trandlation of  A. W. Mair, Loeb Classical Library, vol. 129, London: Heinemann 1921

 Publications about  Lykophron  at the  Hellenistic Bibliography  of the Unicersiy of Leiden

Classical Greek literature
2nd-century BC books

Alexandra (Lykrophon)


Police Headquarters was a 1932 crime radio drama. Bruce Eells Associates produced this series which was syndicated to West Coast NBC radio stations. Each program lasted for about 15 minutes: music was featured in the first part of the show, an announcer would do a commercial or two, then the 12 minute episode would follow. A total of thirty-nine episodes were produced.

The program centered on a citizen reporting a crime via telephone and police use of two-way radio to set up a dragnet to find criminals and solve cases. While the programs were based upon actual cases, they were presented in the program as successfully solved, regardless of the actual outcome. The police in the drama would investigate a murder, a bank robbery, etc. and apprehend the perpetrators. In some cases the drama was identifying the perpetrator, while more often it was in apprehending them.

See also
old-time radio

References

Police procedurals
American radio dramas
1932 radio programme debuts

Police Headquarters


Dixon Lanier Merritt (July 9, 1879–January 9, 1972) was an American poet and humorist. He was a newspaper editor for the Tennessean, Nashville's morning paper, and President of the American Press Humorists Association.

Biography
Born Dixon Lanier Abernathy, his parents divorced while he was a child and one of his five uncles subsequently adopted him. At age 21, he legally changed his surname to Merritt, which he regretted later in life.

Dixon Merritt was married twice. He was first married to Harriotte Triplett Johnson of Kentucky, with whom he had a son and a daughter, though the marriage ended in divorce. He later married Ruth Yates of New York, with whom he had two sons.

He penned this well-known limerick in 1910:

A wonderful bird is the pelican,
His bill will hold more than his belican,
He can take in his beak
Enough food for a week
But I'm damned if I see how the helican!

or:

A funny old bird is a pelican.
His beak can hold more than his belican.
     Food for a week
     He can hold in his beak,
But I don't know how the helican.

The limerick, inspired by a post card sent to him by a female reader of his newspaper column who was visiting Florida beaches, is often misattributed to Ogden Nash and is widely misquoted, as demonstrated above. It is quoted in a number of scholarly works on ornithology, including Manual of Ornithology: Avian Structure and Function, by Noble S. Proctor and Patrick J. Lynch, and several others.

Merritt served as Tennessee State Director of Public Safety, taught at Cumberland University and was editor of The Tennessean and Lebanon Democrat newspapers and later contributed a column for many years called "Our Folks". In 1913 he collaborated with Will Thomas Hale on "A History of Tennessee and Tennesseans: The Leaders and Representative Men in Commerce, Industry and Modern Activities". During the 1920s he was the Southern correspondent for Outlook magazine, a weekly news magazine aimed at rural readers. He edited a comprehensive "History of Wilson County (Tennessee)" in his eighties. He worked for the U.S. federal government twice, around the time of both World Wars, and ultimately retired from the Rural Electrification Administration's telephone program office. In 1919, Merritt was the Assistant in Charge for the Press Service at the United States Department of Agriculture where he wrote humorous press releases.

Merritt was a founding member of the Tennessee Ornithological Society. A nature center at the Tennessee Cedars of Lebanon State Park is named for him. He served as President of the Society of American Press Humorists. Following World War I he returned to the familial farm near Lebanon, TN and using portions of various cedar log cabins nearly one hundred years old assembled a new structure on a hill which he dubbed "Cabincroft" — 'croft' being a Scottish word for a place of shelter. He maintained a working farm into his seventies preferring natural methods.

References

American humorists
American humorous poets
1879 births
1972 deaths
Editors of Tennessee newspapers
Historians from Tennessee
Poets from Tennessee
University of Nashville alumni

Dixon Lanier Merritt


Spem in alium (Latin for "Hope in any other") is a 40-part Renaissance motet by Thomas Tallis, composed in c. 1570 for eight choirs of five voices each. It is considered by some critics to be the greatest piece of English early music. H. B. Collins described it in 1929 as Tallis's "crowning achievement", along with his Lamentations.

History

The work's early history is obscure, though there are some clues as to where it may have been first performed. It is listed in a catalogue of the library at Nonsuch Palace, a royal palace sold in the 1550s to the Earl of Arundel before returning to the crown in the 1590s. The listing, from 1596, describes it as "a song of fortie partes, made by Mr. Tallys". The earliest surviving manuscripts are those prepared in 1610 for the investiture as Prince of Wales of Henry Frederick, the son of James I.

A 1611 commonplace book by the law student Thomas Wateridge contains the following anecdote:

In Queen Elizabeths time þere was à songe sen[t] into England in 30 p[art]s (whence þe Italians obteyned þe name to be called þe Apices of þe world) wch beeinge Songe mad[e] a heavenly Harmony. The Duke of — bearinge à great love to Musicke asked whether none of our English men could sett as good à songe, and Tallice beeinge very skilfull was felt to try whether he would undertake þe matter, wch he did & made one of 40 p[ar]tes wch was songe in the longe gallery at Arundell house, wch so farre surpassed þe other that the Duke, hearinge þt songe, tooke his chayne of Gold fro[m] his necke & putt yt about Tallice his necke & gave yt him (wch songe was againe songe at þe Princes coronation).This anecdote was first transcribed in

Supposing the "30" to be a mistake, the Italian song referred to has been argued to be either the 40-part motet Ecce beatam lucem or the 40–60-voice mass Missa sopra Ecco sì beato giorno, both by Alessandro Striggio, who is known to have visited London in June 1567 after a trip through Europe during which he arranged other performances of Missa sopra Ecco sì beato giorno. This account is consistent with the catalogue entry at Nonsuch Palace: Arundel House was the London home of Henry FitzAlan, 19th Earl of Arundel; Nonsuch Palace was his country residence. Nonsuch had an octagonal banqueting hall, which in turn had four first-floor balconies above the ground floor; on this supposition it could have been the case that Tallis designed the music to be sung not only in the round, but with four of the eight five-part choirs singing from the balconies.

Likewise, the only dukedom extant during Elizabeth I's reign was that of Norfolk, so the duke in the letter can only be Thomas Howard, 4th Duke of Norfolk, and so (if the anecdote is trustworthy) his execution in 1572 gives a latest date for the work's composition. Some scholars consider that the Duke of Norfolk commissioned Tallis to write "Spem in alium" for performance at Nonsuch, and that its first performance took place there. Other historians, doubting the anecdote, suggest that the first performance was on the occasion of Elizabeth's 40th birthday in 1573.

The above are the most widely held views, but both have difficulties. The text comes from a response in the Matins order in the Sarum rite, which had been superseded by the Book of Common Prayer. Indeed, the text used for a 1610 performance of the work, while set to the music, is entirely different, suggesting that the original text was not satisfactory. Wateridge's letter is dated 40 years after the Elizabethan date and does not mention either Striggio or the duke by name. It has been suggested that if the duke in question was a duke of Norfolk this could be the third duke, who was alive during Mary I's reign. Nonsuch Palace belonged to the Norfolks in the 1550s, having been sold to them by Mary. As for the original text, its context of Judith slaying Holofernes and regaining her position fits with Mary's execution of the Duke of Northumberland, who had attempted to supplant her on the throne with Lady Jane Grey, rather than Tallis using it for Elizabeth. The music itself is entirely different from Striggio's setting. His work was for ten four-part choirs; Tallis's is for eight five-part choirs. The '30' in Wateridge's letter may not be a misprint or an error; the work referred to may be simply unknown. On these arguments Tallis wrote the work for Mary, Elizabeth's predecessor. The possibility has been advanced that Striggio copied Tallis, though of this there is no evidence.

An early score of the work resides at the Bodleian Library, Oxford, where it was part of an exhibition shown in 2008–09 detailing 1000 years of British choral music. Another early score of the work resides at the British Library, London in the Sir John Ritblat Treasures Gallery, where it was part of the 2014–15 exhibition "Treasures of the British Library".

Qualities

The motet is laid out for eight choirs of five voices (soprano, alto, tenor, baritone and bass). It is most likely that Tallis intended his singers to stand in a horseshoe shape. Beginning with a single voice from the first choir, other voices join in imitation, each in turn falling silent as the music moves around the eight choirs. All forty voices enter simultaneously for a few bars, and then the pattern of the opening is reversed with the music passing from choir eight to choir one. There is another brief full section, after which the choirs sing in antiphonal pairs, throwing the sound across the space between them. Finally all voices join for the culmination of the work.

Though composed in imitative style and occasionally homophonic, its individual vocal lines act quite freely within its elegant harmonic framework, allowing for a large number of individual musical ideas to be implemented during its ten- to twelve-minute performance time. The work is a study in contrasts: the individual voices sing and are silent in turns, sometimes alone, sometimes in choirs, sometimes calling and answering, sometimes all together, so that, far from being a monotonous mass, the work is continually changing and presenting new ideas.

