Jay Reise (born 1950) is an American composer.

Biography

Reise spent his childhood surrounded by classical music and jazz, but began his composition studies with Jimmy Giuffre and Hugh Hartwell in 1970. After graduating at Hamilton College in 1972, he pursued composition study at McGill University (with Bengt Hambraeus and Bruce Mather), the University of Pennsylvania (AM, 1975; George Crumb and Richard Wernick), Tanglewood, and Carnatic rhythm with Adrian L'Armand.

He is currently Professor Emeritus of Music at the University of Pennsylvania.

Reise is married to visual artist Cecilia Paredes and has two sons, Matthew Reise (born 1981) and Nicholas Reise (born 1983) from his first marriage to Esther Barazzone.

Music

Reise's music draws on polyphonic classical traditions. After being influenced by the great western classical voice-leading tradition, he became interested in Carnatic rhythm and integrated its techniques into his style. This has resulted in a method he calls "rhythmic polyphony" in which rhythmic motives are developed within the phrase such that the cadence point of the phrase is implied by the rhythms alone.

Works written before the adoption of the rhythmic method include Symphony of Voices (1978) which was premiered at the Monadnock Festival with soprano Neva Pilgrim, and his Second Symphony (1980) premiered by the Syracuse Symphony, conducted by Christopher Keene, and performed subsequently by the Philadelphia Orchestra. His Third Symphony was premiered by Keene and the Long Island Philharmonic in 1983. His 2-act opera Rasputin with a libretto by the composer, was commissioned by Beverly Sills and the New York City Opera, and was premiered by City Opera in 1988. Rasputin received its Russian premiere at the Helikon Opera in Moscow, directed by Dmitry Bertman, in September 2008.

Works after 1990 include The River Within (concerto for violin and orchestra, 2008) premiered by soloist Maria Bachmann and orchestra 2001, James Freeman conductor; Concerto for Horn and 7 Instruments (2006) with Adam Unsworth and the Network for New Music, Jan Krzywicki, conductor; Powers That Be (2005) for piano quintet with the Cassatt Quartet and Marc-André Hamelin; Memory Refrains (string quartet in one movement, 2002) with the Cassatt Quartet; the piano solo suite Six Pictures from 'The Devil in the Flesh by Marc-André Hamelin; the Oscar Wilde-based ballet fairy-tale The Selfish Giant by the Philharmonia Orchestra with conductor Djong Victorin Yu in London in 1997; and two extended piano works, Sonata Rhythmikosmos (Mari Akagi) and Rhythmic Garlands (James Primosch). His left hand transcriptions of Scriabin's Études Op. 2, No. 1 and Op. 8, No. 12 have been performed by Gary Graffman and Matthew Bengtson.

Some works by Reise have been performed by Anastasia Vedyakova for the first time in Russia.

Reise's music is published by Merion Music/Theodore Presser. The Scriabin transcriptions are published in the Journal of the Scriabin Society of America.

Selected works

Discography

 Jay Reise Chamber Music (Albany TROY) 2004
 The Devil in the Flesh and Other Pieces (Albany TROY665) 2004
 Rhythmic Garlands and Other Pieces (Centaur CRC 2598) 2003
 Concerto for Cello and 13 Instruments (CRI 899) 2002
 Chesapeake Rhythms CRI 760 (CD) (1997)
 Six Preludes for Piano CRS 3862 (LP) (1984)

Performers include Charles Abramovic, Jody Applebaum, Ulrich Boeckheller, Gregory Fulkerson, Marc-André Hamelin, Jerome Lowenthal, Charles Ullery. the Cassatt Quartet, Four Horizons, Network for New Music and Orchestra 2001 among others.

Compositions
[Publisher: Merion Music]

Stage
 Rasputin opera in two acts (1988); libretto by the composer

Orchestral

 The Selfish Giant choreographic tone-poem in six scenes based on the fairy-tale by Oscar Wilde (1997)
 Symphony No. 3 (1983)
 Symphony No. 2 (1980)
 Symphony of Voices (1978) for orchestra with soprano

Concerti

 The River Within (Concerto for Violin and Orchestra) 2008
 Concerto for Horn and 7 Instruments 2006
 Yellowstone Rhythms for bassoon and 10 players (2001)
 Concerto for Cello and 13 Instruments (2000)

Wind ensemble

 Tinicum Rhythms for concert band (1997)

Chamber music

2 players
 Jisei (Japanese Death Poems) for voice and shakuhachi (2003)
 Yellowstone Rhythms (version for bassoon and piano) (1996)
 Duo Rhythmikosmos for violin and piano (1994)
 Moonwatching for flute and violin (1994)
 La Choumine for viola and piano (1984)

3 players
 Trio Rhythmikosmos (violin, cello, piano), (1993)

4 players
 Across the Horizons for clarinet, violin, cello, and piano (2004)
 Memory Refrains (String Quartet in One Movement), (2002)

5 of more players
 Powers That Be for piano quintet (2005)
 Open Night, Poem-Caprice for Six Instruments (2003)
 Chesapeake Rhythms for eleven players (1995)
 Celebrations for brass quintet (1994)
 Sinfonietta for Wind Quintet (1985)
 Concerto-Fantasy for Nine Players (1975)

Instrumental music
 Dragonflies sing near for solo guitar (2000)

Piano
 Transcription for left hand of Scriabin's Etude, Op. 8, No. 12 (2005)
 Transcription for left hand of Scriabin's Etude, Op. 2, No. 1 (2003)
 Six Pictures from 'The Devil in the Flesh (2001)
 Sonata Rhythmikosmos (1993)
 Rhythmic Garlands (1992)

Two pianos
 Three Pictures from 'The Devil in the Flesh (2001)

Vocal music
 Arcadian Shadows (soprano, clarinet, cello, and piano) (5')
 Satori (version soprano, oboe, cello, piano), poem by Damian Congressi, (2005)
 Satori (version soprano and piano trio) (1995)
 Satori (version for soprano and piano) (1995)

Choral music
 Psalm 23 1980

Writings
 "Context, Choice and Issues of Perceived Determinism in Music", in Indeterminacy: The Mapped, the Navigable, and the Uncharted, Jose V. Ciprut, Contributing Editor (MIT Press, 2008 forthcoming): 241–266
 "Lukas Foss: Ways of Looking at Music" in National Gallery of Art (2001): non paginated
 "The Phonograph Behind the Door: Some Thoughts on Musical Literacy," [with Peter J. Rabinowitz] in Reading World Literature: Theory, History, Practice, edited by Sarah Lawall (University of Texas Press, 1994): 287–308.
 "Doctrine of Despair: Zimmermann's Die Soldaten", Opera News (September): 1991
 "Late Skriabin: Some Principles Behind the Style," 19th-Century Music (Spring, 1983): 220–231, reprinted in The Journal of the Scriabin Society of America (Winter 1996–97): 29–46
 "Rochberg the Progressive", Perspectives of New Music (1980–81): 395–407

Sources

External links

Jay Reise Theodore Presser Company (music publishers)

American male classical composers
American classical composers
20th-century classical composers
21st-century classical composers
1950 births
Living people
21st-century American composers
Hamilton College (New York) alumni
McGill University School of Music alumni
University of Pennsylvania alumni
University of Pennsylvania faculty
Pupils of George Crumb
20th-century American composers
20th-century American male musicians
21st-century American male musicians

Jay Reise


Crank is a 2006 American action film written and directed by Mark Neveldine and Brian Taylor in their directorial debuts. It stars Jason Statham, Amy Smart and Jose Pablo Cantillo. The title of the film comes from a slang word for methamphetamine. In the film, Chev Chelios, a Los Angeles-based hitman, is poisoned by the mafia and must keep his adrenaline flowing constantly in order to keep himself alive, while he tries to track down the man who poisoned him.

The film was followed by a sequel titled Crank: High Voltage in 2009.

Plot
Chev Chelios is a Los Angeles-based British hitman who works for a crime syndicate led by Don "Carlito" Carlos. Chelios is contracted by Carlito to kill mafia boss Don Kim as members of the Triads have been encroaching on Carlito's business. Chelios goes to Don Kim and apparently murders him. In the confusion, ambitious small-time criminal Ricky Verona uses the opportunity to conspire with Carlito against Chelios: Verona will kill Chelios so the Triads do not retaliate, and then take Chelios's place as Carlito's new hired gun.

While Chelios sleeps in his apartment, Verona and brother Alex, along with several henchmen break in and inject Chelios with a Chinese synthetic drug which inhibits the flow of adrenaline, slowing the heart and eventually killing the victim. Chelios wakes to find a recording left by Verona showing what he has done. Furious, Chelios smashes his TV and heads out.

Chelios calls mafia surgeon Doc Miles, who informs Chelios that to survive he must keep his adrenaline pumping through constant excitement and danger and is unsure if the antidote exists. Chelios keeps up his adrenaline through risky and dangerous acts, which include picking fights with other gangsters and police, reckless driving and motorcycling, taking illegal drugs and synthetic epinephrine and having public sex with his girlfriend Eve.

Chelios visits Carlito at his penthouse and asks him to help find an antidote as well as to find and kill Verona and his crew. Carlito says there is no antidote and only confirms that Carlito and Verona are working together. Carlito tells Chelios that he will use his death as a scapegoat against the Chinese. An angered Chelios leaves Carlito's penthouse to find Verona. Through Chelios' street contact, a transvestite named Kaylo, he finds Alex at a restaurant and unsuccessfully interrogates him about his brother's whereabouts before killing him. Chelios phones Verona through Alex's phone and tells him of his brother's death, prompting Verona to send thugs after Eve as a revenge. Chelios rushes to pick up Eve before Verona's thugs get to her. Chelios reveals his true profession to her and that he was planning to retire to spend more time with her.

Kaylo, who has been kidnapped by Carlito's men, is forced to call Chelios and tell him that Verona is at a Triad warehouse. Chelios goes there, finding Kaylo's corpse and the henchmen. They reveal that Carlito ordered them to kill Chelios. Eve, who has followed Chelios, unexpectedly arrives, but then escapes with Chelios after a shootout with Carlito's henchmen. Chelios and Eve go to Doc Miles's place, where Miles explains that he cannot cure Chelios. Knowing that he will die soon, Chelios decides to take his revenge on Verona and arranges a meeting with him at a downtown hotel. Chelios goes to the rooftop of the hotel and meets with Verona, Carlito, and his henchmen. Carlito takes out a syringe, filled with the same poison used by Verona. As he is about to kill Chelios by injecting the second dose into him, Don Kim, revealed to be alive as Chelios spared him,  arrives with his Triads to assist Chelios and a shootout follows.

