The Lariat Kid

The Lariat Kid is a lost 1929 American silent film western directed by B. Reeves Eason and starring Hoot Gibson. It was produced and distributed by Universal Pictures.


Hettie Gray Baker

Hettie Gray Baker (July 12, 1880 – November 14, 1957) was an American film editor.
Biography.
Born in Hartford, Connecticut, the daughter of Josiah Q. Baker and his wife Lizzie A. Chipman, Hettie attended public high school in Hartford before undertaking a special course of study at Simmons College in Boston. She was employed at the Hartford Public Library during 1900–03, where she began writing movie scenarios during her spare moments. She sold her first story, titled, "Treasure Trove", to Vitagraph Studios. for $20 (), and continued to write and sell freelance works for the next six years. In 1903, she became a private secretary for the School for Social Workers in Boston, where she worked until 1907 when she was hired as a librarian for the Hartford Bar Library, a small law library.
In 1913, she was employed by Hobart Bosworth's film company as a story editor. Her work included scenario writing and scripting stories for a series of silent films based upon the work of Jack London. These included "Burning Daylight" (1914), "The Valley of the Moon" (1914), and "The Chechako" (1914). In February 1914, she was one of the co-founders of the Photoplay Authors League – a precursor of the Screen Writers Guild – and during the first year of operation was elected vice president and a member of the board of control.
In 1916, she went to work for Fox Film Corporation (later renamed Twentieth Century Fox) as a film editor. During her first year, she edited "A Daughter of the Gods", Hollywood's first film with a million dollar budget, and, listed as H.G. Baker, may have been the first female editor to be acknowledged in a film's credits. She was the editor for "Queen of the Sea" (1918) starring Annette Kellermann, and "The Iron Horse" (1924), directed by John Ford. In total, she was a writer and editor for over 20 films, but was rarely credited.
By 1938, Hettie was a movie executive, serving as censor representative for Twentieth Century Fox. Being a cat-lover, later in her life she wrote several books about cats.


Keith House (Austin, Texas)

The Keith House in Austin, Texas is a historic home in the Pemberton Heights neighborhood in central Austin.
The home was built in 1933 by local builder William Dixon Anderson for his sister, Maggie Mae Keith, and her husband, Jacque Nicholas Keith. It features elements of the Monterey Revival and Colonial Revival styles, popular at the time.
The home is located at 2400 Harris Blvd. It was added to the National Register of Historic Places in 1998.


Flag of the Federal Territories

The flag of the Federal Territories is an official flag for the federal territories of Malaysia. It was adopted on 23 May 2006.
Symbolism.
The flag of the Federal Territories is used to represent the federal territories as a whole. The original three territory flags are still in use when representing the individual federal territories.
The flag has three colours: yellow to represent respect, sovereignty and honour, red for strength and blue for unity, sincerity and harmony. The three stars below the coat of arms of Malaysia stand for the three territories, supporting their mission to become important administrative and business centres.


Bar-Lev

Bar-Lev () is a Hebrew surname which means "son (of) heart" and "pure heart" (Psalm 24:4), and may refer to:


Marie Dressler

Marie Dressler (born Leila Marie Koerber, November 9, 1868 – July 28, 1934) was a Canadian stage and screen actress, comedian, and early silent film and Depression-era film star. In 1914, she was in the first full-length film comedy. She won the Academy Award for Best Actress in 1931.
Leaving home at the age of 14, Dressler built a career on stage in traveling theatre troupes, where she learned to appreciate her talent in making people laugh. In 1892, she started a career on Broadway that lasted into the 1920s, performing comedic roles that allowed her to improvise to get laughs. From one of her successful Broadway roles, she played the titular role in the first full-length screen comedy, "Tillie's Punctured Romance" (1914), opposite Charlie Chaplin and Mabel Normand. She made several shorts, but mostly worked in New York City on stage. During World War I, along with other celebrities, she helped sell Liberty bonds. In 1919, she helped organize the first union for stage chorus players.
Her career declined in the 1920s, and Dressler was reduced to living on her savings while sharing an apartment with a friend. In 1927, she returned to films at the age of 59 and experienced a remarkable string of successes. For her performance in the comedy film "Min and Bill" (1930), Dressler won the Academy Award for Best Actress. She died of cancer in 1934.
Early life.
Dressler was born Leila Marie Koerber on November 9, 1868, in Cobourg, Ontario. She was one of the two daughters of Anna ("née" Henderson), a musician, and Alexander Rudolph Koerber (1826–1914), a German-born former officer in the Crimean War. Leila's elder sister, Bonita Louise Koerber (1864–1939), later married playwright Richard Ganthony.
Her father was a music teacher in Cobourg and the organist at St. Peter's Anglican Church, where as a child Marie would sing and assist in operating the organ. According to Dressler, the family regularly moved from community to community during her childhood. It has been suggested by Cobourg historian Andrew Hewson that Dressler attended a private school, but this is doubtful if Dressler's recollections of the family's genteel poverty are accurate.
The Koerber family eventually moved to the United States, where Alexander Koerber is known to have worked as a piano teacher in the late 1870s and early 1880s in Bay City and Saginaw (both in Michigan) as well as Findlay, Ohio. Her first known acting appearance, when she was five, was as Cupid in a church theatrical performance in Lindsay, Ontario. Residents of the towns where the Koerbers lived recalled Dressler acting in many amateur productions, and Leila often irritated her parents with those performances.
Stage career.
Dressler left home at the age of 14 to begin her acting career with the Nevada Stock Company, telling the company she was actually 18. The pay was either $6 or $8 per week, and Dressler sent half to her mother. At this time, Dressler adopted the name of an aunt as her stage name. According to Dressler, her father objected to her using the name of Koerber. The identity of the aunt was never confirmed, although Dressler denied that she adopted the name from a store awning. Dressler's sister Bonita, five years older, left home at about the same time. Bonita also worked in the opera company. The Nevada Stock Company was a travelling company that played mostly in the American Midwest. Dressler described the troupe as a "wonderful school in many ways. Often a bill was changed on an hour's notice or less. Every member of the cast had to be a quick study". Dressler made her professional debut as a chorus girl named Cigarette in the play "Under Two Flags", a dramatization of life in the Foreign Legion.
She remained with the troupe for three years, while her sister left to marry playwright Richard Ganthony. The company eventually ended up in a small Michigan town without money or a booking. Dressler joined the Robert Grau Opera Company, which toured the Midwest, and she received an improvement in pay to $8 per week, although she claimed she never received any wages.
Dressler ended up in Philadelphia, where she joined the Starr Opera Company as a member of the chorus. A highlight with the Starr company was portraying Katisha in "The Mikado" when the regular actress was unable to go on, due to a sprained ankle, according to Dressler. She was also known to have played the role of Princess Flametta in an 1887 production in Ann Arbor, Michigan. She left the Starr company to return home to her parents in Saginaw. According to her, when the Bennett and Moulton Opera Company came to town, she was chosen from the church choir by the company's manager and asked to join the company. Dressler remained with the company for three years, again on the road, playing roles of light opera.
She later particularly recalled specially the role of Barbara in "The Black Hussars", which she especially liked, in which she would hit a baseball into the stands. Dressler remained with the company until 1891, gradually increasing in popularity. She moved to Chicago and was cast in productions of "Little Robinson Crusoe" and "The Tar and the Tartar". After the touring production of "The Tar and the Tartar" came to a close, she moved to New York City.
In 1892, Dressler made her debut on Broadway at the Fifth Avenue Theatre in "Waldemar, the Robber of the Rhine", which only lasted five weeks. She had hoped to become an operatic diva or tragedienne, but the writer of "Waldemar", Maurice Barrymore, convinced her to accept that her best success was in comedy roles. Years later, she appeared in motion pictures with his sons, Lionel and John, and became good friends with his daughter, actress Ethel Barrymore. In 1893, she was cast as the Duchess in "Princess Nicotine", where she met and befriended Lillian Russell.
Dressler now made $50 per week, with which she supported her parents. She moved on into roles in "1492 Up to Date", "Girofle-Girofla", and "A Stag Party, or A Hero in Spite of Himself" After "A Stag Party" flopped, she joined the touring Camille D'Arville Company on a tour of the Midwest in "Madeleine, or The Magic Kiss", as Mary Doodle, a role giving her a chance to clown.
In 1896, Dressler landed her first starring role as Flo in George Lederer's production of "The Lady Slavey" at the Casino Theatre on Broadway, co-starring British dancer Dan Daly. It was a great success, playing for two years at the Casino. Dressler became known for her hilarious facial expressions, seriocomic reactions, and double takes. With her large, strong body, she could improvise routines in which she would carry Daly, to the delight of the audience.
Dressler's success enabled her to purchase a home for her parents on Long Island. The "Lady Slavey" success turned sour when she quit the production while it toured in Colorado. The Erlanger syndicate blocked her from appearing on Broadway, and she chose to work with the Rich and Harris touring company. Dressler returned to Broadway in "Hotel Topsy Turvy" and "The Man in the Moon".
She formed her own theatre troupe in 1900, which performed George V. Hobart's "Miss Prinnt" in cities of the northeastern U.S. The production was a failure, and Dressler was forced to declare bankruptcy.
In 1904, she signed a three-year, $50,000 contract with the Weber and Fields Music Hall management, performing lead roles in "Higgeldy Piggeldy" and "Twiddle Twaddle". After her contract expired she performed vaudeville in New York, Boston, and other cities. Dressler was known for her full-figured body, and buxom contemporaries included her friends Lillian Russell, Fay Templeton, May Irwin and Trixie Friganza. Dressler herself was tall and weighed .
In 1907, she met James Henry "Jim" Dalton. The two moved to London, where Dressler performed at the Palace Theatre of Varieties for $1500 per week. After that, she planned to mount a show herself in the West End. In 1909, with members of the Weber organization, she staged a modified production of "Higgeldy Piggeldy" at the Aldwych Theatre, renaming the production "Philopoena" after her own role. It was a failure, closing after one week. She lost $40,000 on the production, a debt she eventually repaid in 1930. She and Dalton returned to New York. Dressler declared bankruptcy for a second time.
She returned to the Broadway stage in a show called "The Boy and the Girl", but it lasted only a few weeks. She moved on to perform vaudeville at Young's Pier in Atlantic City for the summer. In addition to her stage work, Dressler recorded for Edison Records in 1909 and 1910. In the fall of 1909, she entered rehearsals for a new play, "Tillie's Nightmare". The play toured in Albany, Chicago, Kansas City, and Philadelphia, and was a flop. Dressler helped to revise the show, without the authors' permission, and in order to keep the changes she had to threaten to quit before the play opened on Broadway. Her revisions helped make it a big success there. Biographer Betty Lee considers the play the high point of her stage career.
Dressler continued to work in the theater during the 1910s, and toured the United States during World War I, selling Liberty bonds and entertaining the American Expeditionary Forces. American infantrymen in France named both a street and a cow after Dressler. The cow was killed, leading to "Marie Dressler: Killed in Line of Duty" headlines, about which Dressler (paraphrasing Mark Twain) quipped, "I had a hard time convincing people that the report of my death had been greatly exaggerated."
After the war, Dressler returned to vaudeville in New York, and toured in Cleveland and Buffalo. She owned the rights to the play "Tillie's Nightmare", the play upon which her 1914 movie "Tillie's Punctured Romance" was based. Her husband Jim Dalton and she made plans to self-finance a revival of the play. The play fizzled in the summer of 1920, and the production was disbanded. In 1919, during the Actors' Equity strike in New York City, the Chorus Equity Association was formed and voted Dressler its first president.
Dressler accepted a role in "Cinderella on Broadway" in October 1920, but the play failed after only a few weeks. She signed on for a role in "The Passing Show of 1921", but left the cast after only a few weeks. She returned to the vaudeville stage with the Schubert Organization, traveling through the Midwest. Dalton traveled with her, although he was very ill from kidney failure. He stayed in Chicago while she traveled on to St. Louis and Milwaukee. He died while Marie was in St.Louis, and Marie then left the tour. His body was claimed by his ex-wife, and he was buried in the Dalton plot.
After failing to sell a film script, Dressler took an extended trip to Europe in the fall of 1922. On her return she found it difficult to find work, considering America to be "youth-mad" and "flapper-crazy". She busied herself with visits to veteran hospitals. To save money she moved into the Ritz Hotel, arranging for a small room at a discount. In 1923, Dressler received a small part in a revue at the Winter Garden Theatre, titled "The Dancing Girl", but was not offered any work after the show closed. In 1925, she was able to perform as part of the cast of a vaudeville show which went on a five-week tour, but still could not find any work back in New York City. The following year, she made a final appearance on Broadway as part of an Old Timers' bill at the Palace Theatre.
Early in 1930, Dressler joined Edward Everett Horton's theater troupe in Los Angeles to play a princess in Ferenc Molnár's "The Swan", but after one week, she quit the troupe. Later that year she played the princess-mother of Lillian Gish's character in the 1930 film adaptation of Molnar's play, titled "One Romantic Night".
Film career.
Dressler had appeared in two shorts as herself, but her first role in a feature film came in 1914 at the age of 44. In 1902, she had met fellow Canadian Mack Sennett and helped him get a job in the theater. After Sennett became the owner of his namesake motion picture studio, he convinced Dressler to star in his 1914 silent film "Tillie's Punctured Romance". The film was to be the first full-length, six-reel motion picture comedy. According to Sennett, a prospective budget of $200,000 meant that he needed "a star whose name and face meant something to every possible theatre-goer in the United States and the British Empire."
The movie was based on Dressler's hit "Tillie's Nightmare". She claimed to have cast Charlie Chaplin in the movie as her leading man, and was "proud to have had a part in giving him his first big chance." Instead of his recently invented Tramp character, Chaplin played a villainous rogue. Silent film comedian Mabel Normand also starred in the movie. "Tillie's Punctured Romance" was a hit with audiences, and Dressler appeared in two "Tillie" sequels and other comedies until 1918, when she returned to vaudeville.
In 1922, after her husband's death, Dressler and writers Helena Dayton and Louise Barrett tried to sell a script to the Hollywood studios, but were turned down. The one studio to hold a meeting with the group rejected the script, saying all the audiences wanted is "young love". The proposed co-star of Lionel Barrymore or George Arliss were rejected as "old fossils". In 1925, Dressler filmed a pair of two-reel short movies in Europe for producer Harry Reichenbach. The movies, titled the "Travelaffs", were not released and were considered a failure by both Dressler and Reichenbach. Dressler announced her retirement from show business.
In early 1927, Dressler received a lifeline from director Allan Dwan. Although versions differ as to how Dressler and Dwan met, including that Dressler was contemplating suicide, Dwan offered her a part in a film he was planning to make in Florida. The film, "The Joy Girl", an early color production, only provided a small part as her scenes were finished in two days, but Dressler returned to New York upbeat after her experience with the production.
Later that year, Frances Marion, a screenwriter for the Metro-Goldwyn-Mayer (MGM) studio, came to Dressler's rescue. Marion had seen Dressler in the 1925 vaudeville tour and witnessed Dressler at her professional low-point. Dressler had shown great kindness to Marion during the filming of "Tillie Wakes Up" in 1917, and in return, Marion used her influence with MGM's production chief Irving Thalberg to return Dressler to the screen. Her first MGM feature was "The Callahans and the Murphys" (1927), a rowdy silent comedy co-starring Dressler (as Ma Callahan) with another former Mack Sennett comedian, Polly Moran, written by Marion.
The film was initially a success, but the portrayal of Irish characters caused a protest in the "Irish World" newspaper, protests by the American Irish Vigilance Committee, and pickets outside the film's New York theatre. The film was first cut by MGM in an attempt to appease the Irish community, then eventually pulled from release after Cardinal Dougherty of the Archdiocese of Philadelphia called MGM president Nicholas Schenck. It was not shown again, and the negative and prints may have been destroyed. While the film brought Dressler to Hollywood, it did not re-establish her career. Her next appearance was a minor part in the First National film "Breakfast at Sunrise". She appeared again with Moran in "Bringing Up Father", another film written by Marion. Dressler returned to MGM in 1928's "The Patsy" as the mother of the characters played by stars Marion Davies and Jane Winton.
Hollywood was converting from silent films, but "talkies" presented no problems for Dressler, whose rumbling voice could handle both sympathetic scenes and snappy comebacks (the wisecracking stage actress in "Chasing Rainbows" and the dubious matron in Rudy Vallée's "Vagabond Lover"). Frances Marion persuaded Thalberg to give Dressler the role of Marthy in the 1930 film "Anna Christie". Garbo and the critics were impressed by Dressler's acting ability, and so was MGM, which quickly signed her to a $500-per-week contract. Dressler went on to act in comedic films which were popular with movie-goers and a lucrative investment for MGM. She became Hollywood's number-one box-office attraction, and stayed on top until her death in 1934.
She also took on serious roles. For "Min and Bill", with Wallace Beery, she won the 1930–31 Academy Award for Best Actress (the eligibility years were staggered at that time). She was nominated again for Best Actress for her 1932 starring role in "Emma", but lost to Helen Hayes. Dressler followed these successes with more hits in 1933, including the comedy "Dinner at Eight", in which she played an aging but vivacious former stage actress. Dressler had a memorable bit with Jean Harlow in the film:
Harlow: I was reading a book the other day.
Dressler: Reading a book?
Harlow: Yes, it's all about civilization or something. A nutty kind of a book. Do you know that the guy said that machinery is going to take the place of "every" profession?
Dressler: Oh my dear, "that's" something "you" need never worry about.
Following the release of Tugboat Annie Dressler appeared on the cover of Time in its issue dated August 7, 1933. Despite glamour actresses such as Greta Garbo, Joan Crawford, or Norma Shearer MGM's most prominent female star at the time was Dressler. The aging star consistently packed movie theaters with hits like Min and Bill, Emma, and Tugboat Annie. An exhibitors poll inside the January 1933 issue of Motion Picture Herald had Dressler as the number one box office star in Hollywood.
Coming to movie stardom late Dressler had no pretensions and a delightful sense of humor. Once, when visiting William Randolph Hearst's California palace San Simeon, a monkey pelted her with some of his excrement. Dressler responded, "Oh, a critic!".
Dressler was very grateful for her career's late resurgence. While working on two films with Wallace Beery, 'Tugboat Annie' and 'Min and Bill,' she refused to take nonsense from the notorious "son of a bitch". In response to one of Beery's insults, she said, "look you silly shit, you pull one more thing like that on me and I'll have your head. On a platter. And not an expensive platter. A little, cheap, lousy, wooden platter. Like John the Baptist. With a personal note to L.B. Mayer."
Dressler's newly regenerated career came to an abrupt end when she was diagnosed with terminal cancer in the early 1930s. MGM studio head Louis B. Mayer learned of Dressler's illness from her doctor (who didn't even tell Dressler of her condition). The studio chief took it upon himself to take charge of Dressler's health. To keep her home, he ordered her not to travel, forcing her to miss a charity event in New York. Although furious, Dressler complied. She only learned about her condition six months later. After some experimental cancer therapy, Dressler returned to work under limitations enforced by Mayer. For the rest of her career, the actress only worked three hours a day and had mandatory stand-ins wherever possible. Before she passed away in July 1934, Dressler starred in two more features and had a small part in Dinner at Eight.
She appeared in more than 40 films, and achieved her greatest successes in talking pictures made during the last years of her life. The first of her two autobiographies, The Life Story of an Ugly Duckling, was published in 1924. A second book, My Own Story, "as told to Mildred Harrington", appeared a few months after her death.
Personal life.
Dressler's first marriage was to an American, George Francis Hoeppert (1862 – September 7, 1929), a theatrical manager. His surname is sometimes given as Hopper. The couple married on May 6, 1894, in Grace Church Rectory, Greenville, New Jersey, as biographer Matthew Kennedy wrote, under her birth name, Leila Marie Koeber. Some sources indicate Dressler had a daughter who died as a small child, but this has not been confirmed.
Her marriage to Hoeppert gave Dressler U.S. citizenship, which was useful later in life, when immigration rules meant permits were needed to work in the United States, and Dressler had to appear before an immigration hearing. Ever since her start in the theatre, Dressler had sent a portion of her salary to her parents. Her success on Broadway meant she could afford to buy a home and later a farm on Long Island, which she shared with her parents. Dressler made several attempts to set up theatre companies or theatre productions of her own using her Broadway proceeds, but these failed and she had to declare bankruptcy several times.
In 1907, Dressler met a Maine businessman, James Henry "Jim" Dalton, who became her companion until his death [Death Record 3104-27934] on November 29, 1921, at the Congress Hotel in Chicago from diabetes. According to Dalton, the two were married in Europe in 1908. However, according to Dressler's U.S. passport application, the couple married in May 1904 in Italy.
Dressler reportedly later learned that the "minister" who had married them in Monte Carlo was actually a local man paid by Dalton to stage a fake wedding. Dalton's first wife, Lizzie Augusta Britt Dalton, claimed he had not consented to a divorce or been served divorce papers, although Dalton claimed to have divorced her in 1905. By 1921, Dalton had become an invalid due to diabetes mellitus, and watched her from the wings in his wheelchair. After his death that year, Dressler was planning for Dalton to be buried as her husband, but Lizzie Dalton had Dalton's body returned to be buried in the Dalton family plot.
After Dalton's death, which coincided with a decline in her stage career, Dressler moved into a servant's room in the Ritz Hotel to save money. Eventually, she moved in with friend Nella Webb to save on expenses. After finding work in film again in 1927, she rented a home in Hollywood on Hillside Avenue. Although Dressler was working from 1927 on, she was still reportedly living hand to mouth. In November 1928, wealthy friends Mr. and Mrs. Arthur Neurmberg gave her $10,000, explaining they planned to give her a legacy someday, but they thought she needed the money immediately. In 1929, she moved to Los Angeles to 6718 Milner Road in Whitley Heights, then to 623 North Bedford Drive in Beverly Hills, both rentals. She moved to her final home at 801 North Alpine in Beverly Hills in 1932, a home which she bought from the estate of King C. Gillette. During her seven years in Hollywood, Dressler lived with her maid Mamie Cox and later Mamie's husband Jerry.
Miscellanea.
Although atypical in size for a Hollywood star, Dressler was reported in 1931 to use the services of a "body sculptor to the stars", Sylvia of Hollywood, to keep herself at a steady weight.
Biographers Betty Lee and Matthew Kennedy document Dressler's long-standing friendship with actress Claire Du Brey, whom she met in 1928. Dressler and Du Brey's falling out in 1931 was followed by a later lawsuit by Du Brey, who had been trained as a nurse, claiming back wages as the elder woman's nurse.
Death.
On Saturday, July 28, 1934, Dressler died of cancer, aged 65, in Santa Barbara, California. After a private funeral held at The Wee Kirk o' the Heather chapel, she was interred in a crypt in the Great Mausoleum in the Forest Lawn Memorial Park, Glendale, California.
She left an estate worth $310,000, the bulk left to her sister Bonita.
Dressler bestowed her 1933 Duesenberg Model J automobile and $35,000 to her maid of 20 years, Mamie Steele Cox, and $15,000 to Cox's husband, Jerry R. Cox, who had served as Dressler's butler for four years. Dressler intended that the funds should be used to provide a place of comfort for black travelers, and the Coxes used the funds to open the "Coconut Grove" night club and adjacent tourist cabins in Savannah, Georgia, in 1936, named after the night club in Los Angeles.
Legacy.
Dressler's birth home in Cobourg, Ontario, is known as Marie Dressler House and is open to the public. The home was converted to a restaurant in 1937 and operated as a restaurant until 1989, when it was damaged by fire. It was restored, but did not open again as a restaurant. It was the office of the Cobourg Chamber of Commerce until its conversion to its current use as a museum about Dressler and as a visitor information office for Cobourg. Each year, the Marie Dressler Foundation Vintage Film Festival is held, with screenings in Cobourg and in Port Hope, Ontario. A play about the life of Marie Dressler called "Queen Marie" was written by Shirley Barrie and produced at 4th Line Theatre in 2012 and Alumnae Theatre in 2018.
For her contribution to the motion picture industry, Dressler has a star on the Hollywood Walk of Fame at 1731 Vine Street, added in 1960. After "Min and Bill", Dressler and Beery added their footprints to the cement forecourt of Grauman's Chinese Theatre in Hollywood, with the inscription "America's New Sweethearts, Min and Bill."
Canada Post, as part of its "Canada in Hollywood" series, issued a postage stamp on June 30, 2008, to honour Marie Dressler.
Dressler is beloved in Seattle. She played in two films based on historical Seattle characters. "Tugboat Annie" (1933) was loosely based on Thea Foss, of Seattle. Likewise Hattie Burns, in "Politics" (1931), was based on Bertha Knight Landes, the first woman to become mayor of Seattle.
Dressler's 152nd birthday was commemorated in a Google Doodle on November 9, 2020.
Stage.
Note: The list below is limited to New York/Broadway theatrical productions