Text
The original Latin text of the motet is from a responsory (at Matins, for the 3rd Lesson, during the V week of September), in the Sarum Rite, adapted from the Book of Judith (). Today the response appears in the Divine Office of the Latin rite in the Office of Readings (formerly called Matins) following the first lesson on Tuesday of the 29th Week of the Year.

There is no early manuscript source giving the underlay for the Latin text: the 1610 copies give the underlay for the English contrafactum, sung at the 1610 investiture of Henry Frederick, Prince of Wales,  "Sing and glorify" (see below), with the Latin words given at the bottom.

Latin
Spem in alium nunquam habui
Praeter in te, Deus Israel
Qui irasceris et propitius eris
et omnia peccata hominum
in tribulatione dimittis
Domine Deus
Creator caeli et terrae
respice humilitatem nostram

English translation
I have never put my hope in any other
but in Thee, God of Israel
who canst show both wrath and graciousness,
and who absolves all the sins
of man in suffering
Lord God,
Creator of Heaven and Earth
Regard our humility

English contrafactum (1610)
Sing and glorify heaven's high Majesty,
Author of this blessed harmony;
Sound divine praises
With melodious graces;
This is the day, holy day, happy day,
For ever give it greeting, Love and joy
heart and voice meeting:
Live Henry princely and mighty,
Harry live in thy creation happy.

Renditions
Recordings include those by the Choir of Winchester Cathedral; the Tallis Scholars, The Cardinall's Musick, the National Youth Choir of Great Britain, the Oxford Camerata; the Choirs of King's and St John's Colleges, Cambridge; The Sixteen; The Clerkes of Oxenford; Huelgas Ensemble; Taverner Consort and Players; I Fagiolini have recorded it alongside a 40 part motet by Alessandro Striggio, with continuo, cornetts and sackbuts.

Another version of this motet is featured in Janet Cardiff's Forty-Part Motet (2001), a sound installation which is part of the permanent collection of the National Gallery of Canada in Ottawa, Ontario, Canada and of Inhotim in Brumadinho, Brazil. The Ottawa exhibit is set in the Rideau Street Chapel, which is the salvaged interior of a demolished convent chapel that is now in permanent display at the National Gallery. Forty speakers are set around the Chapel, each one featuring a single voice of the 40-part choir. The result is a highly enhanced polyphonic effect, as visitors may hear each individual voice through its corresponding speaker, or listen to the voices of the entire choir blending in together with varying intensities, as one moves around the Chapel.

On 10 June 2006, the BBC asked for 1,000 singers to meet, rehearse and perform the piece in the Bridgewater Hall, Manchester for what was almost certainly the largest performance of the piece in history. On that day, over 700 singers attended, most of whom had never sung the piece before. A programme following the day's events was broadcast on BBC Four on 9 December 2006.

Spem in alium features prominently in the Stephen Poliakoff TV drama Gideon's Daughter. It is also used in the film Touching the Void, reaching a climax when Yates and Simpson arrive at the summit of the mountain. It appears again in Francois Girard's Boychoir (2014), performed "in-the-round" at Stet's early-training in the fictional National Boychoir Academy.

Spem in alium has inspired modern composers to write 40-part choral works; examples include Giles Swayne's The Silent Land (1998), Robert Hanson's And There Shall Be No Night There (2002), Jaakko Mäntyjärvi's Tentatio (2006), Peter McGarr's Love You Big as the Sky (2007) and Alec Roth's Earthrise (2009), which was commissioned by the UK choir Ex Cathedra for its 40th anniversary. A London-based choral festival, the Tallis Festival, which always includes a performance of Spem in alium, commissioned both Mäntyjärvi and McGarr.

In 2021 the Self-Isolation Choir will perform the work, trained and conducted by Nigel Short and led by singers from Tenebrae, with all singers recording their parts individually at home. The edition used is that prepared by Hugh Keyte in 2020 and made available by the Thomas Tallis Society along with Keyte's 70-page introduction to the edition. The Society also makes available learning material whereby a singer may hear a recording of any chosen voice line, with metronome and/or organ accompaniment.

Recordings
 Tallis—Latin Church Music—Taverner Consort and Players, Andrew Parrott (EMI Reflexe, 1989)
 Thomas Tallis—Spem in alium—The Tallis Scholars (Gimell, 1985)

References
 Davitt Moroney, "Alessandro Striggio's Mass in Forty and Sixty Parts". Journal of the American Musicological Society, Vol. 60, No. 1 (Spring 2007), pp. 1–69. ISSN 0003-0139.

Notes

External links
Complete performance by the Tallis Scholars, followed by 10-minute discussion on BBC Radio 3 (28 October 2007) [RTP stream metadata; requires compatible player]
Choral Public Domain Library (with further discussion of the work, as well as complete score and singers' editions for each of the eight choirs, available for free legal download).
Notes by Peter Phillips for the Tallis Scholars recording
Notes by Jeremy Summerly for the Oxford Camerata recording
The Early Music Show
Brighton Consort's MIDI Set offers midi files of each choir and each part within each choir for practice. (no longer available at this location)
Straight into the charts... a hit from 1568.

Polychoral compositions
Spatial music
Compositions by Thomas Tallis
1570s works
Henry Frederick, Prince of Wales

Spem in alium


An audio cassette is a type of cassette which can store music and sounds. To play a tape, a cassette player or cassette recorder is used. This is also known as a cassette deck, by analogy with reel-to-reel decks. Cassettes store the sound on a magnetic tape that is wound around the two reels in the cassette. Like vinyl records, most cassettes have two sides, called the A-side and B-side. The listener flips the cassette over to play or record on the other side. Some players have auto-reverse, meaning they can play both sides on their own. Cassettes have a tab in the upper left corner that can be removed to prevent accidentally recording over the tape. Cassettes typically hold anywhere from a few minutes up to an hour of audio per side. The longer the tape, the thinner it must be. Tapes longer than 60 minutes (30 minutes per side), and especially those longer than 90 minutes (45 minutes per side), tend to be fragile and more likely to break or get jammed inside the player.

History
The standard audio cassette was invented in 1962 by Lou Ottens of the Philips company. They named it the "Compact Cassette". The first cassettes and cassette recorders had poor audio quality. They were used for recording speech rather than music. Over time, audio quality improved, and they became usable for music. During the 1970s, the cassette grew to be a popular physical format for audio. Their popularity grew further during the following decades. The Walkman, released in 1979, made the cassette very popular in the 1980s. In the 1990s, CDs became more popular than cassettes for prerecorded music, however the cassette remained the most popular format for homemade recordings until CD recorders became affordable in the early 2000s.

Use as a data medium
Some early home computers, such as the Commodore 64, used cassettes to store data or computer programs. Some cassettes were marketed specifically for data, although these cassettes were not physically different from those used for audio. Software and games were also sold on cassettes. In the late 1980s, higher-capacity tape formats, floppy disks, and CD-ROMs made this usage of the cassette obsolete. Another format called D/CAS (Data Cassette), sometimes called a streamer cassette, was also available. It was based on the audio cassette, but it had a different formulation of tape that was designed for data only, and used a special tape drive that was incompatible with normal cassettes. It could store up to 600 MB of data. Unlike normal cassettes, it had only one side.

Types of cassette
There are four types of cassettes, each using a different magnetic particle bonded to the plastic tape stock. The tape type alone is not an indicator of the quality of the tape; there are high-quality and poor-quality examples of all four types.
 Type I - Ferric - Type I was the original cassette formulation and is made from rust-like ferric oxide particles. These particles give the tape its characteristic brown color. Type I tapes have strong, high-quality bass and midrange, but less treble response than the other types. The vast majority of cassettes on the market are Type I.
 Type II - CrO2 and cobalt - Type II tapes are made from chromium dioxide or a mixture of cobalt and ferric oxide particles. The tape is typically black or very dark brown. Type II tapes have good treble response, and acceptable bass response, although the bass is not as strong as Type I.
 Type III - Ferrochrome - Type III tapes are a hybrid of Types I and II. They consist of a layer of ferric tape for strong bass, and a layer of chromium dioxide tape for strong treble. Type III tapes are no longer made and were never very popular because the ideal bias settings for CrO2 and ferric tape are different, so the person recording the tape is forced to choose a bias setting that is not ideal. Many tape recorders do not have a setting for them. On decks without a Type III setting, they should be recorded as a Type I.
 Type IV - Metal - Type IV tapes are made from metal particles rather than metal oxides. The tape is typically a shiny metallic black color. They have good treble and bass response and very high dynamic range. Type IV tapes are no longer made.

Hybrid formats also exist, for example cobalt tapes meant to be recorded as a Type I or metal particle tapes meant to be recorded as a Type II.