During the battle, several of Don Kim's and all of Carlito's men are killed. Carlito tries to escape with his private helicopter, but Chelios manages to catch up to him and holds him at gunpoint. Before Chelios can kill Carlito, Verona sneaks behind and injects Chelios with the syringe, after which Chelios collapses. Carlito himself is betrayed by Verona, who shoots him dead and tries to escape with his helicopter. Chelios manages to stand up, boards the helicopter and engages in a fight with Verona. After some struggle, Chelios manages to pull Verona out of the helicopter. While mid-air, Chelios proceeds to snap Verona's neck, killing him. While falling, Chelios calls Eve on his cell phone to apologize for not coming back. Chelios lands right dead in the middle of an intersection, but manages to survive the fall.

Cast
 Jason Statham as Chev Chelios
 Amy Smart as Eve Lydon
 Jose Pablo Cantillo as Ricky Verona
 Carlos Sanz as Carlito
 Dwight Yoakam as Doc Miles
 Efren Ramirez as Kaylo
 Keone Young as Don Kim
 Reno Wilson as Orlando
 Sam Witwer as Henchman
 Jay Xcala as Alex Verona
 Chester Bennington as Pharmacy stoner (cameo)
 Glenn Howerton as Doctor
 Noel Gugliemi as Warehouse Rooftop Hood

Production
The film was written in 2003 with Johnny Knoxville in mind for the lead role.

Rather than being shot on 35mm film like most films at the time, the filmmakers of Crank opted to shoot on digital videotape, using Canon XL2 and Sony CineAlta HDC-F950 cameras.

The film was shot on location in Los Angeles. Co-directors Mark Neveldine and Brian Taylor operated both "a" and "b" cameras, where one would get a wide shot and the other would get a close-up shot. Jason Statham did all of his own fight and car stunts, including the fight with Verona in a helicopter 3,000 feet above Los Angeles.

Music
The soundtrack for the film was released on August 22, 2006. Allmusic gave the album three out of five, stating "What is here is imaginative, creative, and head-scratchingly cool. While it's a very tacky and overly obvious thing indeed to end with the Jefferson Starship tune 'Miracles' (why not just give away the ending, huh?), this set is pretty much unassailable."

Marketing
Directors Neveldine and Taylor, along with actors Statham and Ramirez, appeared at the 2006 Comic-Con Convention in San Diego, California. The panel showed a short clip and promoted the film, mentioning that it was shot in HD and that no wires or CGI were used for the stunt scenes.

The filmmakers also made extensive use of web advertisement to promote the film. Lionsgate bought a featured spot on the home page of YouTube and paid several of its well-known members to advertise.

Reception

Box office
Crank opened on September 1, 2006 in North America in 2,515 theaters. It grossed $10,457,367 on its opening weekend and was ranked at No. 2 at the box office, behind Invincible. The film ended up grossing $27,838,408 domestically and $15,092,633 internationally for a total of $42,931,041, on a $12 million production budget.

Critical response
On Rotten Tomatoes the film holds an approval rating of 62% based on 99 reviews, with an average rating of 6.10/10. The website's consensus for the film reads, "Crank assaultive style and gleeful depravity may turn off casual action fans, but audiences seeking a strong dose of adrenaline will be thrilled by Jason Statham's raucous race against mortality." On Metacritic the film has a weighted average score of 57 out of 100 based on 19 critics, indicating "mixed or average reviews". Audiences surveyed by CinemaScore gave the film an average grade "C+" on an A+ to F scale.

Lionsgate chose not to screen the film for critics or the press prior to its theatrical release. Some filmmakers and actors singled out Crank (and its sequel) among their favorite Statham films, including Seth Rogen, Rupert Grint, Simon Pegg, James McAvoy, Edgar Wright, and Gareth Evans.

Home media

The region 2 version of the DVD was released December 26, 2006, but initially had no special features. The region 1 DVD was released by Lionsgate on January 9, 2007. This DVD is available in separate widescreen and fullscreen editions, each with Dolby Digital 5.1 and 2.0 tracks. The bonus materials includes running cast and crew audio commentary, behind-the-scenes footage, gags, maps, making-of insights, and interviews with the cast. These features are all accessible via the "Crank'd Out Mode" - a pop-up window feature that allows access to the extras without ever leaving the film. The DVD also includes a "family friendly" audio replacement, in which the film is dubbed over as it would appear on a television broadcast. However, the violence, language subtitles, and nudity are still the same.

Video games
A J2ME game was developed by Silverbirch Studios.

Sequel

Crank: High Voltage is the 2009 sequel to Crank. It picks up seconds after the first film left off. It seems that the poison in Chelios' body has worn off, but retains the gimmick of the first installment; he now has an artificial heart which he must keep charged with electricity to stay alive.

References

External links

2006 films
2000s English-language films
2006 action thriller films
American action thriller films
Films about contract killing
Films about drugs
Films about organized crime in the United States
Films directed by Neveldine/Taylor
Films produced by Gary Lucchesi
Films produced by Tom Rosenberg
Films set in 2005
Films set in Los Angeles
Films shot in Los Angeles
Films with screenplays by Neveldine/Taylor
Lakeshore Entertainment films
Lionsgate films
Films scored by Paul Haslinger
2006 directorial debut films
Triad films
2000s American films
2000s Hong Kong films

Crank (film)


Olinda Castielle born Olinda Borggren is a Swedish TV personality who was a contestant on the American reality show Joe Millionaire and the first season of the Swedish version of Paradise Hotel.

TV shows
Paradise Hotel (Swedish Edition)
Paradise Hotel Extra (season 1 as a guest)
Paradise Hotel Extra (season 2 as a host)
Joe Millionaire
The OP Tour
Little Italy

Other websites
Olinda and Patrick official web site, Oplounge.
Paradise Hotel  - tv4.se
About Olinda on Joe Millionaire  - tvrules.net
Little Italy  - tv4.se

1982 births
Living people

Olinda Castielle


A beakhead or beak is the protruding part of the foremost section of a sailing ship. It was fitted on sailing vessels from the 16th to the 18th century and served as a working platform by sailors working the sails of the bowsprit, the forward-pointing mast that carries the spritsails. The beakhead would be one of the most ornate sections of a ship, particularly in the extravagant Baroque-style ships of the 17th century. The sides were often decorated with carved statues and located directly underneath was the figurehead, usually in the form of animals, shields or mythological creatures. The beakhead also housed the crew's toilets (head), which would drop refuse straight into the sea without sullying the ship's hull unnecessarily.

References

Sailboat components
Sailing ship components

Beakhead


Christopher A. Welty is an American computer scientist, who works at Google Research in New York. He is best known for his work on ontologies, in the Semantic Web, and on IBM's Watson.  While on sabbatical from Vassar College from 1999 to 2000, he collaborated with Nicola Guarino on OntoClean; he was co-chair of the W3C Rule Interchange Format working group from 2005 to 2009.

Background and education

Welty is a graduate of Rensselaer Polytechnic Institute, (RPI) where he worked for the Free Software Foundation on version 16-18 of GNU Emacs as well as the formation of NYSERNet during the emergence of the Internet.  This synergy of interests made him an early public figure in AI, as he moderated the "NL-KR Digest" and the corresponding comp.ai.nlang-know-rep newsgroup (now defunct), which was at the time the widest vehicle for dissemination of announcements and moderated discussion in the natural language and  knowledge representation communities.  He later became the editor in chief of intelligence Magazine (sic), published by ACM.  This magazine was published in place of the SIGART Bulletin from 1999 to 2001.

Welty began to make his first scientific contributions in the early 1990s, when he emerged as a leading figure in the Automated Software Engineering community, whose on-line bibliography lists his 1995 paper as one of the best papers that year  (this would be the year he finished his PhD), becoming in each successive year the program chair, general chair, and steering committee chair of that conference.

His PhD work focused on extending the work of Prem Devanbu at AT&T on Lassie with a better developed ontology.  After his PhD, he moved to Vassar College, where his work shifted away from Software Engineering and towards ontology.  In 1998, he published seminal work on the analysis of subjects in library information systems, dispelling the widely held myth at the time (which is now resurfacing) that subject taxonomies are ontologies.

OntoClean

During 1999-2000, while on sabbatical from Vassar College in Padova, Italy, he formed a productive collaboration with Nicola Guarino to develop OntoClean, a notable and widely recognized contribution in Artificial Intelligence, specifically Ontologies.  According to Thompson-ISI, work on OntoClean was the most cited of academic papers on Ontology.  OntoClean was important as it was the first formal methodology for ontology engineering, applying scientific principles to a field whose practice was mostly art.

Semantic Web

Although an active participant in the Semantic Web movement from the start, it was only after he moved to IBM Research, that he formally joined the W3C Web Ontology Language working group, as a co-editor of the OWL Guide.

From 2004-2005, at the end of the OWL WG, Welty led the Ontology Engineering and Patterns efforts in the Semantic Web Best Practices WG, helping to edit several important notes on using OWL, as well as the first W3C ontology for part-whole relations and time.

From 2005-2009, he was co-chair of the Rule Interchange Format (RIF) working group.

In 2007, he gave a keynote talk at the 6th International Semantic Web Conference in Busan, Korea.

Watson

Welty was one of the developers of Watson, the IBM computer that defeated
the best players on the American game show Jeopardy!.  He is identified as a member of the "Core Algorithms Team"  and has said he is one of the 12 original members of the Watson team
. He appeared on the televised broadcasts of the show several times, commenting on the scientific aspects of the challenge and accomplishment, and was interviewed in numerous news broadcasts and publications.
  He hosted the "viewing party" at RPI's EMPAC on all three nights the show was aired (14–16 February). He gave the keynote talk on Watson at the Trentino region launching of the Semantic Valley initiative.

References

External links

 , and slides

American computer scientists
Rensselaer Polytechnic Institute alumni
IBM employees
Google employees
Vassar College faculty
Living people
Year of birth missing (living people)
Semantic Web people

Chris Welty


Emily Malbone Morgan (December 10, 1862 – February 27, 1937) was a prominent social and religious leader in the Episcopal Church in the United States who helped found the Society of the Companions of the Holy Cross as well as the Colonel Daniel Putnam Association.

Early life
Emily Malbone Morgan, born in Hartford, Connecticut, was the youngest child and only daughter born to merchant Henry Kirke Morgan (1819-1911) and his devout wife, the former Emily Malbone Brinley (1824-1907). Emily Morgan never married and ultimately survived all her brothers: Edward (1857-1874), Henry (1854-1931), William (1850-1936), and George (1848-1908).

Her parents could trace their ancestry to colonial times, and her brother George became a prominent Episcopal priest and Rector of Christ Church in New Haven, Connecticut in 1887 (a position he held until his death in an automobile accident two decades later). The house in which she was born and raised had previously belonged to the parents of J. Pierpont Morgan

Emily was mostly home schooled by her mother (including via travel to Europe), and throughout her life had many operations for thyroid and other conditions, but became known for her good humor and management gifts. The family belonged to Trinity Church in Hartford, and her mother corresponded with some in the Oxford Movement. Emily briefly attended Miss Haines's school in Hartford. As a teenager, Emily became interested in writing, as well as involved in girls' clubs and an organization called the United Workers.