Charlottenkreuz

The Charlottenkreuz ("Charlotte Cross") was a decoration instituted on 5 January 1916 by King William II of Württemberg and named after his wife, the Queen of Württemberg, born Princess Charlotte of Schaumburg-Lippe. It was to be awarded to all persons who had acquired particular merit either in the field or at home in the care of the wounded and ill, or in the general area of war-related care provision.
The decoration is a silvered white metal cross botonny with a central medallion, bearing on the front the entwined initials C and W (for Charlotte and Wilhelm) and on the reverse the year 1916.
The decoration was worn on a yellow ribbon, with a narrow and a wide black stripe on each side, on the left breast.


Astrith Baltsan

Astrith Baltsan () is an Israeli concert pianist and musicologist famous for her Beethoven interpretation, her unique concert style reaching out for larger audiences worldwide and her research of Hatikvah, Israel national anthem.
Biography.
Family.
Baltsan was born in Tel Aviv in 1956. Her mother, Dr. Rozelia Ruth Garti (1925–1999) was a pediatrician who came to Israel from Sofia. Bulgaria, in 1949. Her father was the journalist and author (1910–2002), founder of the ITIM (news agency) news agency and author of the Webster's New World Hebrew Dictionary.
. Her grandfather Ben-Zion Baltsan was a biblical expert and her uncle was a noted Moldavian poet.
Education.
Baltsan began studying music at the age of 8. She won the America Israel Cultural Foundation scholarship and graduated with honors from Tel Aviv University with both BA and MA in piano and musicology (with Mindru Katz and Arie Vardi). She won a scholarship for graduate studies at the Juilliard School of music in New York, and in 1983 she graduated as Doctor of Musical Arts ("summa cum laude)" in piano from the Manhattan School of Music in New York (with Artur Balsam).
Career and awards.
Baltsan won the first prize in the 1984 Banff Concerto Competition in Canada. In 1984, Baltsan became a laureate of the Concert Artists Guild's competition NYC 1984. She performed at the Norfolk festival of Yale University, The Tanglewood Festival, the La Gesse Festival in France, the Tutzing Festival in Munich and the Ernen Chamber Festival in Switzerland.
Astrith Baltsan returned to Israel in 1985 to join the faculty of the Rubin Academy of Music at Tel Aviv University. She was a founder and music director of the Musica Nova Ensemble for new music, and recorded many original Israeli compositions dedicated especially to her. She performed as pianist, editor and music director of concert series with the Israel Chamber Orchestra (1988–1996), the Israel Philharmonic Orchestra (2000–2019), The Israel Festival in Jerusalem (including performances of all Beethoven Sonatas in 1987) and the New Israeli Opera.
In 1990 Baltsan started to develop her series "Classics in Personal View", in which she performs classical music masterpieces accompanied with live story-telling and explanations. The program also incorporates pop, jazz and other genre segments, and includes performances by guest artists. This series of concerts has been the largest of its type in Israel for the last 30 years.
In 1996 Baltsan and her husband, Israeli composer Moshe Zorman, founded "Music Cathedra", a music college in the Enav cultural center in Tel Aviv. Music Cathedra is a recognized institute of professional development by the Israeli Ministry of Education.
In 2000 Baltsan started collaborating with the Israel Philharmonic Orchestra conducted by Zubin Mehta, a collaboration which continued from 2000 to 2019 including symphonic and chamber music projects and a TV series of youth concerts broadcast on Israel Channel 1, 2003–2004 .
Baltsan tours by herself and also as a soloist with an orchestra in Europe, the US, Canada, Central America, Australia and South Africa. Her concerts are broadcast regularly on Kan Kol Hamusica, Israel classical channel. Baltsan and Moshe Zorman have three children; Itamar, Alma and Reut. Her son, violinist Itamar Zorman was the winner of the Tchaikovsky competition in 2011.