Decline in popularity
As compact discs grew in popularity, cassettes were used less. In 2011, the Oxford English Dictionary attempted to remove the word "cassette tape" from a small version of its book. Cassettes are still popular with some audiophiles, as it is an analog format that is portable and more convenient than vinyl.

Successors
Several media formats have been developed to replace the cassette. Among these are the Elcaset, stereo microcassette, Digital Audio Tape, Digital Compact Cassette, MiniDisc, and CD-R. With the exception of CD-R, none of these formats ever surpassed the popularity of the cassette.

References

Magnetic tape

Audio cassette


David Fraser Charnley (10 October 1935 – 3 March 2012) was an English lightweight boxer considered to be one of the greatest British fighters in his weight class. Known as "The Dartford Destroyer", the left-handed Charnley had a 10-year career lasting from 1954 to 1964.

Charnley won a bronze medal at the 1954 Commonwealth Games and went on to become undefeated British lightweight champion (1957–63), Commonwealth lightweight champion (1959–62) and European lightweight champion (1960–61).

World champion title fights
Charnley made two unsuccessful world title challenges against his arch-rival Joe 'Old Bones' Brown. He was stopped by Brown on a cut eye in Houston, Texas, in 1959 and was narrowly out-pointed in a controversial 15 round bout in London on 18 April 1961. Ring Magazine called this second bout "Fight of the Year." Many say Charnley should have won. The decision is still contested by Charnley and most British writers.

He eventually defeated Brown in six rounds in a non-title fight in Manchester on 25 February 1963.

Early life and career
Dave was born in Dartford, Kent, to Scottish parents from Craigneuk, Lanarkshire. His uncle was footballer Sam Charnley who had a spell at Dartford F.C. and secured jobs locally for family members who also moved to Kent. Before becoming a boxer, Charnley worked at Vickers Engineering Crayford as a boilermaker. He started competing in 1954 and turned professional the same year.

He became British Lightweight Champion at 21 by outpointing Joe Lucy, another southpaw, on 9 April 1957, but in his first attempt later that year to win the Empire title on 9 July he was beaten on points by Willie Toweel. In 1958 he met future world champion, Puerto Rican Carlos Ortiz at Harringay Arena where he lost on a 10 round decision.

In a return match against Willie Toweel on 12 May 1959, Dave Charnley punched with such authority that the championship changed hands in the 10th round, when Dave won by a knockout.

Dave challenged for the World Title at Houston, Texas on 2 December 1959, against Joe Brown but was forced to retire in the fifth round with a badly damaged eye. He fought Brown again, this time in London on 18 April 1961, and lost a bitterly contested duel that many fans thought he had won. By way of consolation Dave knocked out Brown in six rounds in a third meeting, but only after the American had lost his World title.

Before his second bout with Brown, Dave added the European Lightweight Title to his British and Empire Titles, when he met Mario Vecchiatto of Italy on 29 March 1960. He forced Vecchiatto to retire in the 10th round.

On 20 November 1961 Dave Charnley met challenger David "Darkie" Hughes of Wales for his third title and stopped the Welshman in 40 seconds, including the count, a record win in the British Lightweight class.

In 1962 Dave went to Jamaica, losing his Empire title on a close point verdict to Bunny Grant, but he won his Lonsdale Belt outright by defeating Maurice Cullen in Manchester on 20 May 1963. That year he also forfeited his European title.

As there were no worthy challengers in the Lightweight division, to continue boxing, it was necessary for Dave to move up to the Welterweight division. He was then game enough to challenge the World Champion, Emile Griffith, but took a bad beating and the fight was stopped in round eight.

Dave retired from the ring in 1964 as unbeaten British Lightweight Champion.

Aggressive fighting style
Charnley had a powerful build and large forearms and was often compared to the "Toy Bulldog" Mickey Walker, but he also had good tools. He had double and triple hooks and was a true scrapper with plenty of bottle.

His trademark was an aggressive attacking style. Quiet-spoken and an introvert outside the ropes, his self-effacing modesty was no public relations gimmick; Charnley was merciless once ring battle commenced. Inside the ring he was a furious brawler who gave and took brutal punishment.

Only Joe Brown stopped him on cuts and until his last fight, only welterweight great Emile Griffiths stopped him from going the distance. Charnley ended his career fighting welterweights and was a really tough opponent for anyone.

After the ring
Charnley estimated his ring earnings to have been in excess of £400,000, a considerable sum at the time, and when he retired from boxing in 1964 he took a different direction in his life and opened and operated hair salons, which became quite profitable for him.

He later moved into building and property refurbishments buying land and building estates in the Dartford area. He established the offices of his company in Regent Street, where the business expanded through restorations of hotels and other projects. His various business enterprises generated him a lot of money late in his life.

Charnley's biographer, James Kirkwood, said: "It may be a cliché, but it really was true of Dave that you never heard anybody say a bad word about him." Charnley died of lung cancer on 3 March 2012, at the age of 76.

See also
 List of British lightweight boxing champions

References

Sources
 Henry Cooper's 100 Greatest Boxers (Henry Cooper, Queen Anne Press, 1990) page 32
 The Ring Record Book & Boxing Encyclopaedia 1959 (Nat Fleischer, The Ring Book Shop Inc., 1959) page 5
 The Dartford Destroyer: The Life and Career of Dave Charnley by James Kirkwood; Dalcumly Press (10 August 2011); ;

External links
https://web.archive.org/web/20080331003317/http://www.britishboxing.net/boxers_10856-Dave-Charnley.html
http://www.boxrec.com/boxer_display.php?boxer_id=011390
https://web.archive.org/web/20060825101402/http://myweb.tiscali.co.uk/finbarr/btcp10.htm
http://www.boxing-records.com/palm/voirpalma.phtml?boxeur=charnlda.html
https://web.archive.org/web/20070313174128/http://www.secondsout.com/Legends/bios.cfm?ccs=235&cs=8624
http://www.thesportsjudge.co.uk/nextboxi.htm
http://www.ironlife.com/forum/showthread.php?t=43031

English male boxers
Lightweight boxers
1935 births
2012 deaths
Boxers at the 1954 British Empire and Commonwealth Games
Commonwealth Games bronze medallists for England
Deaths from lung cancer
Sportspeople from Dartford
Commonwealth Games medallists in boxing
English people of Scottish descent
Medallists at the 1954 British Empire and Commonwealth Games

Dave Charnley


The Survivors is a 1983 American comedy film directed by Michael Ritchie. It stars Walter Matthau and Robin Williams, with supporting roles by Jerry Reed, Kristen Vigard, and James Wainwright.

Plot
The story focuses on two beleaguered New Yorkers: Donald Quinelle (Williams), a simple office worker who is fired from his job, and Sonny Paluso (Matthau), a gas station owner whose station is accidentally blown up by Donald. The two men meet in a restaurant which is promptly robbed by a man in a ski mask (Jerry Reed). Donald is shot, but Sonny gets a good look at the man. Donald is interviewed on the news, and inadvertently reveals Sonny's identity. That night the robber (named Jack Locke) visits Sonny's house in order to kill him and his teenage daughter Candice (Vigard), but Donald saves them. Sonny and Donald take Jack to the police at gunpoint.

Donald has become paranoid and convinced of the imminent collapse of society. He buys several guns, leaves his girlfriend, and goes to a Vermont "survival camp" led by a man named Wes. Jack is released from jail. Sonny tries to reason with him, and Jack agrees to leave Donald and Sonny alone if they say nothing to the police. Sonny and Candice go up to the camp to tell Donald of the deal. Donald, however, is so confident of his ability to face danger that he taunts Jack into coming up to the camp for a final showdown.

Donald has become a killing machine thanks to Wes' teachings. He and Jack do battle, and end in a draw. The whole group winds up in the same cabin, which the other campers surround in an attempt to kill Jack.  Sonny, Candice, Jack and Donald escape in Sonny's car. The bloodthirsty campers give chase, but give up once Sonny exposes Wes as a rich businessman whose camp is a fraud. The foursome head home. Donald gets out of the car and has a breakdown, realizing how much he has lost. Sonny tries to comfort him. The two walk back to the car as friends.

Cast
 Walter Matthau as Sonny Paluso
 Robin Williams as Donald Quinelle
 Jerry Reed as Jack Locke
 Kristen Vigard as Candace Paluso
 James Wainwright as Wes Huntley
 Skipp Lynch as Wiley
 Annie McEnroe as Doreen
 John Goodman as Commando
 Marian Hailey as Mrs. Locke
 Joseph Carberry as Detective Matt Burke
 Meg Mundy as Mace Lover
 Marilyn Cooper as Waitress

Reception
The film did not garner many positive reviews, scoring only a 9% fresh rating on Rotten Tomatoes, based on 11 reviews. Many felt that Robin Williams and Walter Matthau's style of humor did not mesh well together. An exception to the negative critical tide was the review that Pauline Kael gave the film in The New Yorker:
The banner line on the ad says ' Once they declare war on each other, watch out. You could die laughing.' The Survivors isn't about two men declaring war on each other; it's about two New Yorkers without anything in common who become friends. The advertisers probably didn't know what to do with it because it's a comedy for grownups. There's a lot of unconventional humour in the writing by Michael Leeson. Robin Williams' work transcends the film's flaws. He acts with an emotional purity that I can't pretend to understand. A lot of the comedy comes from his being a grownup with this ranting little kid inside him. Walter Matthau gives a quiet, old pro's performance.