Career
In 1883, Morgan's childhood friend, Adelyn Howard, fell ill with a hip disease, which made her a lonely invalid in a town in which she had no friends or family. The following year, Morgan, with Howard and Harriet Hastings of Wellesley, Massachusetts founded the Society of the Companions of the Holy Cross, to allow the shut-in Adelyn—and other religious women who valued thanksgiving, intercessory prayer, and simplicity of life—to pray and work for social justice. Morgan had a talent for providing hospitality, and considered her "greatest desire...has always been to make tired people rested and happy." The group ministered to women working in the nearby textile mills, in part by establishing houses throughout the northeastern United States where such working-class women and their children could vacation.

In 1889, two years after moving to New Haven, Morgan began her writing career, publishing A Little White Shadow, the proceeds of which she used to fund vacation homes. That same year she established the first of many, Heartsease in Saybrook, Connecticut for "tired women, girls and children." As such, Morgan can be considered part of the Deaconess movement in which over 5000 Protestant women participated circa 1890. In 1901, Morgan purchased what became their headquarters and retreat center, in Byfield, Massachusetts, which was named Adelynrood upon its renovation in 1915 (remembering both Howard, who had died in 1898, and an old word for "cross"). Another home with daily religious services attended by Protestants, Jews and Catholics, was called Beulahland.

In 1906, Morgan bought the Putnam Elms, the Windham County, Connecticut home of Morgan's maternal great grandfather Colonel Daniel Putnam from 1791 until his death in 1831. She also helped found the Colonel Daniel Putnam Association in 1910. In her later years, Morgan led a Sunday School class at Trinity Church, Boston.

Legacy
Emily Malbone Morgan was buried in Hartford's Spring Grove Cemetery.

The Episcopal Church (USA) remembers her liturgically  on February 25.

Her cousin, Daniel Putnam Brinley (1879-1963), became a well-known muralist, as well as a leading Episcopalian, and her biographer Vida Dutton Scudder is also honored on the Episcopal liturgical calendar (on October 10). The Society of the Companions of the Holy Cross currently has approximately eight hundred members and continues to operate retreat centers.

Bibliography
A Little White Shadow (1889)
Prior Rahere's Rose (1893)
Poppy Garden (1894)
A Lady of Olden Time (1896)
Flight of the Swallow (1902)
Letters to Her Companions, edited by Vida Dutton Scudder (1944)

References

1862 births
1937 deaths
American fiction writers
Anglican saints

Emily Malbone Morgan


Beyond the Black Stump is a novel by British author Nevil Shute. It was first published in the UK by William Heinemann Ltd, in 1956.

Plot summary

The story concerns a young American geologist, Stanton Laird, working in the Australian outback in the field of oil exploration. Although he is in a very remote location - beyond the black stump - in a region called "the Lunatic" in Western Australia, he is part of a crew that has a well-appointed mobile facility.

He is befriended by a local farming family, the Regans, and develops a relationship with their daughter Mollie. The Regans run an enormously profitable station, but their domestic lifestyle is somewhat unconventional, with the two Regan brothers at one time having Mollie's mother move from one to the other without bothering to get a divorce.  The family is large, and even larger when counting the biracial children produced by both fathers. The children are taught by the Judge, an English exile and alcoholic, who gives the children an excellent education and keeps the finances of the station.  Over the course of the explorations (which prove unsuccessful), he notes the unique lifestyle on what amounts to the Australian frontier, and falls in love with Mollie.  The two wish to wed, but Mollie's mother insists that Mollie first see how the Lairds live in their Oregon town, Hazel, which was once on the frontier, but is no longer, though its citizens take pride in feeling that it still is.

The two travel to Hazel.  At first, Mollie gets along well in the Laird family home.  But then Stanton's one-time love, Ruth, the widow of Stanton's best friend, returns to Hazel with her children.  The oldest son bears a tremendous resemblance to Stanton, and Stanton is moved to confess to Mollie both that the son may be his, and that he killed a girl in a drunken accident as a teenager.  Mollie is unconcerned about the boy—such things are common where she comes from—but is concerned about the accident, and about Stanton's lack of remorse for the dead girl.  As Stanton expected Mollie to care very much about the boy, and did not expect her to be so concerned about the girl, the two begin to realize they have a very different outlook on life.

Soon, Mollie comes to realize that she will never fit in while in Hazel, and does not particularly want to.  Her place is on the true frontier, in the Lunatic, not in Hazel.  She returns to Australia, where she will likely marry a young neighbor, an emigrant from England, who has long loved her.  Stanton is likely to marry Ruth, as Mollie suggests he should.  Stanton has a wedding present for Mollie, though—his final report reveals that the neighbor's impoverished lands lie over great quantities of artesian water, which will allow the neighbor—and Mollie—to flourish.

Location
According to the co-ordinates for the oil exploration given in the final pages of the novel—23 degrees 5 minutes South, 118 degrees 51 minutes East—most of the story is set in the Ophthalmia Range in the Pilbara region of Western Australia, roughly halfway between where the towns of Paraburdoo and Newman are today. The Eastern Oregon town that Shute calls "Hazel" seems to be the town of Joseph, or possibly La Grande at the foot of the Wallowa mountains, which contains the Eagle Cap Wilderness Area.

References

External links

1956 British novels
Novels by Nevil Shute
Novels set in Western Australia
Heinemann (publisher) books
1956 Australian novels

Beyond the Black Stump


Ruislip is a town on the northwest side of Greater London. It was in Middlesex until that county was abolished in 1965. It owes its present population to the Metropolitan Railway, built early in the 20th century. After that was built many Londoners moved out to places along the line.

Ruislip is now served by five stations on the London Underground network. These are:
 Ruislip: Metropolitan and Piccadilly lines
 Ruislip Manor: Metropolitan and Piccadilly lines
 South Ruislip: Central line
 West Ruislip: Central line
 Ruislip Gardens: Central line

Ruislip Lido is well known in the area. It has a small railway line that runs between two stations around the lake as well as a small beach that hosts some children's play equipment.

London Borough of Hillingdon

Ruislip


Ancient boat building methods can be categorized as one of hide, log, sewn, lashed-plank, clinker (and reverse-clinker), shell-first, and frame-first. While the frame-first technique dominates the modern ship construction industry, the ancients relied primarily on the other techniques to build their watercraft. In many cases, these techniques were very labor-intensive and/or inefficient in their use of raw materials. Regardless of differences in ship construction techniques, the vessels of the ancient world, particularly those that plied the waters of the Mediterranean Sea and the islands of Southeast Asia were seaworthy craft, capable of allowing people to engage in large-scale maritime trade.

History
The earliest archaeological evidence comes from dugout canoes found in peat bogs in Pesse, the Netherlands and dates to around 8000 years ago. Seafaring is found around the world, and many of these techniques are still in use today.

Framed boats

Skin boats
Skin boats dominated seafaring in places that were scarce on wood, including the arctic and subarctic. They were made by stretching skin or leather over frames of wood or bone. These include kayaks and umiaks, coracles and currachs.

Bark canoes
Bark canoes were made by stretching bark over wooden frames, and were used by Native Americans in North America.

Early wooden boats

Rafts
Rafts were made where wood was available but not large enough to carve into dugouts and they could also be made from reeds. The earliest Egyptian boats were rafts made of papyrus; wooden boats did not replace rafts until the Gerzean/Naqada II Period.

Dugout boats
Dugout boats were made wherever trees grew large enough to support them, including Holocene Europe, Northeastern Nigeria  the West Coast of America, and Polynesian seafarers. Dugouts are defined as being carved out of a single piece of wood, and they could be elaborately decorated and quite seaworthy.

Shell-first
The shell-first technique involves constructing the "shell" of the boat first, then laying in the framework.

Sewn and lashed-plank
Instead of using nails, the planks of a boat can be "sewn" together with rope. Evidence for the use of sewn-fastenings in plank boats has been found worldwide. Fastenings of this type have been demonstrated to perform well in coastal regions, being capable of withstanding the rigors of heavy surf as well as the impact of beaching. The lashed-plank technique can be found worldwide as well.

Clinker and reverse clinker
The clinker and reverse-clinker construction techniques involve fastening together an overlapping layer of planks with straight nails (clinker) or hooked nails (reverse clinker). The clinker tradition developed in Northern Europe, while the reverse-clinker technique, although very rarely found worldwide, has been found to be very prevalent among certain South Asian communities, such as that of Orissa in India.

Mortise-and-tenon joint

This construction technique relied extensively on structural support provided by peg-mortise-and-tenon joinery through the shell of the boat. This method of ship construction appears to have originated from the seafaring nations of the Mediterranean, although evidence of peg-mortise-and-tenon joinery later appears in Southeast Asia.

Frame-first
Frame-first construction involves laying down the framework of the vessel before attaching the planks to the boat. This is normally done by erecting a "master frame" in the center of the keel, and deriving the shapes of the other frames using a curved piece of wood stretched between the frame and the end posts, or through a geometric curve. The Yassiada wreck dating to the 7th century AD was long cited as the earliest evidence for frame-first construction technique, but two wrecks for Dor (Tanura) Lagoon in Israel dated to around 500 AD were built frame first.  This technique was rarer in the rest of the world until the coming of the modern era.

See also
Ancient navies and vessels
Boat building
Shipbuilding

Notes

References

Shipbuilding
Ancient ships

Ancient shipbuilding techniques


The mallard (Anas platyrhynchos) is the best-known and most recognizable of all ducks. It can be found throughout most of North America, Europe, Asia, New Zealand and Australia. It is the most common and widespread duck. It can be found in almost any area with a wetland habitat, even in urban areas.

Description
The mallard is a large and heavy looking duck. It has a body and a long and a broad bill. The male has a dark green head, a yellow bill, is mainly purple-brown on the breast and grey on the body. The female is mainly brown with an orange bill.

Habitat
It breeds in all parts of the Europe in summer and winter, wherever there are suitable wetland habitats. It is scarcer in upland areas.

Ducks

Mallard


In theatre, a monologue (from , from μόνος mónos, "alone, solitary" and λόγος lógos, "speech") is a speech presented by a single character, most often to express their thoughts aloud, though sometimes also to directly address another character or the audience. Monologues are common across the range of dramatic media (plays, films, etc.), as well as in non-dramatic media such as poetry. Monologues share much in common with several other literary devices including soliloquies, apostrophes, and asides. There are, however, distinctions between each of these devices.

Similar literary devices
Monologues are similar to poems, epiphanies, and others, in that, they involve one 'voice' speaking but there are differences between them. For example, a soliloquy involves a character relating their thoughts and feelings to themself and to the audience without addressing any of the other characters. A monologue is the thoughts of a person spoken out loud. Monologues are also distinct from apostrophes, in which the speaker or writer addresses an imaginary person, inanimate object, or idea. Asides differ from each of these not only in length (asides are shorter) but also in that asides are not heard by other characters even in situations where they logically should be (e.g. two characters engaging in a dialogue interrupted by one of them delivering an aside).