Vyacheslav Ganelin

Vyacheslav (Slava) Ganelin (, , ; born 17 December 1944) is a Lithuanian–Israeli jazz pianist, composer, and pedagogue.
Primarily a pianist, he also plays other keyboards (organ and synthesizer) as well as bass, guitar, and percussions. He was the leader of the Ganelin Trio, described by critic Chris Kelsey as "arguably the world's greatest free jazz ensemble" of the 1970s and '80s. He was a founder of Lithuanian jazz (Soviet jazz, when Lithuania was controlled by the Soviet Union).
Early career.
Ganelin was born in Kraskovo, near Moscow. In 1948 his family moved to Lithuania, where he learned to play piano in the music school. Later he studied piano and composition at the Vilnius Conservatory where he graduated in 1968. He debuted as jazz pianist in a 1961 concert, during the Khrushchev Thaw.
For many years, Ganelin taught composition at the Vilnius Conservatory, and was music director of the Vilnius Russian Drama Theatre. He wrote music for numerous movies, including the musical "Devil's Bride", and an opera, "The Red-Haired Liar and the Soldier".
Ganelin trio.
In 1968, Ganelin formed a trio with percussionist Vladimir Tarasov and saxophonist Vladimir Rezitsky. Rezitsky left the trio in 1971, and was replaced with Vladimir Chekasin. The trio, called "Ganelin Trio" or "GTCh", combined free jazz with elements of folk and classic music. It achieved critical acclaim in Soviet Union and abroad.
The trio performed at the Warsaw Jazz Jamboree in 1976. The same year, its first album, "Con anima", was released. The 1980 performance at the Berlin Jazz Festival was described by Joachim-Ernst Berendt as "the wildest and yet the best organized and most professional free jazz I've heard in years". In 1984, the trio toured in the UK, and in 1986, in the US. The trio released more than 20 discs; it broke up in 1987, making a reunion tour in 2001.
Considered as the founders of Lithuanian Jazz School the trio received Lithuanian National Prize in 2016.
Israel.
In 1987, Ganelin immigrated to Israel, where he became a lecturer at the Jerusalem Academy of Music and Dance. In 1999 he founded the "Ganelin Trio Priority" with soprano saxophonist Petras Vyšniauskas and percussionist Klaus Kugel, which is still active. Ganelin also performs solo, as well as with various artists including the drummer Arkadiy Gotesman, the singer and dancer Esti Kenan-Ofri, the oud player Gershon Weiserfirer, and the classical pianist Irina Berkovich.
He directs the festival Jazz Globus in Jerusalem. He also continues to write music for movies and theatre. In particular, he wrote the music for the movies "The Distance" and "Foreign Sister" by Dan Wolman, and for the plays "Beautiful Girl" of the Yiddishpiel Theatre and "The Naked King" of the Lookingglass Theatre.


Skaill viking hoard


The Sawdust Trail

The Sawdust Trail is a lost 1924 American silent Western film produced and distributed by Universal Pictures and starring Hoot Gibson. Edward Sedgwick directed. It is based on the short story "Courtin' Calamity" by William Dudley Pelley, which was later filmed as a part-talkie in 1929 as "Courtin' Wildcats".


Descriptio insularum Aquilonis


Kopaszyna coat of arms

Kopaszyna is a Polish coat of arms. It was used by several szlachta families in the times of the Polish–Lithuanian Commonwealth.
Notable bearers.
Notable bearers of this coat of arms include:


List of Pennsylvania state historical markers in Bucks County

This is a list of the Pennsylvania state historical markers in Bucks County.
This is intended to be a complete list of the official state historical markers placed in Bucks County, Pennsylvania by the Pennsylvania Historical and Museum Commission (PHMC). The locations of the historical markers, as well as the latitude and longitude coordinates as provided by the PHMC's database, are included below when available. There are 79 historical markers located in Bucks County.


List of Bollywood actors

This is a list of different actors of Bollywood who worked in Bollywood movies and are well known in India.Some of the top Dilip kumar,Amitabh bachchan,Aamir khan,Shahrukh khan,Hrittik Roshan Ranbir kapoor.Many of them got titles like 'angry men' for Bachchan,'king of Bollywood,king khan' for Shahrukh khan,'Mr. Perfectnist,Biggest superstar' for World for Aamir khan, 'Superhero of India' for Hrittik Roshan and many more.
For more actors by their letter specifications you can find it below.


The Bottle Conjuror

The Bottle Conjuror was the stage name given to an anonymous theatrical performer, advertised to appear at the Haymarket Theatre in England, on 16 January 1749. While on stage, the acrobat was to have placed his body inside an empty wine bottle, in full view of the audience. Following a non-appearance, the audience rioted and gutted the theatre.
History.
Background.
Although the identity of the hoax's perpetrator is unknown, several authors consider John Montagu, 2nd Duke of Montagu, to have been responsible. While in the company of other noblemen, the Duke was reported to have made a bet that, with an advertisement claiming that a man could "creep into a quart bottle", he could fill a theatre. The event was advertised in several London newspapers and was soon the talk of the town.
Performance.
In front of a huge audience, which included the king's second son, the Duke of Cumberland, the theatre lights were brought up at about 7 pm. With no music to keep them entertained, the crowd grew restless and began to voice their discontent. A theatre employee appeared from behind the curtain and told the audience that, if the performer did not appear, their money would be refunded. One member of the audience reportedly shouted that if the audience paid double, the conjurer would fit himself into a pint bottle.
As the crowd grew more restless, someone threw a lighted candle onto the stage. Most of the audience—including the Duke—took this as their cue to leave, some "losing a cloak, others a hat, others a wig, and swords also". A group of angry spectators stayed inside and gutted the theatre. Benches were ripped up, scenery was destroyed and boxes were demolished. Debris was dragged into the street and burnt on a bonfire.
Aftermath.
Suspicion immediately fell upon the theatre's manager, Samuel Foote, for having originated the hoax. Foote claimed he knew nothing about the performance, but that he had warned the theatre's owner, John Potter, that he suspected something was not quite correct. Potter himself fell under suspicion, but was apparently innocent, "a strange man" having dealt with all the arrangements that night.
The "Man in the Bottle" instantly became the target of the newspapers and pamphlets, who published cutting satires about the conjurer's non-appearance, and its consequences. Many satirical prints were produced, among them two caricatures published within the month: "The Bottle-Conjuror from Head to Foot, without equivocation", and "English Credulity; or ye're all bottled". One newspaper explained the non-appearance of the conjurer by claiming that he had been ready to perform on the night, but was asked for a private audience beforehand; whereupon receiving a demonstration of the trick, the viewer had "corked up the bottle, whipped it in his pocket and made off."
References.
Notes
Bibliography


Wolseley Haig

Sir Thomas Wolseley Haig KCIE CSI CMG CBE (7 August 1865 – 28 April 1938) was a civil servant in British India, then Professor at Trinity College, Dublin, and later a Scottish herald.
Early life.
Haig was the son of Major Robert Wolseley Haig RA, FRS, (1830–72) the military astronomer. He was descended from the Haigs of Bonnington, branch of the Border house of Haig of Bemersyde. He is thus related to the first Lord Haig. He was educated at Wellington College, and then Sandhurst.
Army career.
Haig joined the Seaforth Highlanders in 1884 and was transferred to the Indian Army in 1887 where he served in Upper Burma (1887–89) fighting "dacoits" (bandits). He won a medal and clasp for his service. He was promoted to Captain on 6 February 1895, and to Major on 6 February 1902.
Indian civil service.
Haig entered the Berar Commission in 1892 and became Assistant Commissioner, then Deputy Commissioner, Inspector-General of Police, Jails, Stamps, Registration, and Excise, and Civil and Sessions Judge. He was officiating Secretary to the Board of Examiners, Fort William, 1897 and 1898–99. He entered the Political Department in 1901 as First Assistant to the Resident at Hyderabad, a post that gave him day to day control of Berar.
Haig became Assistant Secretary to the Government of India, Foreign Department, in 1907, then Political Agent in Alwar, 1907–08. Following the assassination of Sir Curzon Wyllie in London by Madan Lal Dhingra in 1909, Haig was appointed officiating Political ADC to the Secretary of State for India 1909–10 (Lord Morley).
Haig's final years abroad were spent mostly in Persia. He was the British Consul at Kerman in 1910, became First Assistant to the Agent to the Governor-General in Baluchistan in 1912 and quickly moved on to become Consul-General and Agent to the Government of India, Khurasan, Persia in 1914–16. He held the same post at Ispahan 1916 and Tehran 1919. He retired in 1920.
Academic career.
Soon after Haig returned to Europe, he was appointed Professor of Arabic, Persian and Hindustani at Trinity College, Dublin. Later he was lecturer in Persian at the School of Oriental Studies, University of London. Haig was known for his meticulous attention to detail and the careful planning which went into his work. Some reviewers said that he tended to go too far and produce an overly-detailed end result, but his writings appeared in the "Journal" of the Royal Asiatic Society, and other learned societies, and he was assigned the third and fourth volumes of "The Cambridge History of India". Unfortunately, he was only able to fully complete the third volume before illness set in and the fourth had to be completed by Richard Burn to Haig's plan. It was published in 1937, the year before Haig's death.
Haig made two important translations into English of Badaoni's "Tarikh-i-Bada'uni" (history), a source for the reign of Emperor Akbar's, and the "Burhan-i-Massir" of Tabatabai, an important source for the Nizam Shahi dynasty of Ahmadnagar.
Herald.
Haig was appointed March Pursuivant of Arms in Scotland in 1923 and was Albany Herald 1927–35.
Personal life.
Haig married Beatrice, older sister of Michael Lloyd Ferrar, ICS, in 1892. Beatrice died in 1927. They had one son (Robert Wolseley) who joined the Imperial Bank of Iran, and two daughters (Margaret Wolseley and Helen Ferrar).
Death.
Haig died at home, in Kensington, London, on 28 April 1938 after a long illness.