References

External links

1983 films
1983 comedy films
American comedy films
Columbia Pictures films
Films directed by Michael Ritchie
Films scored by Paul Chihara
Films set in New York (state)
Films shot in New York (state)
Films set in New York City
Films shot in New York City
Films set in Vermont
Films shot in Vermont
1980s English-language films
1980s American films

The Survivors (1983 film)


My Soul Is Rested: Movement Days in the Deep South Remembered is a book of oral history regarding the American Civil Rights Movement by journalist Howell Raines. It is based on interviews with people involved in — for and against — the struggle to end racial segregation in the American South from the time of the 1955 Montgomery bus boycott to the 1968 assassination of Martin Luther King Jr.

Author's notes

Raines began his research for this book while the political editor for the Atlanta Constitution. In February 1974, while looking at a statue of Georgian populist Thomas E. Watson from his office window, he pondered recent indications that Watson's dream of a Southern politics that did not pander to racial hatred might be at hand. He felt that the story of sacrifice and courage that had led to these changes needed to be more completely told by the people who lived it.

As a journalist in Atlanta, Raines already had access to members of the movement who had since become prominent politicians in the South. As he conducted interviews he obtained from the interviewees names and contact information for others who should be included. His southern heritage also helped to obtain interviews with people who had fought racial desegregation.

All but two of the interviews included were expressly conducted for this book between October 1974 and April 1976. The interview with Autherine Lucy was conducted by Culpepper Clark, a historian at the University of Alabama. The material from Martin Luther King, Sr. was excerpted from in interview conducted by the author for a television program on PBS station KETV in Atlanta.

The book took nineteen months to complete. In the meantime Raines had left the Constitution to work on it. By the time it was published he had become the political editor at the St. Petersburg Times.

Interviewees included
Ralph Abernathy
T. M. Alexander, Sr.
Ben Allen
Harry Alston
Wilson Baker
Marion Barry
Nelson Benton
Randolph Blackwell
Willie Bolden
Julian Bond
Harry Bowie
Helen Bullard
John Calhoun
Charles Cobb
Stoney Cooks
Dorothy Cotton
Constance W. Curry
Dave Dennis
Ivanhoe Donaldson
Andrew Durgan
Glenn V. Evans
James Farmer
Autherine Lucy Foster
Ed Gardner
Dick Gregory
Lawrence Guyot
Leon Hall
Fannie Lou Hamer
Roy Harris
Tony Heffernan
Wendell Hoffman
Hamilton E. Holmes
Myles Horton
William Bradford Huie
Ruby Hurley
Herbert Turner Jenkins
Timothy Jenkins
J. T. Johnson
Mary Dora Jones
Vivian Malone Jones
Nicholas Katzenbach
Lonnie King
Martin Luther King Sr.
John Lewis
Everette Little
Joseph Lowery
Andrew Marrisett
Yancy Martin
Neil Maxwell
Benjamin Mays
Franklin McCain
Chris McNair
Amzie Moore
Chuck Morgan
Edgar Nixon
Rosa Parks
Eugene Patterson
John Malcolm Patterson
Robert Patterson
Laurie Pritchett
Bayard Rustin
Rita Samuels
Bobby Shelton
Arthur Shores
Fred Shuttlesworth
Charles R. Sims
Claude Sitton
Sidney Smyer
J. B. Stoner
Tol Tepper
Hank Thomas
Hartman Turnbow
Albert Turner
Elbert Tuttle
Richard Valeriani
Nannie Washburn
Sheyann Webb
Hosea Williams
Abraham Wood
Andrew Young

Reception

Columnist Anthony Lewis reviewed the book for the New York Times in October 1977. He summarized his personal reaction to the book as follows: "Every so often a book is so touching, so exhilarating that one laughs and murmurs and cries out while reading, wanting to tell others about it. My Soul Is Rested is like that." While discussing the impact of the book, he wrote: "Indeed, the power of My Soul Is Rested lies in part in its recalling for us what the South was like when the Movement started. Nowadays, when the problems of race relations are more complicated both morally and legally, too many people forget the cruelties that blacks have suffered in this country."

After the book was published Raines heard from friends in Atlanta and the American Southeast that they were having difficulties obtaining copies of the book. He later learned through Charles Haslam, president of the American Booksellers Association, that G.P. Putnam's regional salesman for the Southeast was making negative presentations of the book with racial overtones. Raines began to pursue the issue with Rich's department store, a major book distributor in Atlanta. Rich's chief book buyer, Faith Brunson, said that they would order only a few copies of the book because people were not interested in it except for Julian Bond and a few of those people. In a 1978 interview with Bill Cutler, Raines speculated that the buyers at Rich's may have held personal antipathy to the subject matter of the book, as one of the major sit-ins of the Civil Rights Movement had occurred at Rich's, which was then defending segregation.

Notes

Sources

Raines, Howell. My Soul is Rested: Movement Days in the Deep South Remembered. New York: G.P. Putnam's Sons, 1977.

1977 non-fiction books
American history books
Books about African-American history
Oral history books
20th-century history books
History of African-American civil rights
G. P. Putnam's Sons books

My Soul Is Rested


Kenneth Lloyd Khouri (1917 – 20 September 2003) was a pioneering Jamaican record producer and founder of Federal Records, the first recording studio in Jamaica, which was sold to Bob Marley's Tuff Gong record label in 1981.  He is credited by reggae historians for the birth of rocksteady in the 1960s. Rocksteady later mixed with Jamaican mento, a genre in which Khouri also had a pioneering role, leading to the creation of reggae music.

American singer Johnny Nash to recorded his first international hit "Hold Me Tight", which went on to sell six million copies globally and has been credited with first putting reggae in the American listener charts, at the Federal Studio, with his son Paul one of the producers. . He and Nash's produced "Tears on my Pillow", which reached number one in the UK Singles Chart in July 1975 for one week.

Biography
He was born in St Catherine Parish, the son of a Lebanese immigrant father Alfred Khouri, and a mother of Cuban origin, Alista Hylton, and grew up in Richmond and Highgate.  His family was in the dry goods and furniture business. He moved to Kingston as a young man and joined the retail company E.A. Issa and Brothers Limited which owned jukeboxes operating in rum bars all over the island. The company was owned by the Issa family who were friends of his family, and there he learned about the music business.

When his father required specialist hospital treatment, he flew with him to Miami, Florida, and by chance overheard someone selling a disc recording machine.  Khouri bought the machine and discs, and returned with it to Kingston, where in 1947 he set up a voice recording service. Khouri made recordings of local bands, and since there were no record pressing facilities in Jamaica, he sent them to the United Kingdom to be pressed.

Realising the commercial possibilities, he decided to set up a music recording business and traveled to California to acquire the equipment he needed to set up his own plant. Having until then had records pressed in the US, he also set up a record pressing plant in the early 1950s, and began pressing copies of American records under licence. Initially, Khouri mainly released mento and calypso music, later recording early examples of ska and rocksteady.

Times Record Limited
In the early 1950s, he set up the Times Record Limited label with Alec Durie, owner of the Times store in Kingston, and began producing Mento records by local musicians, the first time this had been done in Jamaica. One of his earliest recordings was Lord Flea's "Naughty Little Flea". The records pressed by Khouri and others such Stanley Motta helped created the golden age of mento music and brought it to a new audience.

Times Records Limited was renamed as Federal Records in the early 1960s.

Federal Records
The company was a powerhouse during the 1960s and 1970s. Ken Lazarus, Ernie Smith, Ken Boothe, Pluto Shervington, guitarist Ernest Ranglin, Don Drummond, Winston Turner Quintet, Eric Grant Orchestra, Gladstone Anderson, Cecil Lloyd, The Maytals, Eric Morris, Granville Williams Orchestra, Delroy Wilson, Marcia Griffiths, Bob Andy, Derrick Harriott, Derrick Morgan, Tinga Stewart, Roland Alphonso, John Holt, The Meditations, John Jones, Eddie Lovette, The Zodiacs, Byron Lee & The Dragonaires, Archie Lewis, were just some of the acts who recorded hit songs there.

In 1965, singer Hopeton Lewis recorded his rocksteady hit "Take It Easy" at Federal Records usually recognized as the first rocksteady single recorded. The slower and bassier beat style of this new rocksteady genre became the choice of partygoers in Jamaica over the previous jazz-based Ska. This led Khouri to the creation of Merritone Label in 1966 within the Federal Records roster.  Merritone was successful as well as influential, although short-lived.