History
In ancient Greek theatre, the origin of western drama, the conventional three actor rule was preceded by a two-actor rule, which was itself preceded by a convention in which only a single actor would appear on stage, along with the chorus. The origin of the monologue as a dramatic device, therefore, is not rooted in dialogue. It is, instead, the other way around; dialogue evolved from the monologue.

Ancient Roman theatre featured monologues extensively, more commonly than either Ancient Greek theatre or modern theatre. One of the key purposes of these monologues was to indicate the passage of significant amounts of time (that would be tedious to actually play out in real time) within scenes. This type of monologue is referred to as a linking monologue. Other monologue types included "entrance monologues" and exit monologues. In each of these cases a primary function is indicating the passage of time.

From Renaissance theatre onward, monologues generally focused on characters using the extended speech to pursue their dramatic need. Postmodern theatre, on the other hand, often embraces the performative aspects of the monologue, even to the point of challenging the boundary between character portrayal (e.g. acting) and autobiographical speeches.

Types

Interior monologues involve a character externalizing their thoughts so that the audience can witness experiences that would otherwise be mostly internal. In contrast, a dramatic monologue involves one character speaking to another character. Monologues can also be divided along the lines of active and narrative monologues. In an active monologue a character is using their speech to achieve a clear goal. Narrative monologues simply involve a character telling a story and can often be identified by the fact that they are in the past tense.

Auditions
Actors in theatre, and sometimes in film and television, may be asked to deliver monologues in auditions. Audition monologues demonstrate an actor's ability to prepare a piece and deliver a performance. These pieces are usually limited to two minutes or less and are often paired with a contrasting monologue: comic and dramatic; classical and contemporary. The choice of monologues for an audition often depends on the play or role.

See also
Dramatic monologue
Internal monologue
One-person show
Oratory
Performance poetry
Rhetoric
Stand-up comedy
Storytelling
Diseuse
Spoken word

References

External links

Drama
Fiction
Style (fiction)
Fiction-writing mode
Figures of speech
Film and video terminology

Narratology
Genres of poetry

gl:Soliloquio

Monologue


Music Week is a trade publication for the UK record industry distributed via a website and a monthly print magazine. It is published by Future.

History

Founded in 1959 as Record Retailer, it relaunched on 18 March 1972 as Music Week. On 17 January 1981, the title again changed, owing to the increasing importance of sell-through videos, to Music & Video Week. The rival Record Business, founded in 1978 by Brian Mulligan and Norman Garrod, was absorbed into Music Week in February 1983. Later that year, the offshoot Video Week launched and the title of the parent publication reverted to Music Week.

Since April 1991, Music Week has incorporated Record Mirror, initially as a 4 or 8-page chart supplement, later as a dance supplement of articles, reviews and charts. In the 1990s, several magazines and newsletters become part of the Music Week family: Music Business International (MBI), Promo, MIRO Future Hits, Tours Report, Fono, Green Sheet, ChartsPlus (published from May 1991 to November 1994), and Hit Music (September 1992 to May 2001). By May 2001, all newsletters (except Promo) closed.

In 2003, Music Week relaunched its website of daily news, features, record release listings and UK sales, airplay and club charts. In early 2006, a separate free-to-access site for the Music Week Directory listed 10,000 contacts in the UK music industry. In mid-2007, the magazine was redesigned by London company This Is Real Art. In October 2008, another redesign led to major changes.

In June 2011, Music Week was sold to Intent Media.
The package was sold for £2.4m and also contained titles Television Broadcast Europe, Pro Sound News, Installation Europe, and additional websites, newsletters, conferences, show dailies and awards events, which generated £5.4m of revenue in 2010. As of issue 30 July 2011, UBM is still named as publisher, as the new publisher Intent Media took over on 1 August 2011. In the first edition under new ownership it was announced that the title would switch its day of publication Monday to Thursday with immediate effect. NewBay Media acquired Intent Media in 2012. Future acquired NewBay Media in 2018 and decided that the publication would go monthly from March 2021, in keeping with its Louder Sound publications such as Metal Hammer and Classic Rock magazine

Charts
Music Week features these British charts:
the Official Top 75 Singles of the month, the Official Top 75 Albums of the month (similar to charts used by Top of the Pops in the early 1990s and Absolute 80s on Sundays) and the Official Vinyl Charts. Specialist charts include the Official Top 20 Americana, the Official Top 20 Classical, the Official Top 20 Hip-Hop & R&B, the Official Top 20 Jazz, the Official Top 20 Country, the Official Top 20 Dance, the Official Top 20 Folk and the Official Top 20 Rock & Metal. Also found in Music Week are charts for streaming and various album compilations, whilst James Masterton's weekly Official UK chart analysis column can now only be accessed online by subscribers.

When the magazine was a weekly publication, it included Top 75 Singles, Top 75 Artist Albums, Top 20 Downloads, Top 20 Ringtones, Top 20 Compilation Albums, Top 50 Radio Airplay, Top 40 TV airplay, and a number of format and genre charts (Music DVD, Rock, Indie, etc.). It also included background on sales and airplay analysis from Alan Jones. Following a redesign in October 2008, the magazine introduced live charts based on Tixdaq data, a Box Office chart and predictive charts based on information from Amazon, Rakuten.co.uk, Shazam, HMV.com and Last.fm.

Music Week compiled and published weekly club charts from chart returns supplied by DJs in nightclubs; Upfront Club Top 40, Commercial Pop Top 30 and Urban Top 30. The magazine also published a weekly Cool Cuts chart compiled from DJ feedback and sales reports from independent record shops, which traced it roots back to James Hamilton's BPM section in Record Mirror (a publication which ended up as the middle dance music section of Music Week in 1991).

Music Week Charts Analysis
Even though the magazine is now a monthly publication, the website still posts weekly Charts Analysis pages for the UK Official Singles and Albums charts. Alan Jones was the writer of the section until he retired in March 2020, when Chart Watch UK writer James Masterton was hired to take over the role. Masterton wrote two weekly Charts Analysis pages for the website (as the magazine now features charts compiled from monthly sales and streams) until 29 October 2021, when Music Week staff performed the role. After Andre Paine and Ben Homewood wrote one each of the Charts Analysis posts on 5 November 2021, Alan Jones resumed the role again, writing the 12 November overviews, with no explanation of why he returned (with the pages titled Charts analysis: ABBA's Voyage opens with huge sale of 204,000 for the albums and Charts analysis: Adele spends fourth week at summit ahead of album release for the singles).

Publishing details
Music Week is published monthly by Future (from the March 2021 edition), though previously it was a weekly magazine (50 editions p.a.). It was available as a B4-sized printed magazine and a PDF digital edition. .

Editorial staff
As at July 2021 print edition
 Head of Content: George Garner
 Features Editor: Ben Homewood
 Digital Editor: Andre Paine
 Content Editor/Producer: Lucy Thraves
 Charts & Data: Isabelle Nesmon
 Art Editor: Steve Newman

Circulation
The weekly print circulation in 1997/98 was 12,503, but by the time the publication left the ABC scheme in 2011 it had fallen to around 5,000 weekly copies. In October 2011, Music Week deregistered with ABC after 54 years of membership.

The website musicweek.com had 63,904 monthly unique browsers for the audited period 1–31 October 2008. By 2009, the website had been deregistered with ABC.

See also
 UK Singles Chart
 ChartsPlus
 UKChartsPlus
 Hit Music
 Record Retailer
 Record Mirror

References

External links

1959 establishments in the United Kingdom
Business magazines published in the United Kingdom
Music magazines published in the United Kingdom
Weekly magazines published in the United Kingdom
Magazines published in London
Magazines established in 1959
Professional and trade magazines
British record charts

Music Week


The Instituto de Desenvolvimento Educacional (Educational Development Institute, IDE) is a Brazilian private institution established in 2003 to develop and manage a single distribution network at the domestic and international levels for the Continued Education programs developed by the various Fundação Getúlio Vargas schools and institutes: EBAPE, EAESP, EPGE, EESP, FGV Direito Rio, Direito GV e CPDOC.

IDE comprehends the Graduate Program FGV Management; the Distance Learning Program (FGV Online), the Customized Courses Program (FGV Cursos Corporativos), the Quality and Business Intelligence Center and Quality Certification.
The Institute also relies on support from the Academic Council − made up of the directors of member schools and institutes and charged with the technical and academic validation of the long-term courses IDE markets.

External links

Fundação Getulio Vargas
2003 establishments in Brazil
Foundations based in Brazil
Organizations established in 2003


Pet Sounds is the 11th studio album by the American band the Beach Boys. It was released in 1966. The album was very popular for its complex but catchy pop songs and technical recording style.

The leader of the band, Brian Wilson used a system of recording songs that was a little different than the system they had used before. Much of the album was recorded by Wilson himself using professional studio musicians. - people who are hired to play songs for an album. In the recording, stringed and wind instruments were used. They also used instruments that were very unusual for rock music. These included vibraphones, harps, French horns, harpsichords, electro-theremins. Also, things like bicycle whistles, and Coca Cola cans with stones inside of them were used. The lyrics of the songs were more serious. They talked about the problems, disappointments and sadness of a young man. Because all the songs had a similar mood and themes, it is considered to be a concept album.

After the album was released, Pet Sounds did not sell very well. Wilson felt this was a failure but music critics loved it. The album got real recognition in 1990s-2000s, when many music magazines listed it in their lists of the best albums in popular music.

Wilson decided to make another album in the same way. The new album, he called Smile.

1966 albums
The Beach Boys albums
Rock albums
Pop albums
Capitol Records albums

Pet Sounds


The East Asian cultural sphere, Sinosphere, or Chinese sphere of influence, is a region in Asia that has many influences from Chinese culture. These including the use of Chinese characters, clothing, art, food, inventions, social structures, government structures, religious ideas, and many other influences. The area is made of the Greater China region (mainland China, Hong Kong, Macau, and Taiwan), Japan, Korea, Singapore, and sometimes Mongolia and Vietnam (depending on who you ask). Since China had a very large trade network, it was able to easily share its goods and ideas across Eurasia, and especially its neighboring countries in East Asia.

At one point, all the countries wrote only using Chinese characters, but nowadays, only Chinese and Japanese speakers write using Chinese characters in everyday life. All the other countries either created a new writing system (Korea and Mongolia), or replaced Chinese characters with a different, already existing writing system (Mongolia, again, and Vietnam). Nonetheless, the languages of each country still have many Chinese loanwords.

East Asia
Chinese culture
Japanese culture
Korean culture
Vietnamese culture
Singaporean culture
Cultural geography

East Asian cultural sphere


Vegetable oils are triglyceride oils made from plants. They are used in food and for cooking. In past centuries they were much used as fuel in oil lamps. Some kinds of plant oils that people use are palm oil, maize, olive, peanut, rapeseed, soy, and sunflower.