All for Gold, or Jumping the Claim

All for Gold, or Jumping the Claim is a 1911 Australian silent film directed by Franklyn Barrett. Only a few frames of the film survive.
It was also known as "Quest for Gold".
Plot.
Englishman Jack Cardigan (Herbert J. Bentley) strikes gold and writes a letter to his girlfriend, Nora (Lilian Teece), to tell her of the news. He gives the letter to a friend, Ralph Blackstone (Hilliard Vox) who poisons Cardigan's drink, throws his body in the river and takes over his claim.
However, when in Sydney, he accidentally allows the letter to come into Nora's possession and she decides to investigate. While Blackstone goes back to the mine by train, she tries to beat him there by taking a speedboat across Sydney harbour, then driving a fast car. She arrives to find Cardigan still alive and recovering. Cardigan gets his claim back and is reunited with Nora.
Production.
In 1911, the newly established West's Pictures wanted to get into feature production. They offered a £25 prize for a story about Australian life best suited for screen adaptation; bushranging themes were barred. Over 200 entries were received and the winner was stage comedian W.S. Percy for this script.
The car chase scene was shot near Springwood in the Blue Mountains. Lilian Teece had to drive a car alongside the passing of a fast train. The train arrived an hour earlier than scheduled and Teece had to chase after it. "Passengers craned their heads through the windows and urged the driver of the train not to be beaten by a woman", said a contemporary newspaper report. Teece got in front of the train just before the train disappeared in a cutting. "If I had not passed him before I passed the camera I would have followed him to Bathurst", said Teece.
The movie featured an early example of split-screen technology, with one scene showing Nora making a phone call, a boatman receiving the call, and Sydney harbour in between.
Reception.
The film ran for a week, at a time when that was rare for films, and screened in London.


Shararat (TV series)

Shararat – Thoda Jaadu, Thodi Nazaakat (transl. Mischief - A little magic, a little fun) is an Indian fantasy sitcom which aired on Star Plus channel from 2003 to 2006. The show is loosely based on the American teen sitcom "Sabrina the Teenage Witch".
Synopsis.
"Shararat" revolves around Jiya (Shruti Seth), who is the great great great great granddaughter of Rani Devi (Daisy Irani)/(Shammi). The show opens on the occasion of Jiya's 18th birthday. Hailing from a family of fairies, Jiya unknowingly becomes the wielder of magical powers. As a result of good deeds by ancestors, her family's first girl child of each generation is blessed with magical powers on turning 18 and so is Jiya.
Jiya lives with her family: her father Dr. Suraj Malhotra (Mahesh Thakur), her mother Radha (Poonam Narula, later Eva Grover), her brother Jai and her maternal grandmother Sushma (Farida Jalal). Apart from this, there are Jiya's college friends and acquaintances such as the stud basketball player Dhruv
(Karanvir Bohra) on whom Jiya secretly has a crush. Dhruv returns her ardor, while Parminder (or Pam, as she yells at everybody to call her)(Simple Kaul), the latest NRI entry in the college, threatens Jiya that she will grab all of Dhruv's attention; Meeta (Addite Shirwaikar ) her starry-eyed and romantic best friend and Raja (Harsh Vashisht), Dhruv's best friend who is always irritated with Meeta running after him.
Pam is also the niece of Shanti Saberwal (Shoma Anand) the classic neighbor of Malhotra's who is convinced that everything is not normal with the Malhotra household and who always goes there to borrow something or the other. She also has a crush on Suraj. She has a son named Bittu who sometimes teases Jiya's brother Jai.
The Malhotra home with three fairies who use, or rather misuse, their magic nearly always ends up in some trouble. Suraj, who learned on his wedding day that not only his wife but also his mother-in-law is a fairy, has to deal with his mother-in-law who insists that her daughter and granddaughter practice magic for almost everything.
Midway through the series, Bebo, a 10-year-old fairy, is sent to live with the Malhotra family as she is causing mischief everywhere in Paristan, the world of fairies. Normally, a fairy cannot use her magical powers until her 18th birthday, on which Rani Devi sprays a few drops of magical potion on the fairy, thereby releasing all her magical powers. However, Bebo accidentally falls in the entire pot of potion, and that's why she can do magic when other underage fairies cannot.
Due to misunderstandings created by Jiya's duplicate between Jiya and Dhruv, Dhruv is not talking to Jiya. Nani opens Naughty Nani's cafe and also helps Jiya to get her job, a writer. On her job, she impresses her manager with her work and a coworker develops crush on her and starts sending cards to her. Shanti also opens a marriage bureau in Nani's cafe where a man wants to marry Jiya instead of Pam but Jiya is saved by Nani. To help Jiya, Nani gives Shanti and her husband's love to Jiya and Dhruv but this goes wrong and they end up having a fight. Meanwhile, when Jiya thinks that her feelings for Dhruv have changed and she isn't missing him, Neil Bajaj enters her life with the motive of acquiring the magical powers of three of them (Sushma, Radha, and Jiya). She is smitten by his charm. Elsewhere, when Dhruv gets to know that Jiya is perfectly normal from their broken friendship, he decides to meet her at Nani's cafe where he gets introduced to Neil who challenges Dhruv to win an arm-wrestling match against him. Neil let's Dhruv win the match, thus winning Jiya's heart. Neil informs his boss that their plan to separate Jiya and Dhruv is working as for the first time in life Jiya did not mind Dhruv losing any match. Jiya is confused with her feelings for Neil and Dhruv. Neil even tries to kill Dhruv and snatch Jia's powers but fails. This creates a doubt in the fairies' minds about Neil's intentions. However, Jiya still thinks he is innocent. Later, Sushma and Jiya enter a fairy tale book followed by Radha who plays a modern fairy Godmother, Jiya has to play a character resembling Cinderella, and Pam and Shanti are her step-relatives. She is extremely excited to know that Dhruv is her prince. Meanwhile, Neil uses this opportunity and decides to snatch their magical powers and burn the book. Bebo and Suraj try to stop him but in vain. In the fairy tale, Sushma and Radha's powers become weak and Jia loses consciousness. Prince Dhruv helps them reach the place from where they entered the tale. All three of them make it just in time and are able to save themselves and catch Neil but he escapes the situation by making some excuse. Afterward, he tries to kill Dhruv and gets caught by the fairies. Later, Jiya takes part in World Best Fairy Championship and wins it by giving defeat to Shani Devi and her granddaughter who try to disqualify her.
The Malhotras move into a new house, which is haunted by four stupid but paranoid ghosts: Colonel Pritam Singh, who used to attend Sushma's college and has a crush on her since then; his son Amar Prem, whose life ambition has been to get 1000 customers to make life insurance with him; Amar's wife Pritika, who wants to become a vamp (an antagonistic actress in soap operas); and their son Nidar, who has developed a crush on Jiya. The ghost family had died whilst holidaying in the Malhotra house, and hate the family as they do not want humans to stay at the house, which they now call theirs. They play many pranks on the Malhotras, and the Malhotras in turn use their magic to annoy them, with both parties trying to force the other to leave the house forever. The Malhotra eventually succeeds with the four ghosts attaining salvation and leaving the house. The story ends with Dhruv returning from Australia. He proposes to Jiya and she accepts it. Then, as per the fairy rules they need to get married in 6 hours otherwise they'll not be able to marry each other ever. Jia convinces Suraj for this marriage on the condition that they reveal their true identity of being fairies to Dhruv, who initially gets scared but agrees to marry Jiya. Also Sushma and Jiya promise Suraj that they will never use magic on Dhruv and they seem to keep their promise. But we see that Radha (who ideally never used her powers unless very urgent), uses her spell on Dhruv to make him sink halfway in the ground when he refuses to eat the heavy breakfast made by her thus following Sushma's footsteps of troubling the son-in-law of the family.
Broadcast.
The series premiered on 23 January 2003 on Star Plus and concluded on 17 November 2006 after 192 episodes. Reruns of the show also aired on STAR Utsav, TV Asia, STAR One and Disney Channel India.
Home media and streaming services.
The series was made available on Hotstar on 26 June 2019.