Khouri signed American singer Johnny Nash to record Jamaican music, producing his first international hit "Hold Me Tight" in 1968, which went on to sell six million copies globally and placed reggae in the American listener charts.

Bob Marley recorded his first single "Judge Not" in 1962 at Federal Records. Jimmy Cliff also cut his first track in 1962 at Federal studios for Count Boysie's sound system, who, in turn, would air the track at dances, although the single was never released.

Jamaican artist Ken Boothe's reggae version of the song "Everything I Own" was released in 1974 by Federal Records and reached Number One in the UK Singles charts on 26 October 1974, and stayed at the top of the charts for three weeks

Some scenes in the 1972 film The Harder They Come, were shot at Federal Studios.

In 1981, Khouri sold the studio and his business interests to Bob Marley's Tuff Gong Record Label, owned then by Marley's wife Rita, who changed the name from Federal Studios to Tuff Gong Recording Studios.

Legacy
Khouri has been described as a pioneer and visionary. According to Lloyd Bradley (in his Bass Culture book), without Khouri the "...new [Jamaican record producing] industry would probably have been stillborn. Ken Khouri was always going to be a central figure: Anyone who had a tune in his head could come to Ken to record it.. ..and get pressed up what ever he thought he could sell."

Recording engineer and founder of Island Records, Graeme Goodall said: "If there's one common denominator in the whole thing, not as far as the musical content but as far as the whole process [of developing the Jamaican recording industry], that was Ken Khouri, Papa Khouri.  Because he was the one who had the foresight to develop the industry, y'know, build the studio, build the pressing plant. He was a very successful Lebanese businessman, but I mean he was the lynchpin of the whole thing."

In an interview he commented on his lack of recognition in the Jamaican music industry, stating that apart from some non-Jamaicans and a few old associates like Prince Buster or Pluto Shervington: "No one ever says thanks...  I would rather that you do not say it but I am disappointed, especially with the Government, for not recognizing my contribution."

In 2001, he was inducted into the Hall of Fame of the Caribbean Development for the Arts and Culture Foundation, and before his death he was the recipient of the silver Musgrave Medal for his contributions to the music industry.  He died in Kingston in 2003, at the age of 86.

References

1917 births
2003 deaths
People from Saint Catherine Parish
Jamaican record producers
Jamaican people of Cuban descent
Jamaican people of Lebanese descent

Ken Khouri


Teledyne Controls is a business unit of Teledyne Technologies Incorporated (NYSE: TDY). Created in 1964, the company designs and manufactures onboard avionic and ground-based electronic systems for the aviation industry.

Teledyne Controls is headquartered in El Segundo (Los Angeles area), California, and has locations in the US and the UK, as well as sales offices in Toulouse, France; Tokyo, Japan; Kuala Lumpur, Malaysia; Dubai, United Arab Emirates; Beijing, China; and Singapore.

History
In 1964, Teledyne Industries, Inc. purchased Servomechanisms Inc., which became Teledyne Systems Company, Controls Systems Division, located in El Segundo, California. In 1971 the Controls Systems Division broke away from Teledyne Systems and became Teledyne Controls.  In 1996, Teledyne Industries, Inc. merged with Allegheny Ludlum Steel forming a new corporation called Allegheny Teledyne, Inc. In 1999, Teledyne spun off from Allegheny and became Teledyne Technologies, Inc. Teledyne Controls is part of the Aerospace and Defense Electronics business segment.

Core business
Teledyne Controls' core products aim at helping aircraft operators better access and manage their aircraft data. They are designed to record a multitude of data from sensors and equipment on board the aircraft, transfer the data from the aircraft to a ground based replay station, where it is processed and analyzed. The purpose is the early detection of any abnormal operation or potential issues in order to take proactive action to prevent incidents.

Market segments
 Airline and cargo operators
 Aircraft manufacturers
 Business jet operators & owners
 Military / government operators

References

External links
 Teledyne Controls and Thales jointly market solutions
 Five years of operational efficiency for Interjet
 Air China lauds real-time health monitoring
 Aircraft health-monitoring avionics for Navy E-6B TACAMO to be provided by Teledyne Controls
 Teledyne acquires Spirent business unit
 Teledyne Acquires Demo Systems LLC
 Allegheny Technologies Incorporated History

Teledyne Technologies
Electronics companies of the United States
Electronics companies established in 1964
American companies established in 1964

Teledyne Controls


Edmund Gustav Albrecht Husserl (; April 8, 1859, Prostějov, Moravia, Austrian Empire – April 26, 1938, Freiburg, Germany) was an Austrian-German philosopher and mathematician who is deemed the founder of phenomenology. He broke with the positivist orientation of the science and philosophy of his time, believing that experience is the source of all knowledge.

Husserl studied mathematics under Karl Weierstraß, completing a Ph.D. under Leo Königsberger, and studied philosophy under Franz Brentano and Carl Stumpf.

Then Husserl taught philosophy, as a Privatdozent at Halle from 1887, and as a professor:

 first at Göttingen from 1901,
 then at Freiburg im Breisgau from 1916 until his 1928 retirement.

Biography

Birth
Husserl was born into a Jewish family in a town that was then in the Austrian Empire (after 1918 a part of Czechoslovakia, and since 1993 a part of the Czech Republic). He became a member of the Lutheran Church in 1886.

Education
He initially studied mathematics but then started attending lectures  on psychology and philosophy. Husserl was so impressed by Brentano that he decided to dedicate his life to philosophy.

Early works
His major written work is Philosophie der Arithmetik (1891). In these first works he tries to combine mathematics, psychology and philosophy with a main goal to provide a sound foundation for mathematics. He analyzes the psychological process needed to obtain the concept of number and then tries to build up a systematical theory on this analysis. To achieve this he uses several methods and concepts taken from his teachers. From Weierstrass he derives the idea that we generate the concept of number by counting a certain collection of objects. From Brentano and Stumpf he takes over the distinction between proper and improper presenting.

In an example Husserl explains this in the following way: if you are standing in front of a house, you have a proper, direct presentation of that house, but if you are looking for it and ask for directions, then these directions (e.g. the house on the corner of this and that street) are an indirect, improper presentation. In other words, you can have a proper presentation of an object if it is actually present, and an improper (or symbolic as he also calls it) if you only can indicate that object through signs, symbols, etc.

Intentionality
Another important element that Husserl took over from Brentano is intentionality. It is the notion that the main characteristic of consciousness is that it is always intentional. While often simplistically summarised as "aboutness" or the relationship between mental acts and the external world, Brentano defined it as the main characteristic of mental phenomena, by which they could be distinguished from physical phenomena.

The elaboration of phenomenology
Some years after the publication of his main work, the Logische Untersuchungen (Logical Investigations; 1900-1901) Husserl made some key conceptual elaborations which led him to assert that in order to study the structure of consciousness, one would have to distinguish between the act of consciousness and the phenomena at which it is directed (the object-in-itself, transcendent to consciousness).

Knowledge of essences would only be possible by "bracketing" all assumptions about the existence of an external world. He called this procedure epoché.

Husserl then started to concentrate on the ideal, essential structures of consciousness.

The metaphysical problem of establishing what kind of reality we perceive was of little interest to Husserl in spite of his being a transcendental idealist.

Husserl proposed that the world of objects and ways in which we direct ourselves toward and perceive those objects is normally conceived of in what he called the "natural standpoint", which is characterized by a belief that objects materially exist and exhibit properties that we see as emanating from them.

Husserl proposed a radical new phenomenological way of looking at objects by examining how we in our many ways of being intentionally directed toward them, actually  "constitute"  them (to be distinguished from materially  "creating objects or objects" .

In a later period, Husserl began to wrestle with the complicated issues of intersubjectivity, specifically, how communication about an object can be assumed to refer to the same ideal entity (Cartesian Meditations, Meditation V).

Husserl tries new methods of bringing his readers to understand the importance of phenomenology to scientific observation: specifically he refers to psychology) and what he means for "bracketing natural attitude".

The Crisis of the European Sciences is Husserl's unfinished work that deals most directly with these issues. In it, Husserl for the first time attempts a historical overview of the development of Western philosophy and science, emphasizing the challenges presented by their increasingly (one-sidedly) empirical and naturalistic orientation.

Husserl declares that mental and spiritual reality possess their own reality independent of any physical basis.