Margarine is an artificial butter made from vegetable oil.

Related pages
Cooking oil

Cooking oils

Vegetable oil


Lenny Lyles (January 26, 1936 – November 20, 2011) was a professional American football cornerback who played 12 seasons in the National Football League (NFL). He started in Super Bowl III for the Baltimore Colts. The 6–2, 202-pound Lyles was recruited by the University of Louisville in 1954, when he broke the school's color barrier for scholarship athletes. Lyles remains Louisville's all-time scoring leader for a non-kicker with 300 points. After a successful collegiate career, where Lyles was known for his return skills, he was drafted by the Baltimore Colts in the first round of the 1958 NFL Draft. He spent one year with the Colts before joining the 49ers in 1959. After two seasons in San Francisco, Lyles returned to the Colts where he remained until the end of his career in 1969. Lyles finished his professional career with 2,161 return yards and averaged 26.7 yards per return. Lyles spent 27 years as an executive with Brown & Williamson in Louisville.

References

1936 births
2011 deaths
Players of American football from Louisville, Kentucky
Players of American football from Nashville, Tennessee
American football defensive backs
Central High School (Louisville, Kentucky) alumni
Louisville Cardinals football players
Baltimore Colts players
San Francisco 49ers players
Western Conference Pro Bowl players

Lenny Lyles


Jibaku Shōnen Hanako-kun () គឺជាតុក្កតាម៉ាងង៉ះជប៉ុន រឿងដោយ អ៊ិរ៉ុ អៃដា ត្រូវបានបោះពុម្ពផ្សាយជាស៊េរីក្នុងទស្សនាវដ្តី Square Enix shōnen manga Monthly GFantasy ចាប់តាំងពីឆ្នាំ ២០១៤ សៀវភៅត្រូវបានប្រមូលជា ១៣ ភាគ ក្នុងឆ្នាំ ២០២០ ការសម្របខ្លួនទូរទស្សន៍តុក្កតាអានីមេដោយ Lerche ផ្សាយចាប់ពីខែមករាដល់ខែមីនា ឆ្នាំ ២០២០

Characters

តួឯកសំខាន់

 Nene Yashiro is a first year high school student at Kamome Academy. She summons Hanako and wishes for her crush, Teru Minamoto, to return her feelings. A turn of events occur and Yashiro swallows a mermaid's scale, inflicting her with the Mermaid's Curse and turning her into a fish. To grant her new wish of becoming human again, Hanako swallows a scale from the same mermaid to inflict himself with her curse and spread its effects, permitting Yashiro to remain human unless she is immersed in water. Having bound their souls together through the curse, he has Yashiro become his human assistant as payment. Yashiro works with Hanako to change and spread new rumors of supernaturals in the school to keep them under control. She is capable of destroying a School Mystery's yorishiro, their source of power; upon doing so, she falls asleep and views the memory associated with the yorishiro.

 Yashiro's best friend is Aoi Akane, who loves to tell her new rumors. She wears two hair clips resembling magatama and a skull brooch on her school uniform. Yashiro is a very positive, sensitive, and caring girl. She is deeply insecure and genuinely fears that no one will ever love her back; after receiving the curse, she confesses to Hanako that she had realized what her true wish had been: she wanted someone, anyone, to return her feelings, not Teru specifically. Yashiro is insecure about her large ankles, often being compared to daikons as a running gag in the series.

 Despite repeatedly claiming Hanako is not her type and Hanako's relentless teasing, she cares immensely for Hanako and after learning about his past, wants to be able to protect him. She is intuitive and sensitive to changes in his personality, and is deeply affected whenever she learns new information about his past life.

 The most famous rumor in the school, Hanako-kun is the Seventh Mystery of Kamome Academy. According to his rumor, Hanako can be summoned if one knocks on the third stall of the third floor of the girl's bathroom in the old school building; he is able to grant wishes to those who summon him in exchange for a suitable price. The strongest and the leader of the Seven Mysteries, Hanako fights with a kitchen knife and his two haku-joudai, spirit orbs that assist him in monitoring others and granting him immunity to exorcism lightning. His duty is to monitor all apparitions in the school and maintain the balance between humans and apparitions.

 Though childish and mischievous, Hanako puts up a front to mask his true emotions and is rather serious beneath the surface. He takes his duties seriously, having been promised by God that he would be absolved of his past sins if he fulfilled his duties. He is secretive about his past life. Previously, his name was  and he also attended Kamome Academy. A second-year middle school student in 1969, he often came to school with bruises and cuts, having been repeatedly abused by someone he refused to reveal the identity of. He harbored a deep passion for astronomy and had dreams of becoming an astronaut and going to the moon. According to Tsuchigomori, the Fifth Mystery and his homeroom teacher at the time, Hanako was destined to become a science teacher, until his fate changed for unknown reasons. He killed his younger twin brother, Tsukasa Yugi, and died young. Hanako is the only known person to ever have altered his fate.

 By inflicting himself with the Mermaid's Curse, he bound his and Yashiro's souls together. Though he often teases her, Hanako comes to deeply cherish Yashiro and will go to extreme lengths to help her when she is in need.

 Kou is a third-year at Kamome Academy's middle school division and the second eldest son of the Minamoto Clan, a family of strong exorcists that believe all supernaturals are inherently evil. He uses a spear called the Raiteijou, a weapon passed down in the Minamoto family that transforms the yielder's spiritual power into lightning that exorcises supernaturals. Tasked by his older brother, Teru, to exorcise all Seven Mysteries, Kou attempts to exorcise Hanako but does not possess enough spiritual power to do so. Not giving up, he tags Hanako and Yashiro around the school for a while and comes to the realization that Hanako did not seem to be an 'evil' supernatural. As a result, Kou vows to learn more about him and other supernaturals (like Mitsuba) before blinding exorcizing them, much to the dissatisfaction of his brother.

 When Kou finds Mitsuba haunting the lockers, he offers to spend the day with him in attempt to fulfill his final regrets so he can pass on peacefully. The two were in the same homeroom class in first year and Kou feels guilty for not remembering. After Tsukasa turns Mitsuba into a violent supernatural against his will, Kou watches Hanako destroy Mistuba and is devastated by the loss of his friend. Enraged and upset, he vows to get stronger to destroy evil supernaturals like Tsukasa.

 Kou is justice seeking and possesses a brave and kind personality, though he often finds himself in trouble due to his inexperience and low spiritual power. He is protective of Yashiro when he interprets Hanako as being mean or perverted. A running gag in the series is his earring on his right ear, an omamori that says '交通' (traffic).

  (Japanese); Kyle Igneczi (English)
 Mitsuba was Kou's middle school classmate in their first year who was killed in a freak accident. He became a ghost and haunted the middle school lockers, calling out to students and hoping someone would remember him. Kou sees him after hearing about his rumor and though he doesn't remember him from school, decides to help him fulfill whatever regret was keeping him as at the school in order to help him pass on.

 Mitsuba regrets having no friends while he was alive, and in his wish to Tsukasa, said he wanted everyone to remember him. Because Tsukasa believed his initial wish was too vague, he decides that Mitsuba's real wish was that he wanted to stay with his friends forever. He grants him this wish instead and changes Mitsuba's rumour, turning him into a violent supernatural against his will. Tsukasa forces Mitsuba to kill Kou and fulfill his wish of being with his friend forever (through death), but Hanako arrives and destroys Mitsuba before he can do so. Tsukasa saves a part of his soul and recreates a new Mitsuba by attaching it to a body formed of low level spirits he had killed. After killing No. 3, Tsukasa forces the new Mitsuba to eat No. 3's heart to become the new Third Mystery. Despite not being the original and having no memories, the new Mitsuba has the same personality and dreams of the old one, now wishing to become a real human.

 Previously, Mitsuba didn't have friends because he was narcissistic and rude. Hoping to change in middle school, he repressed his personality, but then became bland and easily forgotten. He was a talented and awarded photographer in the school's photography club. Mitsuba makes up insulting nicknames for people; he calls Kou 'hella lame traffic safety earring', Yashiro 'daikon-senpai', and Hanako 'crazy knife'. Underneath his rudeness and narcissism, Mitsuba is desperate to be happy and becomes dejected when he thinks about his failures in his original life.

ឯកសារយោង

Jibaku Shōnen Hanako-kun


The 17th Reserve Division (17. Reserve-Division) was a unit of the Imperial German Army in World War I. The division was formed on the mobilization of the German Army in August 1914. The division was disbanded in 1919 during the demobilization of the German Army after World War I. At the beginning of the war, it formed the IX Reserve Corps with the 18th Reserve Division.

Recruitment

The division was composed primarily of troops from the Free and Hanseatic Cities and from Schleswig-Holstein. The division included one regular infantry brigade, the 81st, raised in Schleswig-Holstein and Lübeck, and one reserve infantry brigade, the 33rd, raised primarily in Hamburg and Bremen. Besides these regions, other troops of the division came from parts of the Province of Hanover adjoining Bremen and Hamburg.

Combat chronicle

The 17th Reserve Division fought on the Western Front. It fought across Belgium in August 1914 and then occupied the line on the Aisne until September 1915. It then went to Flanders and the Artois, where it remained engaged in positional warfare until June 1916. From mid-July to late October 1916, it fought in the Battle of the Somme with only one interlude away from the front. The division then remained in the trenchlines along the Yser until May 1917. In May, it fought in the Battle of Arras. It remained in the Flanders region for the rest of the year and into 1918 and fought in the Battle of Passchendaele. In 1918, it occupied various parts of the line and fought against several Allied offensives, including in the second Battle of Cambrai. In 1918, Allied intelligence rated the division as first class.