Ekamra Kshetra

Ekamra Kshetra or the temple city of Bhubaneswar is a series of ancient sandstone temples, heritage ponds and water tanks, its wealth of monuments is testament to an ancient continuous architectural and historical heritage covering over 2,000 years from the 3rd century BC to the 15th century AD. It has been listed as a tentative site in UNESCO World Heritage list.
Modernization plan.
In the year 2020 Government of Odisha decided to make the area modern, which will attract more tourists.
The Ekamra Kshetra development project covers an area of 1126 acre with an outer core of 476 acre, intermediate core of 504 acre and inner core of 145 acre.
The first phase of the project includes outer access road development, Lingaraj entry plaza, Bindusagar revival plan, parking space, heritage complex, development of amenities for Kedar Gouri- Mukteswar complex, e-auto project, relocation project and a state-of-the-art interpretation centre. As Bindusagar is a major attraction, work has started on its holistic development and beautification. All construction between Lingaraj Temple and Bindusagar will be dismantled so that pilgrims can also visit the Bindhyabasini, Bhabanishankar, Sukashari and Mohini temples without any problem. Till around 350 years back, there was no construction between Lingaraj Temple and Bindusagar except temples. The same thing will be restored in the Ekamra Kshetra project.


Garam Coat

Garam Coat (English: The Clerk and the Coat) was a 1955 Indian Hindi drama film, directed by Amar Kumar and written by noted writer Rajinder Singh Bedi, adapted from the short story, "The Overcoat" (1842) by Nikolai Gogol. Bedi set the story in the economic turmoil of the post-partition North India, also experiencing a collapse in human values, fractured social fabric and growing cynicism towards the state. However, beyond that, the story of the film diverges from the original; Bedi took the story to a completely different development and also gives it an optimistic ending, unlike the original, where the protagonist turns into a ghost. The film starred Balraj Sahni, Nirupa Roy, Jayant, Brahm Bhardwaj, Rashid Khan, and Vijayalaxmi. Music was by classical singer Pandit Amar Nath, and songs were sung by Lata Mangeshkar.
It was the first film of Cine Co-operative, a production company formed by Bedi along with Balraj Sahni and actress Geeta Bali in 1954, however when the film didn't do well commercially, he went back to writing screenplays for other directors, such as "Madhumati" (1958) and "Anuradha" (1960). His next film as a producer came in 1962; "Rungoli".
The film won the 1956 Filmfare Award for Best Story for Rajinder Singh Bedi.
Plot.
Girdhari (Balraj Sahni) is small-time clerk in a post office, where he handles money orders. He barely manages a living along with his wife, Geeta (Nirupa Roy), two daughters and a son. He is unable to buy a new coat for himself and makes do with a tattered coat. One day after work, he sets out to buy toys for his children, but loses the 100-rupee note in the pocket of coat. Unable to find the money for household essentials, he plans to commit suicide, but misses the train. Upon returning home he confides in his wife. He tries part-time jobs and even petty crime, but never succeeds. Gradually he starts losing his mental balance. One day, he comes home find the pantry full, wife missing, and children playing outside his locked home. Unable to think clearly, he immediately suspects that she has taken up prostitution. He is unaware that his wife has taken part-time jobs. Unable to control his rage, he tries to strangle his wife, and rushes towards an oncoming speeding train. However, he is saved by his coworkers, Sher Khan and Munnilal, and brought home. On the way, he realises that the lost bank note had actually slipped into the lining, from his coat's pocket. Back at home, Geeta gives the 100-rupee note to Sher Khan, to buy the fabric for a new winter coat.
Music.
Music of the film was by Pandit Amarnath with lyrics by Majrooh Sultanpuri


The Love Toy

The Love Toy is a lost 1926 American silent comedy film directed by Erle C. Kenton and starring Lowell Sherman, Jane Winton, and Willard Louis. The film was produced and distributed by Warner Brothers.
Lowell Sherman and Helene Costello were later married.