List of works

In German
1887. Über den Begriff der Zahl. Psychologische Analysen.
1891. Philosophie der Arithmetik. Psychologische und logische Untersuchungen (Philosophy of Arithmetic)
1900. Logische Untersuchungen. Erste Teil: Prolegomena zur reinen Logik (Logical Investigations, Vol 1)
1901. Logische Untersuchungen. Zweite Teil: Untersuchungen zur Phänomenologie und Theorie der Erkenntnis (Logical Investigations, Vol 2)
1911. Philosophie als strenge Wissenschaft (included in Phenomenology and the Crisis of Philosophy: Philosophy as Rigorous Science and Philosophy and the Crisis of European Man)
1913. Ideen zu einer reinen Phänomenologie und phänomenologischen Philosophie. Erstes Buch: Allgemeine Einführung in die reine Phänomenologie (Ideas: General Introduction to Pure Phenomenology)
1923-24. Erste Philosophie. Zweiter Teil: Theorie der phänomenologischen Reduktion (First Philosophy, Vol 2: Phenomenological Reductions)
1925. Erste Philosophie. Erste Teil: Kritische Ideengeschichte (First Philosophy Vol 1: Critical History of Ideas)
1928. Vorlesungen zur Phänomenologie des inneren Zeitbewusstseins.
1929. Formale und transzendentale Logik. Versuch einer Kritik der logischen Vernunft (Formal and Transcendental Logic)
1931. Méditations cartésiennes (Cartesian Meditations)
1936. Die Krisis der europäischen Wissenschaften und die transzentale Phänomenologie: Eine Einleitung in die phänomenologische Philosophie (The Crisis of European Sciences and Transcendental Phenomenology: An Introduction to Phenomenological Philosophy)
1939. Erfahrung und Urteil. Untersuchungen zur Genealogie der Logik. (Experience and Judgment)
1952. Ideen II: Phänomenologische Untersuchungen zur Konstitution.
1952. Ideen III: Die Phänomenologie und die Fundamente der Wissenschaften.

In English
Cartesian Meditations, 1960 [1931]. Cairns, D., trans. Dordrecht: Kluwer. Online.
The Crisis of European Sciences and Transcendental Philosophy, 1970 [1936/54], Carr, D., trans. Evanston: Northwestern University Press.
Experience and Judgement, 1973 [1939], Churchill, J. S., and Ameriks, K., translators. London: Routledge.
Formal and Transcendental Logic, 1969 [1929], Cairns, D., trans. The Hague: Nijhoff.
Ideas Pertaining to a Pure Phenomenology and to a Phenomenological Philosophy -- First Book: General Introduction to a Pure Phenomenology, 1982 [1913]. Kersten, F., trans. The Hague: Nijhoff.
Ideas Pertaining to a Pure Phenomenology and to a Phenomenological Philosophy - Second Book: Studies in the Phenomenology of Constitution, 1989. R. Rojcewicz and A. Schuwer, translators. Dordrecht: Kluwer.
Ideas Pertaining to a Pure Phenomenology and to a Phenomenological Philosophy - Third Book: Phenomenology and the Foundations of the Sciences, 1980, Klein, T. E., and Pohl, W. E., translators. Dordrecht: Kluwer.
Logical Investigations, 1973 [1913], Findlay, J. N., trans. London: Routledge.
On the Phenomenology of the Consciousness of Internal Time (1893-1917), 1990 [1928]. Brough, J.B., trans. Dordrecht: Kluwer.
"Philosophy as Rigorous Science", translated in Lauer, Q., ed., 1965 [1910] Phenomenology and the Crisis of Philosophy. New York: Harper.
Philosophy of Arithmetic, Willard, Dallas, trans., 2003 [1891]. Dordrecht: Kluwer.
Anthologies:
Willard, Dallas, trans., 1994. Early Writings in the Philosophy of Logic and Mathematics. Dordrecht: Kluwer.
Welton, D., ed., 1999. The Essential Husserl. Bloomington: Indiana University Press.

Other websites

 Husserl-Archives at the University of Cologne.
 Husserl Archives at Duquesne University, Pittsburgh .
 Edmund Husserl (1859-1938).  -- Marianne Sawicki. Accessed 2008-11-18.
 www.husserlpage.com. Includes a number of online texts in German and English.
 Husserl.net, open content project.
"Logic and Formal Ontology in the Work of Edmund Husserl." Resource guide on Husserl's logic and formal ontology, with annotated bibliography.
 The Husserl Circle.
 Spanish website  on Husserl and phenomenology.
 Website  devoted to Husserl's phenomenology and its relation to art and architecture, with specific reference to architectural drawings.

1859 births
1938 deaths
19th-century German philosophers
20th-century German philosophers
Austrian Jews
Austrian scientists
Continental philosophers
German Lutherans
German mathematicians
Jewish German academics
Jewish German scientists
Jews who converted to Christianity

Edmund Husserl


Midnight sun is a phenomenon that exists north of the Arctic Circle and south of the Antarctic Circle. It means that the sun, on parts of the year, is visible the whole night long. The sun above the horizon at midnight in the arctic or Antarctic summer.

There are no people living permanently south of the Antarctic Circle, but in Alaska, Canada, Norway, Sweden, Finland, Russia, and some other countries it is possible to watch the Midnight sun in the summer.

The opposite of the Midnight sun is the Polar night.

Astronomical phenomena
Geography

Midnight sun


The Weiler–Atherton is a polygon-clipping algorithm. It is used in areas like computer graphics and games development where clipping of polygons is needed. It allows clipping of a subject or candidate polygon by an arbitrarily shaped clipping polygon/area/region.

It is generally applicable only in 2D. However, it can be used in 3D  through visible surface determination and with improved efficiency through Z-ordering.

Preconditions

Before being applied to a polygon, the algorithm requires several preconditions to be fulfilled:

 Candidate polygons need to be oriented clockwise.
 Candidate polygons should not be self-intersecting (i.e., re-entrant).
 The algorithm can support holes (as counter-clockwise polygons wholly inside their parent polygon), but requires additional algorithms to decide which polygons are holes, after which merging of the polygons can be performed using a variant of the algorithm.

Algorithm
Given polygon A as the clipping region and polygon B as the subject polygon to be clipped, the algorithm consists of the following steps:
 List the vertices of the clipping-region polygon A and those of the subject polygon B.
 Label the listed vertices of subject polygon B as either inside or outside of clipping region A.
 Find all the polygon intersections and insert them into both lists, linking the lists at the intersections.
 Generate a list of "inbound" intersections – the intersections where the vector from the intersection to the subsequent vertex of subject polygon B begins inside the clipping region.
 Follow each intersection clockwise around the linked lists until the start position is found.

If there are no intersections then one of three conditions must be true:
 A is inside B – return A for clipping, B for merging.
 B is inside A – return B for clipping, A for merging.
 A and B do not overlap – return None for clipping or A & B for merging.

Conclusion
One or more concave polygons may produce more than one intersecting polygon. Convex polygons will only have one intersecting polygon.

The same algorithm can be used for merging two polygons by starting at the outbound intersections rather than the inbound ones.  However this can produce counter-clockwise holes.

Some polygon combinations may be difficult to resolve, especially when holes are allowed.

Points very close to the edge of the other polygon may be considered as both in and out until their status can be confirmed after all the intersections have been found and verified; however, this increases the complexity.

Various strategies can be used to improve the speed of this labeling, and to avoid needing to proceed further. Care will be needed where the polygons share an edge.

See also
 Sutherland–Hodgman clipping algorithm
 Vatti clipping algorithm
 Greiner–Hormann clipping algorithm

References

 Weiler, Kevin and Atherton, Peter. "Hidden Surface Removal using Polygon Area Sorting", Computer Graphics, 11(2):214-222, 1977.

Polygon clipping algorithms

Weiler–Atherton clipping algorithm


The Palaeoproterozoic was the first era of the Proterozoic eon. It came after the Archaean eon, and lasted from 2500 to 1600 million years ago (mya).

In the Palaeoproterozoic, there was a huge production of stromatolites by cyanobacteria. The first unicellular eukaryote organisms also appeared in the fossil record.

The first supercontinent grew, and some of the rocks were normal sedimentary rocks, not metamorphosed.

Basic differences in Earth physics
Because the Earth was only half as old as now, there were some basic differences from today. Heat in the Earth's interior was greater than today. This was mainly due to the higher abundance of radioactive isotopes, which decay as time passes.

Temperatures at the surface were also higher, due to radiation from the Earth's interior, and due to a methane and carbon dioxide-based greenhouse atmosphere. During the previous eon, the Archaean, the oceans were hot (55–85 °C). This was only partly balanced by the fact that the Sun's radiation was lower at that time.

Paleontological evidence on the Earth's rotational history suggests that ~1.8 billion years ago, there were about 450 days in a year, implying 20 hour days. Further back, the Earth day had about 17 hours, and there were 514±33 days per year. The Earth–Moon distance for the earliest Palaeoproterozoic was 51.9±3.3 Earth radii (compared to 60.27 at present).

Supercontinent
A global supercontinent (called Columbia, or Nena) existed from about 1.8 to 1.5 billion years ago in the Palaeoproterozoic era.

Climate
During the era climate changes were as severe as any in Earth history. From a global high temperature at the start, there were three massive ice ages, with ice deep into the tropics.