Order of battle on mobilization

The order of battle of the 17th Reserve Division on mobilization was as follows:

 81. Infanterie-Brigade
 Infanterie-Regiment Lübeck (3. Hanseatisches) Nr. 162
 Schleswig-Holsteinisches Infanterie-Regiment Nr. 163
 33. Reserve-Infanterie-Brigade
 Reserve-Infanterie-Regiment Nr. 75
 Reserve-Infanterie-Regiment Nr. 76
 Reserve-Husaren-Regiment Nr. 6
 Reserve-Feldartillerie-Regiment Nr. 17
 4.Kompanie/Pionier-Bataillon Nr. 9

Order of battle on March 28, 1918

The 17th Reserve Division was triangularized in October 1916. Over the course of the war, other changes took place, including the formation of artillery and signals commands and a pioneer battalion. The order of battle on March 28, 1918, was as follows:

 81. Infanterie-Brigade
 Reserve-Infanterie-Regiment Nr. 76
 Infanterie-Regiment Lübeck (3. Hanseatisches) Nr. 162
 Schleswig-Holsteinisches Infanterie-Regiment Nr. 163
 1.Eskadron/Reserve-Husaren-Regiment Nr. 6
 Artillerie-Kommandeur 110
 Reserve-Feldartillerie-Regiment Nr. 17
 Stab Pionier-Bataillon Nr. 317
 4.Kompanie/Pionier-Bataillon Nr. 9
 Pionier-Kompanie Nr. 340
 Minenwerfer-Kompanie Nr. 217
 Divisions-Nachrichten-Kommandeur 417

Notes

References
 17. Reserve-Division (Chronik 1914/1918) - Der erste Weltkrieg
 Hermann Cron et al., Ruhmeshalle unserer alten Armee (Berlin, 1935)
 Hermann Cron, Geschichte des deutschen Heeres im Weltkriege 1914-1918 (Berlin, 1937)
 Günter Wegner, Stellenbesetzung der deutschen Heere 1815-1939. (Biblio Verlag, Osnabrück, 1993), Bd. 1
 Histories of Two Hundred and Fifty-One Divisions of the German Army which Participated in the War (1914–1918), compiled from records of Intelligence section of the General Staff, American Expeditionary Forces, at General Headquarters, Chaumont, France 1919 (1920)
 Dr. Phil Harboe Kardel Errinerungs Blätter Deutscher Regimenter; Reserve Feldart.- Regiment 17,  Oldenburg i.D. (Berlin 1922)
 Holger Ritter Historien om Schleswig-Holsteinischen Infanterie Rgiment 163, Leuchtfeuer Velag (Hamburg1926) https://denstorekrig1914-1918.dk/wp-content/uploads/2016/10/IR163_samlet.pdf

1914 establishments in Germany
Infantry divisions of Germany in World War I
Military units and formations disestablished in 1919
Military units and formations established in 1914

17th Reserve Division (German Empire)


The Second Coming is a two-part British television drama first screened on ITV in the United Kingdom in February 2003.  It concerns the realisation of humble video store worker Steve Baxter (played by Christopher Eccleston) that he is in fact the Son of God, and has just a few days to find the human race's Third Testament and thus avert the Apocalypse.

It was written by Russell T Davies (later head writer of the 2005 series of Doctor Who), and produced by the independent Red Production Company. The programme was originally commissioned as four one-hour episodes by Channel 4 in 1999; however, when new executives took over running the drama department at that channel, they decided not to pursue the project. Davies and Red's founder Nicola Shindler took the project to the BBC, who quickly turned it down; it found a home on ITV, a channel that had gained a reputation for producing mainstream, unchallenging, "middle-of-the-road" drama in recent years.

Screened over two successive evenings in prime time on Sunday and Monday, 9–10 February 2003, The Second Coming gained viewing figures of over six million. Davies, who is an atheist, has said his intention was to provoke debate and get people thinking about religion.

Plot

Steven Baxter, a good-hearted but slightly awkward video shop worker from Manchester, disappears for forty days and forty nights after a drunken night out with his friends to celebrate his best friend Judy's divorce, during which he shared a kiss with her. He is found wandering Saddleworth Moor, and he claims to be the second coming of Jesus. At first he is met with scepticism, and is even locked up. One of the few people who believes him is a young Catholic priest, who mentions an obscure Christian text that mentions that the lamb will be sent to the city of the North, followed by a series of numbers that turned out to be map co-ordinates. The recent death of the Pope is also seen as a sign. Steve escapes and, after one final night out before starting his duties, decides to indicate he is really the son of God to humanity by turning night into day over the small area of the football stadium at Maine Road (he lets people know about it by advertising on the internet). The feat attracts the attention of the world's media. Steve then announces he must find the third testament within five days. He states that humanity needs to start taking responsibility for their actions, and that everyone, regardless of their religion or origin, needs to begin again and forget past conflicts. He also says that Christians should not boast about being right, then reveals that currently Heaven is empty, while Hell is bursting at the seams.  There is much hysteria and panic; particularly when The Devil and several demons possess people (only indicated by silver eyes) to cause trouble. Satan takes possession of a man named Johnny Tyler that Judy met through a dating agency. He eventually reveals to Judy he wants Steve to fail and fall into despair, so that after Armageddon God will judge Steve's actions as a human and send him to hell, and they can rule together. In a deleted scene, it is revealed Satan also wants God to return to being the merciless, angry God of the Old Testament.

Later, it is revealed that Steve's earthly father could not have fathered him as he was born sterile, another indicator that Steve is really the son of God.

There is also media frenzy surrounding the events, especially after a tape is leaked of Steve saying that the world will end if the testament is not found, and he is taken into police protection. Some of Steve's friends accept him as the Messiah - Pete (who kept his Christianity hidden, not knowing how his friends would react) and Fiona (who becomes crazed, as this is the first time she has ever believed). Judy (an atheist), remains sceptical. She and Steve have some heated arguments (at one point, in a fit of anger, Steve is tempted to use his godly powers to kill her), especially as despite being the son of God, Steve is neither omniscient (relying on information "downloading" into his head, which frustrates him too) nor omnipotent (e.g., he cannot heal the sick). Steve later says that he does have powers, but he refuses to use them as he could get power mad, and reiterates it is up to humanity to sort themselves out this time. Judy is also confronted by several demons and manipulated into situations to get her to believe, which is part of Satan's plan to have Steve fall into despair.

During the next few days, Steve miraculously survives several attempts made on his life, including a bomb going off in a pub in which he is drinking. The devil and his demons also attempt to turn his father Frank against him, getting him hooked on drugs and alcohol and convincing him that he is now a joke in the public's eyes (one deleted scene saw him watching Bernard Manning on TV making jokes at his expense). Frank tries to shoot Steve, but ends up killing Pete. After her husband leaves her, Fiona attempts suicide and tries to kill her children too. Also during this time Judy and Steve's relationship grows deeper, and they have sex.

Steve himself has no idea what the third testament will be; he receives too many candidates to figure out which one is the real one. The Chief Superintendent of the police, who is also possessed by a demon, has them thrown out, saying that even if it were there, Steve would not be able to make his broadcast to the world. Having failed to discover the Testament, the people of the world hide in their homes, fearing the world's end.

Steve then visits Judy in hope of trying to work out what the testament is, and Judy reveals to him that it is the record she is making of events.  Judy, who is filmed night and day by cameras from the world's media around her house, makes spaghetti and laces it with rat poison, but announces this to Steve before presenting it to him. She states that it is Judgement Day, but for Steve and God, stating that it has been the existence of God or the argument about it which has led humanity to do so many bad things to one another. Steve is persuaded by Judy that he must die, and moreover make it permanent (in the sense of ceasing to exist rather than returning to heaven), so that humanity fights for itself rather than relying on the evils of fundamentalism. This will not only be the death of him, but of God, Satan, Heaven and Hell - the end of all religion. She also says that the absence of any kind of afterlife may scare people into living their lives properly.

Steve does not believe her at first, thinking she was influenced by the demons. He does one last divine "download" and, to his horror, realises that this is indeed the Third Testament, "the closing of the family business." He is scared at first, but then decides that it is time to die, and he eats his Last Supper. Henceforth, the world goes back to normal, with a few people referring to Judy as "the woman who killed God", but she otherwise goes back to living an ordinary insignificant life, having married the policeman who guarded her despite everyone else leaving their jobs and posts in fear of the apparent apocalypse. Judy sees Johnny Tyler (who has no memory of being possessed) and asks him if she did the right thing, but he cannot answer (suggesting that the audience needs to decide for itself whether she did or not).

An earlier draft of the script features a twist ending in which Judy is married to Steve, who has simply given up his divinity and become human again, with only her recognising him. However, Davies was advised against ending the story this way by his friend and fellow writer Paul Abbott, who felt that it cheated the audience.

Production

Davies originally conceived the idea for the programme while on a car journey from Manchester to Liverpool with his friend, the television producer Tony Wood. His initial pitch to Nicola Shindler described a scene from the second episode, with the Son of God having returned to Earth, made love to the woman he loves and her asking him if he loves her.

The eventual production for ITV was produced by Anne Harrison-Baxter and directed by Adrian Shergold, with Davies and Shindler as executive producers. Davies himself directed some of the second unit material featuring real-life television personalities such as Richard and Judy and Trisha Goddard commenting on Steven Baxter, seen throughout the programme along with news reports featuring real-life newsreaders such as Jon Snow and Krishnan Guru-Murthy. The bulk of filming took place during the summer of 2002.

The change from four one-hour episodes to two ninety-minute instalments necessitated the cutting of much material from what would originally have been episode three, the opening half of the eventual second episode. Most of this material centred around Steve's friends and family being tested by the devil's servants as well as Steve's mother, who in the final edit is removed altogether and referred to only as having died some time beforehand. Some of this material was shot, and the scenes that did not make the programme were included as bonus features on the DVD release of the serial, released the week after the programmes's UK broadcast. Also included on the disc was an audio commentary from Davies and Shergold.

The first episode, shown at 9pm on Sunday 9 February gained an average overnight viewing figure of 6.3 million, winning its timeslot ahead of the nearest competition, a documentary on the actor Christopher Reeve on BBC One, which gained 5.5 million, a 21% share. The second episode lost a sixth of its audience, with an average of 5.4 million viewers, beaten by the drama series In Deep on BBC One, which gained a figure of 6.6 million.

The Second Coming has also been shown in other countries – BBC America broadcast the drama in the United States in late 2003; it has also been seen in Canada on Showcase, in Australia on the ABC, and in New Zealand by TVNZ. Some versions shown overseas are shorter, with certain scenes cut and the ending coming after the 'documentary' scenes rather than the very final scene in the supermarket car park seen in the UK version.

Critical reception

Critical reaction to the production was generally positive. The Observer newspaper's reviewer, Kathryn Flett, said that "the boldness of the subject matter was complemented by a script of considerable depth and humour, and there were performances of Bafta-grabbing brilliance from everybody involved". She particularly praised the performances of the two leads: "Christopher Eccleston, never knowingly under-intense, was perfectly cast as the Everybloke suddenly gifted with the ability to provide answers to the big questions and perform medium-sized miracles... Sharp, burdened (or perhaps liberated?) by bad hair and make-up for most of the film proved herself yet again to be one of Britain's finest actresses."

In The Times, Paul Hoggart's verdict on the first episode was that: "It is intelligent, often amusing, and, at times, passionate and provocative. It throws down a gauntlet to religion, especially in tonight's conclusion, and something happens at the end which is probably deeply blasphemous... There are some clunks and bumps in the script, but most are smoothed over by excellent acting."

Writing in The Guardian to preview the drama before it aired, Mark Lawson said that: "Transmuting different genres like wine made from water — comedy into romance into thriller — Eccleston, Sharp, Davies and his director Adrian Shergold have created a world in which it soon ceases to seem odd that God chose Manchester. Steve only knows how they did it, but they have." Commenting on the US showing on BBC America, New York Magazine reviewer John Leonard called it "...an interesting argument about the cost benefits of the possible death of God. Rough, rude, and wonderfully acted."