Helena Paderewska

Helena Maria Paderewska (née von Rosen; previously Górska) (August 1, 1856 – January 16, 1934) was a Polish social activist who helped found the Polish White Cross society during World War I (among other humanitarian activities), and also is known as the second wife and partial biographer of Polish patriot, prime minister and musician Ignacy Jan Paderewski.
Early and family life.
Born in Warsaw in 1856 to an aristocratic Polish father of Baltic German descent (Baron Wladislaw Friedrich Johann Kasimir von Rosen, b. 1829) and the former Zofia Taube, who had met during his military service in the Crimean War. Her mother Zofia was born into a noble family of Baltic heritage whose ancestors came from Denmark. Her mother died shortly after Helena's birth. At the time, Warsaw was part of Congress Poland, with the Russian Tsar also the Polish King since the 1815 treaty ending the Napoleonic Wars, which also contained a provision suppressing the name "Poland" (one of Napoleon's allies having been the Duchy of Warsaw). Polish identity and culture had been forced into dissident channels, particularly in Russian- (and after 1871 also Prussian-) administered areas. (The last Polish-Lithuanian King, Augustus III of Poland, had died in 1763 and the resulting Commonwealth government had launched Europe's first secular school system a decade later, as the big-power partitions which led to the Polish state's dismemberment began). She had an elder brother, possibly the father of Robert Otto von Rosen (b. 1879). Her father remarried and Helena von Rosen was raised by her paternal grandmother, Katarzyna (Rucinska) von Rosen, and her aunt Emilia Leokadia (von Rosen) Jaszowska. She became fluent in four languages (especially French) but received little formal education. At age 17, she married Władysław Górski (1846-1915), then a decade her senior and a violin soloist with the Warsaw Opera orchestra. Their son, Wacław Otton Górski (1877-1936) would move to the United States, become a journalist, marry twice, and would be buried in Indianapolis. They also had a daughter, Maria Górska. However, marital issues which began the year after their son's birth caused their separation.
Divorce not being recognized by the Catholic church, von Rosen lived for years with Ignacy Jan Paderewski, her future second husband and a widower since his first wife Antonina Korsak had died of complications following the birth of their severely disabled son Alfred (1880-1901). Helena and Ignacy had first met circa 1878, when Paderewski was a rising young pianist near her age who played concerts with her husband. Their friendship eventually grew into a romance. Beginning in 1895, Rosen attempted to annul her first marriage with Górski, on grounds that her father had not given the necessary consent to the marriage (since she was then a minor) and that the marriage ceremony had occurred in a parish to which neither spouse belonged. Shortly after receiving the annulment, Helena and Ignacy married in Warsaw on May 31, 1899.
Social activist.
Shortly after their marriage, Paderewski bought a villa, Riond-Bosson, near Morges, Switzerland, where he recovered from his worldwide concert tours, and they both experimented with new farming and husbandry techniques. She raised prize-winning purebred chickens at Riond-Bosson and donated 300 for breeding by the Warsaw Agricultural Society, as well as founded an agricultural school to teach Polish country girls poultry farming and gardening techniques in Julin in northeast Poland. Paderewski also owned a large estate in Galicia and a property near Nyon on the shores of Lake Geneva, and circa 1913 bought two ranches near Paso Robles, California, where they spent summers in a nearby hotel, as well as cultivated walnuts, almonds and plums (processed into prunes).
By 1910, Paderewski was wealthy and famous both as a philanthropist and musician. He had embraced the new phonograph and sound recording technologies (like the opera star Enrico Caruso and the violinist Fritz Kreisler), as well as performed at concerts throughout Europe, the United States, Australia, South America and South Africa. While he met with the powerful and courted wealthy donors for various charities they supported (some by specific concerts), Paderewska wrote letters and appeals, met with grassroots workers and parish priests, and handled marketing and money. Among her projects was a club for Warsaw's newspaper boys, and a home for elderly female veterans (including of the failed January Uprising of 1863 against Russia and the Revolution in the Kingdom of Poland (1905-1907)).
Her husband, Paderewski, also became involved in Polish affairs. Noting that Russia forbade erection of a statue to the national poet Adam Mickiewicz on the 100th anniversary of his birth, Paderewski refused invitations to perform in Moscow and St. Petersburg. After Prussia forbade the proposed erection of a statue honoring the Polish and Lithuanian warriors who won the Battle of Grunwald against the Teutonic Knights 500 years earlier (which Paderewski said he dreamed about since he was 14 years old), Paderewski proudly refused multiple invitations to perform again in Berlin. Paderewski also substantially funded both monuments, which the Austro-Hungarian Empire permitted in Kraków, Poland's historic capital (and a "free city" after the Napoleonic Wars, annexed by the Austro-Hungarian Empire in 1846 and thereafter the capital of its province Galicia). In erecting these monuments, Paderewski became associated with Roman Dmowski, president of the Polish Club of Petrograd and leader of the Polish members of the Russian Duma, but whose anti-Semitism would later become an issue used against Paderewski in the United States.
As World War I's hostilities began in late July 1914, the Paderewskis were celebrating his name day and her birthday with their customary gathering of friends, musicians and politicians at their Swiss home. Their funds (and especially those of their Polish friends) were frozen in Lausanne (although they managed to live on credit), and travel became difficult. They hosted about 50 people for several weeks, and Lausanne became a gathering place for Polish exiles. In November 1914, Russian Grand Duke Nicholas reportedly promised Polish independence after the war, but Paderewski feared it a ruse to quiet rampant unrest, and began working with Erasmus Piltz, Henry Sienkiewicz, Wincenty Lutoslawski, Józef Wierusz-Kowalski, Jan Kucharzewski and other Polish exiles for Polish relief.
In January 1915, Paderewski planned a three-month trip to Paris, London and the United States, initially thinking he and his wife could lobby for Polish relief, as well as continue his concert career. However, they soon realized the difficulty of the task they had undertaken. Russia's ambassador in Paris, Count Alexander Izvolsky, was anti-Polish, though a politically necessary member of any relief committee of Polish exiles in that country. Meanwhile, Paderewska through contacts with Mildred Barnes Bliss, Denys Cochin and Wladyslaw Mickiewicz was able to visit Polish conscript prisoners from the German army, as well as start a doll-making project among nearly destitute Polish students and artisans in Paris. For the next several years, she hauled trunks of dolls and sold them in conjunction with her husband's concerts to develop profits to buy milk for Polish babies and do other good works. In London, Russia's ambassador Count Alexander Benckendorff assisted Paderewski's Polish relief efforts both in Britain and its overseas colonies. However, the English public knew little about Poland, so Paderewski began writing letters to newspaper editors, which some published. Thus began his role as Polish spokesman. In April 1915, the Paderewskis boarded the transatlantic steamship "Adriatic" for the United States, but the sinking of the "Lusitania" the following month transformed their short trip into one of more than three years.
In the United States, the Paderewskis made a hotel in New York City their base, but spent possibly more nights aboard overnight railway cars, not only traveling for benefit performances (during which she sold dolls as well as signed autographs), but also to meet the Polish community in the United States (and get them to overcome their various hostilities to Prussia or Russia or loyalty to the broken Austro-Hungarian Empire). Paderewski advocated Poland's cause before his concerts, and also used his fame to meet key politicians and influencers, thus becoming a key spokesman in exile for Poland. He developed a relationship with Col. Edward M. House, who became a key aide of President Woodrow Wilson, and also became acquainted with future President Herbert Hoover (who initially worked to evacuate Americans trapped by the conflict and later coordinated aid in Europe). Wilson endorsed the idea of an independent Polish state immediately before his election in 1916, and chose not to block (and eventually endorsed) Paderewski's idea of an army of Polish exiles, initially proposed as Kosciuszko's Army, and later called the Blue Army or Haller's Army, which France endorsed and Canada permitted to train. The Paderewskis made many trips to Chicago (the headquarters of several Polish organizations) and in August 1918 a thousand Polish emigrant delegates from North American (of all political persuasions) met in Detroit and agreed to raise ten million dollars to benefit Poland. However, by September 1917, the press of Polish affairs forced Paderewski to stop further concerts.
During their three years of travels in the United States, Canada and the Caribbean, Helena Paderewska organized help for the war's victims in Poland, as well as for Polish soldiers, who first fought in France and later on the Eastern Front. With the help of Polish emigrants in the United States, Paderewska founded the Polish White Cross in February 1918 (initially the Red Cross would not permit use of its name since Poland was not a country), and also helped found the Relief Society for Intelligence.
First lady.
Poland briefly regained its independence as the war ended on November 11, 1918, in what became known as the Second Polish Republic. As transatlantic crossings again became safe, the couple steamed to London, where (after overcoming lodging problems) the British Foreign Office asked Paderewski go to Warsaw and help establish a stable government, necessary if Poland were to have representatives at the upcoming peace conference. After brief consultations with Mr. Dmowski in Paris (where the Peace Conference would begin), the Paderewskis and Major Iwanowski (Paderewski's secretary) embarked on a British cruiser, escorted by a destroyer, for Gdańsk. After a snowstorm delay, they reached Poland on Christmas Day. Enthusiastic crowds greeted the Paderewskis in Gdańsk and again in Posnan after a train trip the following day, although retreating Prussian authorities had opposed Paderewski's stops in either city. Moreover, Paderewski had caught a cold during the stormy sea voyage, so Paderewska took his place on the reviewing stand for the children's parade, only to learn that some Prussian soldiers were firing upon Poles elsewhere in the city. Paderewski survived an assassination attempt (bullets shot into their hotel room) before they left for Kalisz (destroyed by Prussia early in the war). Travel proved slow as Polish soldiers cleared the rail line to Warsaw, plus in every village en route people greeted them with flowers, bread and salt. Despite arriving at Warsaw at 1a.m., a crowd of peasants wearing national costumes unyoked the carriage's horses in order to pull the Paderewskis the mile to their hotel through another massive crowd.
However the political situation remained chaotic, and not only because the country had been devastated by years of war. Many people lacked food, as well as boots and proper winter clothing. Despite speedy diplomatic recognition from the United States, Poland faced border disputes, particularly in Silesia with the Czechs. Russian Bolsheviks continued to fight in the north and east, and Ukrainian Bolsheviks besieged Lwow/Lemberg. On January 5–6, a bloodless failed coup led the unpopular leftist Jedrej Moraczewski government to resign, though Józef Piłsudski remained Poland's temporary chief of state. Furthermore, personal threats against Paderewski by radical elements greatly worried Paderewska, though her husband responded "there is no place in politics for a man who is afraid of death."
From January 16 to December 9, 1919, Paderewski became the Second Republic's Prime Minister (technically president of the Council of Ministers), and Foreign Minister as well for a slightly longer time. In Poland's first elections, he had been elected from Warsaw and Lublin, and accepted the former seat. Helena Paderewska accompanied him during many of these meetings, and government business was conducted at their hotel homes. She also influenced her husband's policy, and that involvement became a focus for criticism by some afraid to attack her husband directly (somewhat akin to the later Eleanor Roosevelt). During their seven months in Paris, Paderewska became one of the few women present at the signing of the Treaty of Versailles in June 1919 (her husband being Poland's signatory) and also witnessed the signing of the Treaty of St. Germain (which formally ended hostilities with the Austro-Hungarian empire) in September before they returned to Warsaw. However, Paderewski resigned his positions in December, his health having failed after further elections failed to produce a majority government. They returned to their Swiss home, where Paderewska wrote her memoirs of the previous decade with the assistance of native English speakers.
The following year (1920), Paderewski briefly represented Poland at the League of Nations in New York, while war continued with Russia and Ukraine, and the Red Army nearly captured Warsaw. However, the World War had also destroyed Paderewski's fortune, so he resigned that position in 1921, resumed his musical concerts in 1922, and world tours beginning in 1924. In 1924, the year of his last personal visit to Poland, Paderewski also sold his interest in the Warsaw daily newspaper "Rzeczpospolita" and ended his political career.
On January 18, 1919, all organizations working on Polish soil that followed the ideals of the International Red Cross and Red Crescent Movement gathered, and soon amalgamated as the Polish Red Cross Society. Paderewska had participated as leader of the Polish White Cross. The Polish government soon approved the new entity, and a few months later - after the aristocratic first president Paweł Sapieha (1860-1934) resigned - Paderewska became the relatively new society's president. She continued in the position until 1926, although she last visited Poland in 1924. Paderewska also supported the Polish YWCA, and was an honorary member of Polish Women's Alliance of America.
In 1921 Pope Benedict XV awarded Paderewska the pontifical cross for her humanitarian work.
Death and legacy.
During the final two years of her life, Helena Paderewska suffered several illnesses. Her husband, Ignacy Paderewski, canceled his winter tour of the United States in order to comfort her in her final days. Helena Paderewska died in Switzerland on January 16, 1934 at the Paderewski estate Riond-Bosson in Tolochenaz near Morges. Her husband buried her at Cimetière des Champeaux in Montmorency, Val-d'Oise near Paris next to his Alfred (1880–1901). Deeply affected by her death, Paderewski made known his wish to be buried beside her. However, he survived her by about seven years, during which time he continued to advocate for Polish independence and indicated that he wanted to be buried in Poland once it again became free, which later happened, so his remains never have been buried beside her.
In 2014, the Hoover Institution announced that curator Maciej Siekierski had discovered two copies of an unpublished typescript by Paderewska which contained a political biography of her husband during the years 1910–1920. Paderewski had entrusted it to fellow musician and U.S. military intelligence officer Ernest Schelling, who never published it, although following Siekierski's editing, it was published in 2015.