Drop in methane
There are clear indications that the era saw a drop in atmospheric methane:
"The collapse of methane from formerly high levels in the Archaean atmosphere  probably plays a large role, not only the oxygenation history, but also the occurrence of Palaeoproterozoic ice ages. The data point to 2.4–2.3 billion years ago as host to a 'Great Oxidation Event', during which Earth's surface environment changed profoundly and irreversibly".

The buildup of oxygen

Oxygen was produced by the cyanobacteria, but it was mostly used up by chemical sinks. These were the unoxidized sulfur and iron. Until roughly 2.3 billion years ago, oxygen was probably only 1% to 2% of its current level.p323

Banded iron formations, which provide most of the world's iron ore, were formed by the oxygen forming compounds with iron; most accumulation ceased after 1.9 billion years ago. Red beds, which are colored by hematite, indicate an increase in atmospheric oxygen after 2 billion years ago; they are not found in older rocks.p324

Ice ages
There were three major ice ages, with ice deep into the tropics. Undoubtedly, they happened as a result of reduced greenhouse gases in the atmosphere, and the rise of oxygen production.

There is what researchers call "a puzzling interval of ~1,400 million years with no verified glaciation between early Palaeoproterozoic glaciations at 2400–2200 mya in North America, South Africa, Scandinavia and Australia and the Neoproterozoic glaciations that affected all continents at 800–600 mya".

Meteorite strikes
There were major bolide impacts during the era, two of which caused the largest impact crators on Earth. There are also three smaller (equal or more than 30 kilometers diameter) in the time zone of 3.0 to 1.2 billion years ago.

Origin of eukaryotes
The origin of the eukaryotic cell was a milestone in the evolution of life, since they include all complex cells and almost all multi-cellular organisms. The timing of this series of events is hard to determine; Knoll suggests they developed approximately 1.6–2.1 billion years ago. Some acritarchs are known from at least 1650 million years ago, and the possible alga Grypania has been found as far back as 2100 million years ago.

References

Palaeoproterozoic


Morellino di Scansano DOCG is an Italian red wine made in the hills of the village of Scansano (province of Grosseto), in the Maremma, which includes a part of the coast of southern Tuscany. Morellino is the local name for the Sangiovese grape varietal.

The wine, which gained the DOC status in 1978, and upgraded to DOCG status from the 2007 vintage, is made from of 85% Sangiovese (which is also the base of the tuscan wines: Chianti, Brunello di Montalcino and Vino Nobile di Montepulciano). The remaining 0–15% of any non aromatic black grape varieties included in a list made and periodically updated by the local authorities.

Other websites
 Consorzio di Tutela del Morellino di Scansano

Italian wines
Tuscany

Morellino di Scansano


Evdokia or (informally) Avdotia Ilyinichna Istomina (; 1799–1848) was the most celebrated Russian ballerina of the 19th century.

Biography
She was orphaned at a young age, but was accepted into the Imperial Theater School, where children could live in complete security.

A pupil of Charles Didelot, she debuted in the Imperial Russian Ballet in 1815 to immediate acclaim. Several people were killed duelling for her heart, and her honour was defended in the fourfold duel (1817): Count Zavadovsky killed Count Sheremetev, while the Decembrist Yakubovich shot through a palm of the playwright Alexander Griboedov. Her dancing is the subject of a brilliant stanza in Eugene Onegin, which was described by Vladimir Nabokov as the most mellifluous lines in the whole of Russian poetry.

She danced nearly all of the principal roles in ballets by Didelot. She became the first Russian dancer en pointe. She served in the Imperial Ballet for twenty years. She married a young actor, but he soon died. Late in life she remarried, this time to the dramatic actor Pavel Ekunin (ru: Павел Семенович Экунин). By this time she was no longer performing leading roles and her income was reduced by half. In the 1835/1836 season, she was injured during the performance and was asked to leave for treatment. Emperor Nicholas I of Russia saw this request and wrote the order: to be dismissed. On 30 January 1836 Avdotya Istomina came on stage one last time and danced a little Russian dance.

She died of cholera on 26 June 26 (8 July) in 1848 in St. Petersburg. No one could remember her as a famous ballerina. The inscription on her tomb: "Avdotya Ilyinichna Ekunina, a retired actress".

See also

 List of Russian ballet dancers

References

Prima ballerinas
Ballerinas from the Russian Empire
1799 births
1848 deaths
19th-century ballet dancers from the Russian Empire

Avdotia Istomina


The Atacama Desert is a desert. It is on the Tropic of Capricorn in northern Chile, and is one of the driest places on earth. In some places, less than an inch (25mm) of rain falls every ten years. Only one of the rivers from the Andes mountains reaches the ocean through the desert. The rest disappear into the dry soil.

The Atacama is a desert not because mountains make a rain shadow, but because the ocean does. The water on the coast of Chile is cold, because the Humboldt Current brings cold water from Antarctica. Moisture cannot stay in the cold air above the cold water, so mainly fog reaches the land, but very little rain. The people of Chile have learned how to get water from the fog to help them live. They "harvest" the clouds by putting up plastic sheets with pans underneath. The fog collects on the plastic and drips into the pans, giving the people water for crops and drinking. In parts of this desert it has not rained for over 400 years. Even though the Atacama is the driest place in the world that does not mean it is the hottest. The Atacama Desert is actually a mild place with temperatures ranging from 0 to 30 degrees Celsius.

Three countries fought the War of the Pacific in the 1880s for control of the desert. They both wanted its Sodium nitrate mines. Chile won.

The oldest known artificially prepared mummies come from this desert.  They are called the Chinchorro mummies.

References

Deserts
Atacama Region
Ecoregions

Atacama Desert


The New Actors Workshop was a two-year acting conservatory in New York City founded by Master Teachers Mike Nichols, George Morrison and Paul Sills in 1988. The school offered a unique, dual-track curriculum combining Stanislavski-based technique with Viola Spolin Theater Games.  The workshop stopped accepting students in 2010.

The founders
Sills, Morrison, and Nichols enjoyed a long association dating back to the 1950s at the University of Chicago. Their experience convinced them that there was a unique value for the actor in the double challenge of performance improvisation and Stanislavski-based training, and they founded The Workshop specifically to offer this powerful experience to a new generation of actors.

Performances
There were different types of performances throughout the year in which students participated.

Friday Night Improv
Students of the workshop played Spolin theatre games for an audience. These shows were free and open to the public.

Scene Nights
At the end of their first year, students performed for family and friends in a New Actors Workshop Scene Night.

Story Theatre
At the end of their second year, students went into a rehearsal period with a guest director.  This production was most often a Story Theater show, a genre invented by Paul Sills in the 1960s.  Guest directors  included Paul Sills, Gene Hackman, Diane Paulus, Shira Piven, David Turner, Lester Thomas Shane, K Tanzer, Carol Sills

Notable alumni
 Diane Paulus, director Hair (musical)
 Ricki Noel Lander, actress
 Kim D'Armond, actress

References

Drama schools in the United States
1988 establishments in New York City
Universities and colleges in New York City

The New Actors Workshop


Jack Hobbs (Sir John Berry Hobbs, 16 December 1882 – 21 December 1963) was an English professional cricketer.

Hobbs played for Surrey from 1905 to 1934 and for England in 61 Test matches between 1908 and 1930. Known as "The Master", Hobbs is regarded by critics as one of the greatest batsmen in the history of cricket. He is the leading run-scorer and century-maker in first-class cricket, with 61,760 runs and 199 centuries. A right-handed batsman and an occasional right-arm medium pace bowler, Hobbs also excelled as a fielder, particularly in the position of cover point.

Early life
Born into poverty in 1882, Hobbs wished to pursue a career in cricket from an early age. His early batting was undistinguished but a sudden improvement in 1901 brought him to the attention of local teams. Following the death of his father, he successfully applied to join Surrey, with the support of England batsman Tom Hayward. His reputation grew and when he qualified to play for Surrey, he scored 88 on his first-class debut and a century in his next game.

Career
By 1907–08 Hobbs was playing Test cricket for England. He scored 83 in his first Test, and his international career continued until 1930. After some mixed Test performances, Hobbs' success against South African googly bowlers meant that his place was secure, and in 1911–12, he scored three centuries in the series against Australia. Afterwards, he was regarded as the best batsman in the world until the mid-1920s.

In county cricket, Hobbs developed an attractive, attacking style of play where he scored quickly, and he was very successful in the years approaching the First World War. After the war, Hobbs was again successful against Australia, but his career was threatened by appendicitis which caused him to miss most of the 1921 season. When he returned, he was more cautious as a batsmen and concentrated on safer, more defensive play. Yet he continued to be successful in Test and domestic cricket. He retired from Tests in 1930 but continued to play for Surrey until 1934.

Hobbs had a batting technique which critics regarded as ideal. His success was based on fast footwork, an ability to play many different shots, and excellent placement of the ball. His technical ability allowed him to prosper at a relatively late age for a cricketer. He was particularly successful on difficult pitches for batting.