The Second Coming featured in two major categories at the 2004 British Academy Television Awards, the most important TV awards ceremony in the UK. In the Best Actor category Christopher Eccleston lost out to Bill Nighy (for State of Play) while the production itself was beaten by Charles II: The Power and The Passion in the Best Drama Serial category.

Delivering the Huw Wheldon Lecture at the Royal Television Society's annual convention in Cambridge in September 2005, Paul Abbott praised The Second Coming as one of the few genuinely innovative British television drama productions of recent years, describing it as: "...a television masterpiece. It grappled with the most colossal subject matter in the return of a messiah to earth. Not in a Robert Powell way. Modern earth. Manchester, actually. And mainly the scruffy end."

Trivia
British electronica duo Orbital sampled the speech given by Steve Baxter (Christopher Eccleston) for the track "You Lot" on their 2004 Blue Album.

References

External links

2000s British drama television series
2003 British television series debuts
2003 British television series endings
Apocalyptic television series
British supernatural television shows
ITV television dramas
2000s British television miniseries
Television shows written by Russell T Davies
Television shows set in Manchester
Television series created by Russell T Davies
English-language television shows
British fantasy drama television series
Religious drama television series
Fiction about deicide
Films directed by Adrian Shergold

The Second Coming (TV serial)


Edwin Hickman Ewing (December 2, 1809 – April 24, 1902) was an American politician and a member of the United States House of Representatives for Tennessee's 8th congressional district.

Biography
Ewing was born in Nashville, and after completing preparatory studies, he graduated from the University of Nashville in 1827, studied law, and was admitted to the bar in 1831. He began practicing law in Nashville and became a trustee of the University of Nashville in 1831, serving until his death. In 1841 and 1842, Hickman was a member of the Tennessee House of Representatives. He married Rebecca Williams in 1832 in Nashville, Tennessee.

Career
Elected as a Whig to the Twenty-ninth Congress, Ewing served from January 2, 1846 to March 3, 1847, and was not a candidate for renomination, and resumed practicing law with his brother Andrew Ewing, until 1851. His health was failing and he took a trip abroad beginning on April 2, 1851, and was absent eighteen months.

In 1857 he bought a plantation in Rutherford County, and moved there, but returned to Nashville in 1859 with his son-in-law and daughter, Mr. and Mrs. Emmet Eakin, and lived with them for a year, when they removed to Saline County, Missouri, near Marshall. In 1860 he again removed to Murfreesboro, Tennessee to live with his son, Josiah W. Ewing, intending to practice law no more. After the Civil War, he was appointed president of the University of Nashville.

Death
Ewing died in Murfreesboro, Tennessee on April 24, 1902 (age 92 years, 143 days), and is interred at Murfreesboro City Cemetery.  He was the brother of fellow congressman Andrew Ewing.

References

External links

Members of the Tennessee House of Representatives
1809 births
1902 deaths
University of Nashville alumni
Politicians from Nashville, Tennessee
Tennessee lawyers
Whig Party members of the United States House of Representatives from Tennessee
19th-century American politicians

Edwin Hickman Ewing


Ranulf II (also spelled Rannoux, Rannulf, Ramnulf, and Ranulph) (850 – 5 August 890) was Count of Poitou from 866 and Duke of Aquitaine from 887. On the death of Charles the Fat in 888, he styled himself King of Aquitaine and did so until 889 or his death, after which the title fell into abeyance.

Ranulf was a son of Ranulf I and Adeltrude of Maine. He married an Ermengard (died 935) and by her had a son, Ranulf III, who succeeded him in Poitiers. His illegitimate son Ebalus succeeded him in Aquitaine and upon the death of Ranulf III, in Poitiers too.

Ranulf may have been selected as a king by the Aquitanian nobles, for they accepted King Odo of France in 892 only after Ranulf's death. Only the Annales Fuldenses definitively give him this title, saying "Ranulf then set himself up as king" (Deinceps Rannolfus se regem haberi statuit). He is recorded to have taken custody of Charles, the young son of Louis the Stammerer and he certainly did not recognise Odo as king. The Annales Vedastes record that in 889
Post nativitatem vero Domini cum paucis Francis Aquitaniam perrexit, ut eos sibi sociaret. Quo audito, Ramnulfus, dux maximae partis Aquitaniae, cum sibi faventibus venit ad eum, adducens secum Karolum puerum, filium Hludowici regis; et iuravit illi quae digna fuerunt, simul et de ipso puerulo. . . Aquitanos itaque rex ex parte receptos, festinavit propter Nortmannos redire in Franciam.
After Christmas [888], [Odo] went to Aquitaine with a few Franks, in order to be accepted [as king]. Upon hearing this, Ranulf, duke of the greater part of Aquitaine, with his supporters came to him, bringing with him the child, Charles, the son of King Louis; and he swore to him who was worthy of it [i.e., Odo], as did the boy... So the king returned from Aquitaine to France [in June] because of the Norsemen.
Ranulf founded the viscountcy of Thouars at about this time, as part of a larger movement to create viscounts with powers over regional fortresses to man them against the Vikings.

See also
Ramnulfids
Dukes of Aquitaine family tree

References

Sources

Lewis, Archibald Ross. The Development of Southern French and Catalan Society, 718–1050. University of Texas Press: Austin, 1965.
MacLean, Simon. Kingship and Politics in the Late Ninth Century: Charles the Fat and the end of the Carolingian Empire. Cambridge University Press: 2003.

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House of Poitiers
Dukes of Aquitaine
Counts of Poitiers
850 births
890 deaths
Kings in Europe

Ranulf II of Aquitaine


Schneeburg is a castle ruin between Ebringen and Freiburg, Germany. The ruins are at an altitude of 516 metres (1693 feet) on the western summit of Schönberg.

History
The castle was first mentioned in 1312 and was built by the Lords of Hornberg. In 1349, Werner von Hornberg handed ownership of the castle over to the Abbey of Saint Gall and became ruler of Ebringen.  Schneeburg was most likely abandoned before 1500. It has been claimed that the castle was destroyed in 1525 during the German Peasants' War, but this can not be confirmed.

Current Conditions
All that remains today are part of a tower and living quarters. The Ruin is about 37 metres (121 ft) long and 17 metres (56 ft) wide.  On the north side is the rest of the four-storey tower with two windows.  The well also remains in good condition in the courtyard.

Photos

Further reading
 H. Bender, K.-B. Knappe & K. Wilke: Burgen im südlichen Baden, Freiburg i. Br., Schillinger, 1979.
 W. Fahl: Vor den Toren Freiburgs – Schönberg-Batzenberg-Panorama, Freiburg i. Br., Kehrer, 1986.
 A. Hauptmann: Burgen einst und jetzt, Band 2, Konstanz, Südkurier, 1987.

References

External links
 http://www.burgtour.de/burgen/burg-schneeburg-bw.html
 http://www.freiburgbilder.de/fb_schneeburg.htm

Ruined castles in Germany

Schneeburg


Tacoma Power is a public utility providing electrical power to Tacoma, Washington and the surrounding areas. Tacoma Power serves the cities of Tacoma, University Place, Fircrest, and Fife, and also provides service to parts of Steilacoom, Lakewood, and unincorporated Pierce County. It is a division of the Tacoma Public Utilities and owns the Click! Network, developed by Steven Klein, Tacoma Power's former superintendent.

History
In 1884, Charles B. Wright was granted the exclusive right to create Tacoma's first power and water company, incorporating the Tacoma Light and Water Company. Wright's system drew water from Tule and Spanaway Lakes and Clover Creek. The water was transported to the city through a 10-mile wooden flume that emptied into an in-town reservoir. The flume was mostly uncovered and attracted thirsty cows and children in search of a good wading pool. This led to the spread of disease.

Tacoma City Light was created in 1893 when the citizens of Tacoma voted to buy the privately owned Tacoma Light & Water Company to ensure its safety and longevity. Its first independent power generation came with the construction of LaGrande Dam on the Nisqually River, 36 miles away from the city, producing hydroelectric power as of November, 1912.

In 2011, Tacoma Power received the first-ever Award for Excellence in Energy Efficiency from the Bonneville Power Administration (BPA). The award recognizes Tacoma Power's "exceptional creativity, leadership and achievement in the pursuit of energy efficiency." The utility competed against other utilities and organizations served by BPA in Washington, Oregon, Idaho and Montana.

See also
PUD No. 1 of Jefferson County v. Washington Department of Ecology

References

External links
Tacoma Power web site

Municipal electric utilities of the United States
Tacoma Public Utilities

Tacoma Power


The Order of Australia was created by Elizabeth II, Queen of Australia on 14 February 1975. It was created to show the very best people of Australia. The award is given to notable Australian citizens who make big changes to Australia or internationally with their work. Sometimes the award is given to people who are not citizens of Australia.

The Order has many groups. The awarded person will join one of these groups:

Knight or Dame (AK or AD)
Companion (AC)
Officer (AO)
Member (AM)
Medal of the Order of Australia (OAM)

1975 establishments
1970s establishments in Australia

Order of Australia


Louis Leroy (1812 - 1885) was a French 19th-century printmaker, painter, and playwright.

Biography
He is remembered as the journalist and art critic for the French  satirical newspaper Le Charivari, who coined the term "impressionists" to satirise the artists now known by the word.

Leroy's review was printed in Le Charivari on 25 April 1874 with the title The Exhibition of the Impressionists. The term was taken from Claude Monet's painting Impression: soleil levant. Leroy's article took the form of a dialogue between two skeptical viewers of the work:

"Impression I was certain of it. I was just telling myself that, since I was impressed, there had to be some impression in it — and what freedom, what ease of workmanship! A preliminary drawing for a wallpaper pattern is more finished than this seascape."

The show (Exposition des Impressionnistes) was held in the salon of the photographer Nadar and organized by the Société anonyme des peintres, sculpteurs et graveurs (Anonymous society of painters, sculptors and engravers), composed of Camille Pissarro, Claude Monet, Alfred Sisley, Edgar Degas, Pierre-Auguste Renoir, Paul Cézanne, Armand Guillaumin, and Berthe Morisot.

The term was subsequently adopted by the artists themselves and has now become the name of one of the most influential art movements in history.

References

External links
Leroy on Pissarro

1812 births
1885 deaths
19th-century French painters
French male painters
19th-century French journalists
French male journalists
19th-century French male writers
19th-century French male artists

Louis Leroy


Peking is a steel-hulled four-masted barque. A so-called Flying P-Liner of the German company F. Laeisz, it was one of the last generation of cargo-carrying iron-hulled sailing ships used in the nitrate trade and wheat trade around Cape Horn.

History

Nitrate trade
Peking was launched in February 1911 and left Hamburg for her maiden voyage to Valparaiso in May of the same year. After the outbreak of World War I she was interned at Valparaiso and remained in Chile for the duration of the war. Awarded to the Kingdom of Italy as war reparations, she was sold back to her original owners, the Laeisz brothers, in January 1923. She remained in the nitrate trade until traffic through the Panama Canal proved quicker and more economical.

Arethusa II
In 1932, she was sold for £6,250 to Shaftesbury Homes. She was first towed to Greenhithe, renamed Arethusa II and moored alongside the existing Arethusa I. In July 1933, she was moved to a new permanent mooring off Upnor on the River Medway, where she served as a children's home and training school. She was officially "opened" by Prince George on 25 July 1933. During World War II she served in the Royal Navy as HMS Pekin. In 1964 she portrayed HMS Battledore in the movie Murder Ahoy .

Museum ship in New York
Arethusa II was retired in 1974 and sold to Jack Aron as Peking, for the South Street Seaport Museum in New York City, where she remained for the next four decades. However, the Seaport NYC did not see Peking as part of its long-term operational plans, and was planning to send the vessel to the scrap yard. A 2012 offer to return the ship to Hamburg, where she was originally built, as a gift from the city of New York, was contingent upon raising an endowment in Germany to ensure the preservation of the vessel.

Return to Germany
In November 2015 the Maritim Foundation purchased the ship for US$100. Peking is intended to become part of the German Port Museum (Deutsches Hafenmuseum) at Schuppen 52 in Hamburg for which €120 million of federal funds would be provided. She was taken to Caddell Drydock, Staten Island, on 7 September 2016, to spend the winter. On 14 July 2017 she was loaded on the deck of the semi-submersible heavy-lift ship  for transport across the Atlantic, at a cost of some €1 million, arriving at Brunsbüttel on 30 July 2017.

Refurbishment in Germany
On 2 August 2017 she was transferred to Peters Werft, located at Wewelsfleth, for a three-year refurbishment at a cost of €38 million. The restoration included review of rigging, double floor steel plates, dismounting and remount of all masts, docking in dry dock, renewal of the steel structure, removal of the cement that filled the lower  of the hull, painting, woodwork and overall refurbishment. The ship twice spent about two years in dry dock. Peking was refloated on 7 September 2018 with a primer-painted hull. Teak was reinstalled on deck. The ship was transferred on 7 September 2020 to the German Port Museum.

In popular culture
 "Around the Wild Cape Horn" from Ralph McTell's album Somewhere Down the Road is about the Peking.
 Tom Lewis's song "Peking" on the album Mixed Cargo is about the Peking.

See also
  – still active as a sail training ship under Russian flag as . Unique among them in having been motorised.
  – lost 1957 in the Atlantic
  – museum ship in Germany, and sister ship to Peking
  – museum ship in Finland
 Other preserved barques

  – museum ship in Glasgow

  – the last wooden barque in original configuration

References
Notes

Bibliography
Johnson, Irving. Round the Horn in a Square Rigger (Milton Bradley, 1932) (reprinted as The Peking Battles Cape Horn (Sea History Press, 1977 )
Johnson, Irving. Around Cape Horn (film) (Mystic Seaport, 1985) (from original 16 mm footage shot by Irving Johnson, 1929)

External links

The History of Shaftesbury Homes and the Arethusa, giving details of the purchase of the Pekin/Peking
Around Cape Horn in the Peking, by Captain Irving Johnson, 1929

Barques
Windjammers
Individual sailing vessels
Tall ships of Germany
Four-masted ships
Ships built in Hamburg
Merchant ships of Germany
1911 ships
Training ships of the United Kingdom
Museum ships in New York (state)
Museum ships in Germany

Peking (ship)


Jill Johnston (May 17, 1929 – September 18, 2010) was a British-born American feminist author and cultural critic who wrote Lesbian Nation in 1973 and was a longtime writer for The Village Voice. She was also a leader of the lesbian separatist movement of the 1970s. Johnston also wrote under the pen name F. J. Crowe.

Biography

Johnston was born as Jill Crowe in London in 1929, the only child of Olive Marjorie Crowe (born 1901), an American nurse, and Cyril F. Johnston (1884–1950), an English bellfounder and clockmaker whose family firm, Gillett & Johnston, created the carillon of Riverside Church in New York City. Her parents, who never married, separated when their daughter was an infant, and Johnston's mother took her to Little Neck, Queens, New York, where she was raised.

After attending college in Massachusetts and Minnesota, Johnston received a Master of Fine Arts degree from the University of North Carolina at Greensboro.

Career
For many years, beginning in 1959 and during the 1960s, Johnston was the dance critic for The Village Voice, the weekly downtown newspaper for New York City. She was friendly with many performers, performance artists, composers, poets and artists in New York City especially during the 1960s and 1970s. During the late 1960s Deborah Jowitt joined the paper and wrote a regular dance column for the Voice, while Johnston's dance column became a kind of weekly diary, chronicling her adventures in the New York art world.

Johnston was a member of a 1971 New York City panel produced by Shirley Broughton as part of the "Theater for Ideas" series. The event was a vigorous debate on feminism with Norman Mailer, author; Germaine Greer, author; Diana Trilling, literary critic; Jacqueline Ceballos, National Organization for Women president, and Johnston herself. The event was also billed as an intellectual "Battle of the Sexes" – effectively promoting Mailer's then-just-published,  feminism-critical book The Prisoner of Sex (1971).  When the time came for her to make her introductory remarks, Johnston read a poem, after which two feminist friends came onstage and the three simulated (fully dressed) three-way lesbian sex  (indulging in a bit of feminist Guerilla theatre, which she admitted she had learned from the Yippies) and quickly exited. Despite this colorful interruption, Greer and Mailer continued to exchange verbal blows with each other (and the audience) for the remainder of the 3½ hour event. This event was widely written about (since so many writers were in attendance, including Susan Sontag and Cynthia Ozick) and filmed by the now-legendary documentary filmmaker D. A. Pennebaker, eventually becoming the cult-documentary titled Town Bloody Hall.

In her work Films Out of Focus, specifically in the 1972 edition, Johnston presents enigmatic phrases that captivate the reader's attention, encouraging introspection. Her writing includes discussions about feminism, particularly the assertion that lesbians are feminists, not solely defined by their sexuality.

As this incident illustrates, Johnston's self-described "east west flower child beat hip psychedelic paradise now love peace do your own thing approach to the revolution" (as she called it in Lesbian Nation) often confounded her feminist allies as much as it did the conservative foes of gay and lesbian liberation. In 1973, she predicted "an end to the catastrophic brotherhood and a return to the former glory and wise equanimity of the matriarchies."

As recorded in Lesbian Nation, Johnston often was at the center of controversies within the feminist movement of the 1960s and 1970s. She famously went on record stating that "all women are lesbians except those that don't know it yet."

Johnston was also one of the first countercultural and lesbian writers at Ms. magazine, eventually coming to the conclusion that the magazine was too mainstream, ultimately presenting feminism as palatable, family-friendly and safe. According to author Vivian Gornick:

For radical feminists like me, Ellen Willis, and Jill Johnston, we had a different kind of magazine in mind. We came out against marriage and motherhood. Gloria Steinem was uptown; we were downtown. She hung out with Establishment figures; we had only ourselves. It very quickly became obvious at that first meeting that they wanted a glossy that would appeal to the women who read the Ladies' Home Journal. We didn't want that, so they walked away with it.

On another occasion, Johnston grew bored at a poolside press conference given by feminist Betty Friedan, and so decided to strip off her top and take a swim.

In 1977, Johnson became an associate of the Women's Institute for Freedom of the Press (WIFP). WIFP is an American nonprofit publishing organization. The organization works to increase communication between women and connect the public with forms of women-based media.

Johnston's career as a dance critic was hampered by the controversy that attended the publication of Lesbian Nation and the publicity engendered by her dramatic style of lesbian feminist activism. She remained with The Village Voice until 1981 and subsequently wrote freelance art and literary criticism. Along with the political memoirs, Lesbian Nation and Gullible's Travels, Johnston published an anthology of dance criticism entitled Marmalade Me as well as the autobiographies Mother Bound and Paper Daughter.

Described by one critic as "part Gertrude Stein, part E. E. Cummings, with a dash of Jack Kerouac thrown for good measure," Johnston's freeform, fluid writing style of the 1970s matched the colorful nature of the tales recounted in her books Lesbian Nation and Gullibles Travels. Her later work as a literary and art critic for Art in America and the New York Times Review of Books is more standard in tone and content. Early writing not collected in other volumes can be found in Admission Accomplished while the critical biography Jasper Johns represents an example of her later style.

Johnston is the subject of one of Andy Warhol's portrait films, Jill, a 4½-minute silent movie shot in black and white (1963).

Personal life
In 1958 Johnston married Richard John Lanham, whom she divorced in 1964. They had two children, a son, Richard Renault Lanham, and a daughter, Winifred Brooke Lanham.

In 1993, in Denmark, she married Ingrid Nyeboe. The couple married again, in Connecticut, in 2009.

Death
On September 10, 2010, Johnston suffered a stroke in Hartford, Connecticut. She died eight days later, on September 18, 2010, at the age of 81.

Bibliography
 Marmalade Me (1971; revised 1998) – an anthology of short pieces on dance reprinted from Village Voice
 Lesbian Nation: The Feminist Solution (1973)
 Gullibles Travels (1974)
 Mother Bound (1983) – autobiographical
 Paper Daughter (1985) – autobiographical
 Secret Lives in Art (1994) – selected essays on literature, visual and performing arts
 Jasper Johns (1996) – critical biography of the artist
 Admission Accomplished: the Lesbian Nation years (1970–75) (1998) – anthology of earlier writing
 At Sea On Land: Extreme Politics (2005) – travel writings, with political commentary on government policies since 9/11
 England's Child: The Carillon and the Casting of Big Bells (2008) – a biography of Johnston's father, Cyril F. Johnston, a prominent English bellfounder and builder of carillons in the first half of the 20th century

Notes

References

External links

 Official website
 Born On This Day, 1929: Jill Johnston
 Town Bloody Hall (1979) on IMDb
 Lesbian Nation, R.I.P. by Alison Bechdel, 20 September 2010

1929 births
2010 deaths
20th-century American writers
21st-century American non-fiction writers
20th-century American women writers
21st-century American women writers
American art critics
American political writers
American women historians
American women journalists
Cultural historians
American lesbian writers
Lesbian feminists
Lesbian separatists
Radical feminists
American women critics
Yippies
The Village Voice people
English emigrants to the United States
People from Douglaston–Little Neck, Queens
Historians from New York (state)

Jill Johnston


A tableau vivant is when people pose and make the scene look like the one in a picture. People in a tableau vivant don't move or speak. The name comes from French, and translates as "living picture". The plural is tableaux vivants.

In Europe, tableaux vivants became popular towards the end of the 19th century. Sometimes, there was even music. Jean Sibelius composed his work Finlandia (1900) for a sequence of tableaux vivants.

At the beginning of the 20th century, they became notorious, because usually naked women would present them in revue theatres. The dancer Olga Desmond became well-known because of her posing naked in revues at the beginning of the 20th century.

Performing arts

Tableau vivant