An opening batsman, Hobbs established several effective opening partnerships; with Tom Hayward and Andy Sandham for Surrey, and with Wilfred Rhodes and Herbert Sutcliffe for England. His partnership with Sutcliffe was the most effective in Test history.p215 Contemporaries rated Hobbs extremely highly, and critics continue to list him among the best batsmen of all time.p127

In 1953, Hobbs was knighted, the first professional cricketer to be so honoured. Hobbs was reluctant to accept and only did so when convinced that it was an honour to all professional cricketers, not just himself.p377

References

Bibliography

Other websites

 Wisden Archive 1964 – Jack Hobbs' Obituary

1882 births
1963 deaths
English cricketers
Knights Bachelor
People from Cambridge

Jack Hobbs


William Buell Sprague (October 16, 1795 Andover, Connecticut - May 7, 1876 Flushing, New York) was an American Congregational and Presbyterian clergyman and compiler of Annals of the American Pulpit (nine volumes, 1857–1869), a comprehensive biographical dictionary of the leading American Protestant Christian ministers who died before 1850.

Biography
He was educated at Yale under Timothy Dwight IV, graduating in 1815, then studied at Princeton Theological Seminary under Dr. Archibald Alexander and Samuel Miller. He became assistant to Rev. Joseph Lathrop at the West Springfield, Massachusetts, Congregational church in 1819.  The following year, when Lathrop died after sixty years as pastor there, Sprague became senior minister and served there nine more years.  Thereafter, he accepted a call to pastor the Second Presbyterian Church, Albany, New York, where Edward Norris Kirk had been an assistant, and where Sprague ministered for forty years.  Sprague wrote numerous books, including Lives of Rev. Edward Dorr Griffin, D. D, (1838), Timothy Dwight (1845), and Rev. Jedidiah Morse (1874), his greatest contribution to literature being his Annals of the American Pulpit, an invaluable compilation of Trinitarian Congregationalist, Presbyterian, Baptist, Methodist, Episcopalian, Unitarian Congregationalist, and other biographies.  Although no edition of his collected works ever was published, Sprague's published individual sermons, discourses, and addresses in pamphlet form exceed 150 in number.

Sprague was also a collector of historical documents and pamphlets and became the first person ever to gather a complete set of the autographs of the signers of the United States Declaration of Independence. He completed this task by February, 1833, according to correspondence with friend Jared Sparks at about that time.  He also gathered a collection of the signatures of all of the members of the Convention which framed the Constitution of the United States in 1787, and a complete set of the autographs of the presidents of the United States and all the officers of the United States government during the administrations of Presidents Washington, John Adams, Jefferson, Madison, Monroe and John Quincy Adams. This latter collection included signatures of the presidents, vice presidents, all the members of the Cabinet, and all of the justices of the United States Supreme Court and all of the foreign ministers. Further, he collected the signatures of all the military officers involved in the American Revolutionary War, from all nations, during the whole war. He collected signatures of great men of the Reformation and great skeptics.  He even owned a copy of the autograph of Saint Augustine. He was America's foremost philographer by the time of his death. His autographs, numbering nearly 100,000, probably the largest private collection in the world at that time, were left to his son.

He was elected a member of the American Antiquarian Society in 1846.

He was married three times and had children. After his retirement from the Albany pulpit in 1870, he and his wife lived with his son Edward Everett Sprague, a lawyer, in Flushing, New York. He died there in 1876 and was buried in Albany Rural Cemetery in Menands, New York.

Works
He authored;
"Letters on Practical Subjects from a Clergyman of New England to His Daughter" (Hartford, 1822)
"Letters from Europe First Published in the New York Observer" (New York, 1828)
"Lectures to Young People" (New York, 1830)
"Lectures on the Revival of Religion" (Albany, 1832)
"Hints Designed to Regulate the Intercourse of Christians" (Albany, 1834)
"Lectures Illustrating the Contrast Between True Christianity and Various Other Systems" (New York, 1837)
"Memoir of Rev. Edward Dorr Griffin, D.D." (Albany, 1838)
"Letters to Young Men" (Albany, 1844)
"Life of Timothy Dwight" (Albany, 1845)
"Aids to Early Religion" (New York, 1847)
"Words to a Young Man's Conscience by a Father" (Albany, 1848)
"Monitory Letters to Church Members" published anonymously (Philadelphia, 1855)
"Visits to European Celebrities" (Boston, 1855)
"Annals of the American Pulpit" (New York, 1857–1869) (9 vols.)
"Memoirs of Rev. John McDowell, D.D., and the Rev. William A. McDowell" (New York, 1864)
"The Life of Jedidiah Morse" (New York, 1874)

References

External links

Yale College alumni
1795 births
1876 deaths
Princeton Theological Seminary alumni
American historians
American biographers
American theologians
Burials at Albany Rural Cemetery
Members of the American Antiquarian Society

William Buell Sprague


The Fourth Sign is a public artwork by the American artist Tony Smith situated on the lawn outside the Art Building at the University of Hawaiʻi at Mānoa, in Honolulu, Hawaii. The large sculpture is fabricated in steel, painted black, and signifies the fourth Zodiac sign, which is Cancer (a crab). The sculpture was commissioned by the Hawaii State Foundation on Culture and the Arts in accordance with the Art in State Buildings Law. Since its installation, many have seen in its shape as a reference to the legs and claws of a crab.

Description
The Fourth Sign consists of nine straight sections, fused end to end to form a broken circle. Three horizontal sections rest on the ground. Using the orientation of a clock face, 12 o'clock falls at the center of one of these sections, while the other two converge on 6 o'clock, where the break occurs. Connecting these sections are two broad arches, each composed of three sections.  In this way the sculpture defines its own "interior" and "exterior", and while open to the sky offers a startling sense of safe haven and enclosure.

In 1978, the Honolulu-based artist and professor of religion, John Charlot, described how quickly the university community made Smith's sculpture its own:When he returns to Hawaii, Smith will see students draping their young bodies over his sculpture and nestle within the circle of its arms, just as they bathe under the pool under Manoa falls. This is the local reaction to what, however awesome, is beautiful and a gift.

History
Smith visited Hawaii in the summer of 1969 by university invitation to teach a sculpture course. He contemplated two other projects for the campus (Haole Crater and Hubris), but only The Fourth Sign was realized.

In 1976, the Hawaii State Foundation on Culture and the Arts commissioned Mamoru Sato, a professor of art at the university and a sculptor in his own right, to oversee the fabrication of the sculpture. The work was carried out by the Hawaii Welding Company, Inc. at a total cost of $65,000. The National Endowment for the Arts Visual Arts Program supported fabrication of The Fourth Sign with a $20,000 grant.

The edition is limited to this single piece, which was completed in 1977.

Condition
In 1998 it was observed that "virtually all of the outdoor pieces were in stages of disrepair – from neglect to vandalism." The sculpture was surveyed in 1994 as part of the Save Outdoor Sculpture! project, but no record of its condition exists.

See also
 List of Tony Smith sculptures
 The Tony Smith Artist Research Project in Wikipedia

References

1977 establishments in Hawaii
1977 sculptures
Sculptures by Tony Smith
Steel sculptures in the United States

The Fourth Sign


Australia House in Ottawa, Ontario, Canada is the official residence of the Australian High Commissioner to Canada.  The house is located on a corner lot at 407 Wilbrod Street in the Sandy Hill neighbourhood of Ottawa, near to a number of other embassies and official residences.   The house was built in 1910 by William Davis, and is believed to have been designed by John W.H. Watts.  Davis died under inauspicious circumstances in 1916 and it lay vacant for several years before being purchased by Colonel Cameron Macpherson Edwards, who had earlier lived at 24 Sussex Drive.  The Edwards left in 1937 and rented the house to Germany to house the Consul General Dr. Erich Windels,  who was friendly with Canadian Prime Minister William Lyon Mackenzie King, who lived nearby. Windels was expelled from Canada upon the declaration of war in September 1939.

In part because of the war, the Australian delegation in Ottawa was looking for more spacious accommodations, and the newly vacant building met these needs.  In 1940 it became the residence of the High Commissioner and they bought the building from the Edwards soon after.  It has housed every High Commissioner since, as well as visiting Australian dignitaries, including any Australian Prime Ministers who visit Ottawa.  From 1947 until 1953 the building was home to ex-Prime Minister Frank Forde during his term as Australian High Commissioner.

Since December 2021, His Excellency The Right Honourable Scott Ryan is the latest High Commissioner to reside at Australia House.

The chancery of the High Commission located at Suite 1301, Sun Life Financial Centre, at 50 O'Connor Street in Downtown Ottawa.

See also
High Commission of Australia in Ottawa
Australian diplomatic missions overseas
Department of Foreign Affairs and Trade

References
Marie Wood. Australia House. Ottawa: Historical Society of Ottawa, 2000.

Diplomatic residences in Ottawa
Australia–Canada relations
Ottawa

Australia House (Ottawa)