Mel Cornshucker

Mel Cornshucker (born October 4, 1952) is a contemporary Cherokee potter living in Tulsa, Oklahoma, who works in stoneware, porcelain, and raku clay. Cornshucker is known for his high-fire stoneware, decorated with hand-painted, Native-inspired motifs and designs.
Early life.
Born and raised in Jay, Oklahoma, and a member of the United Keetoowah Band of Cherokee Indians, Cornshucker was inspired by other artists in his family including his grandfather, Lincoln Trotting Wolf's, talent for weaving. His grandfather built his own rug loom on which he made rugs and blankets on the front porch. Cornshucker's cousins were basket weavers and his father was a silversmith, allowing him several creative outlets in his youth. Cornshucker spent many summers with his Cherokee family in Jay. He had positive encouragement in public schools when he began making figurines out of wet plaster and metal sculptures.
Education.
After graduating high school in 1970, Cornshucker briefly attended Bacone College in Muskogee, Oklahoma before transferring to Southwest Baptist University in Bolivar, Missouri working to become a tribal lawyer. It was during this time, Cornshucker took college art class which sparked his interest in pottery. Cornshucker was hired in 1975 to work as an apprentice potter in the Missouri theme park, Silver Dollar City. This job opportunity allowed him a lot of room to grow because he was perfecting his art every day for three to four hours for tourists. He left Silver Dollar City in 1977 and moved to Colorado where he became a land surveyor. After six months, Cornshucker moved back home to set up his own studio in Kansas City, Missouri.
Career.
When Cornshucker set up in his own studio, he began to compete in more booth shows as well as galleries. When Cornshucker began to do more Native shows, he experienced an increase in the amount of galleries taking on his work. In the early 1980s, Cornshucker would do approximately 15-16 gallery shows per year. Cornshucker also began incorporating his trademark Native motifs on his pottery around this time. The dragonfly was a special symbol for him not only because of its symbolism for many tribal cultures, but also because of its association with his grandfather, Lincoln Trotting Wolf. Cornshucker is also part owner of the Brady Artists Studio with Donna Prigmore.
In 2007, Cornshucker was selected to participate in a cultural exchange with African artists, put on by the Kellogg Foundation in tandem with the Institute of American Indian Arts of Santa Fe. Cornshucker worked in a Zulu village and put on a workshop for the Zulu potters. The goal of this program was for the American potters to offer tips and advice on how to better market the Zulu potters' work. Cornshucker helped influence the creation of clay masks and rattles to be sold in the markets.
Collections.
Cornshucker is considered a modern potter who values the functionality of his pieces while aesthetically including Native American motifs in his signature designs. He strives to create pieces that communicate past and present Native American spirit which reflects his heritage and honors the creativity of man over time. He has shown his work in a variety of nationally significant markets, including the Eiteljorg Indian Market and Festival, the Sante Fe Indian Market, the Pueblo Grande Museum Indian Art Show in Phoenix, and the Contemporary Indian Art Show at Cahokia.
Awards.
2007 Selected for a cultural artist exchange with South Africa, sponsored by the Kellogg Foundation and Institute of American Indian Art.
2014 winner of the modern pottery category for the Red Earth Native American Cultural Festival in Oklahoma.
2014 Greater Tulsa Indian Art Festival. Best of Show
2014 Greater Tulsa Area Indian Affairs Commission. Moscelyne Larkin Cultural Achievement Award.


Motherwell Homestead

The Motherwell Homestead is a National Historic Site of Canada located just south of the community of Abernethy, Saskatchewan. The site commemorates the life and achievements of William Richard Motherwell, Saskatchewan's first minister of agriculture and federal minister of agriculture for the Mackenzie King government.
The homestead's fieldstone house, called Lanark Place after Motherwell's previous Ontario home, is modelled after similar farmsteads built in Ontario. The homestead is surrounded by a shelter belt.
The 3.59 hectares farmstead, in addition to the main house, includes fields defined by fences and shelter belt shrub and tree lines, and agricultural buildings.
Visitors to the park are immersed in 1907 agriculture. The Motherwell house, barn and outbuildings have been restored to their 1907 appearance. Employees at the park dress in period clothing. During operational months (May 21 to September 1), livestock, including hogs, cows, and chickens, are on site.
The Friends of the Motherwell Homestead operate a restaurant and gift shop on site.


Adadi

Adadi () was the name of a rabbinical family in Tripoli, Libya. Notable people with the surname include:


JW3

JW3, also known as Jewish Community Centre London, is an arts, culture and entertainment venue, an educational facility and a social and community hub in north London. It is located at 341–351 Finchley Road, London, and opened on 29 September 2013. "Describing itself as a new postcode for Jewish life", the name "JW3" is a wordplay on its postal address, which is in the NW3 postcode area.
Vivien Duffield, whose idea it was, contributed £40m of the project's £50m cost – over the 10 years it took to bring it to reality – through the Clore Duffield Foundation. It was inspired by her 2003 visit to the Jewish Community Centre in Manhattan, New York.
Facilities.
The 35,000 square foot building, which includes a 270-seat auditorium, a 60-seat cinema, a restaurant and bar, a demonstration kitchen, dance studios, classrooms and medical consultation rooms, was designed by Lifschutz Davidson Sandilands. The JW3 campus sits on half an acre of land and includes the community centre/arts venue, an outdoor piazza and a tower block of apartments and offices.
JW3 and the London Jewish Cultural Centre (LJCC) merged in March 2015, forming a single, enhanced organisation based at the JW3 site on Finchley Road.
Organisation.
JW3's chief executive is Raymond Simonson, former Executive Director of Limmud, who succeeded Nick Viner.
Marc Nohr is also the Chairman of JW3.
JW3 is run by the Jewish Community Centre for London, a charitable organisation that aims to provide a way into, or back into, active Jewish life for all of London’s Jewish community.
The organisation runs a wide programme of events that it launched in 2005. These target all members of the community, irrespective of affiliation or level of observance. Held in various venues across London, the programme aims to be inclusive and is not religious, instead using its events to provide a gateway into Jewish life and foster a cohesive community.
Events programme.
JW3 runs a programme of social, cultural and educational events that mix audiences, age groups and content, encouraging experimentation with ideas and attempting to engage people in new issues.
Previous arts and culture events have ranged from modern interpretations of art and music gigs (e.g. an Idan Raichel Project concert) to events such as Kvetch choir (the complaints choir) that encourages people to enjoy their own creativity and a singalong with the pensioner pop group "The Zimmers".
Books-based events have included discussions on books related to the community, with guest author appearances, and debates on topics such as "Has the Left Lost its Way?".
Social action events have included Mitzvah Day and an initiative in 2007 to bring Jewish and Muslim communities together.
In November 2014 JW3 launched the first ever UK Jewish Comedy Festival, an annual festival celebrating the best in Jewish comedy. Guests have included Ruby Wax, David Baddiel and Stephen Tobolowsky.
The gay community.
In March 2017, JW3 ran a programme of LGBTQ+ related events to mark the 50th anniversary of the Sexual Offences Act (which effectively decriminalised homosexuality in England and Wales). This "GAYW3" programme caused a backlash from a number of rabbis of the Orthodox Jewish community, led by Rabbi Bassous. In July 2017, Rabbi Bassous issued a notice, signed by 6 other rabbis calling on their communities to distance themselves from JW3. At the end of November 2017, Rabbi Bassous reissued the letter, this time signed by 25 Orthodox rabbis of North West London.
The Alan Howard Foundation / JW3 Speaker Series.
The Alan Howard Foundation / JW3 Speaker Series features conversations, talks and entertainment delivered by leaders and experts in their respective fields who can provide a unique insight into their chosen topics. The lectures are designed to cover broad areas of intellectual thought, including economics, science, history, politics and the arts. The principal aims of the series are to educate and entertain through high level conversation and debate, whilst delivering a rich, diverse and inspiring range of speaking events.
"Sounds Jewish" podcast.
JW3's monthly podcast, "Sounds Jewish", produced in partnership with "The Guardian", is a monthly magazine-style programme hosted by Jason Solomons. Each "episode" is about 30 minutes in length and many of them are featured on "The Guardian"'s podcast homepage.


Sheguiandah

Sheguiandah is a Paleo-Indian archaeological site on the northeastern shore of Manitoulin Island, Manitoulin District, Ontario, Canada. It was originally discovered in 1951 by Thomas E. Lee, who in the course of surface collections found artifacts indicating the site was ancient. He led excavation teams for the next four years. Based on the numerous artifacts they found, he estimated the earliest occupation date of about 30,000 years BP. He noted there were Paleo-Indian and Archaic artifacts, primarily scrapers and blades, dating to about 12,000 BP. Public interest in the finds was so high that it contributed to passage of legislation in 1953 to protect archeological sites in Ontario. The site was designated as a National Historic Site of Canada in 1954.
The site was studied later by other teams of specialists. In 1992 archeologist Peter L. Storck and archeologist Patrick Julig led a team doing additional excavations. Drawing on new material from botany and related disciplines, they concluded that a more conservative estimate of age was justified. They estimated the site was almost certainly occupied 9,500 years BP by Paleo-Indians, making it still highly significant in North American archaeology and the archaeology of Ontario. They also said that more research needed to be done.


Christ Church Royal Chapel

Christ Church, Her Majesty's Chapel Royal of the Mohawk is located on the Tyendinaga Mohawk Territory near Deseronto, Ontario, Canada. It is owned by the Mohawks of the Bay of Quinte First Nation and is associated with the Anglican Parish of Tyendinaga, Diocese of Ontario. It was designated as a National Historic Site in 1995 and is one of only three Chapels Royal in Canada, elevated by The Queen in 2004.
History.
The history of the chapel begins with the forced relocation by American revolutionaries of the Tyendinaga Mohawks from their indigenous lands in what is now upper New York State to lands provided by George III in recognition to their service to the British during the revolutionary war. They settled in land that would eventually become the Tyendinaga Mohawk Territory on the shores of the Bay of Quinte in 1784.
The Royal chapel is in regular use as a parish church of the Anglican Diocese of Ontario. While not housed in the chapel, on special occasions, a silver Communion set given by Queen Anne in 1711 as a symbol of the alliance between the Crown and the Mohawks, is displayed and used. Also, there is a triptych in the Mohawk language and a bell given by George III, a Royal coat of arms of the United Kingdom given by George V, and a bible given by Queen Victoria.
Present day.
A communion chalice was given by Elizabeth II in 1984 to mark the bicentennial of the coming of the United Empire Loyalists, including the Mohawks, to Ontario. In addition, Elizabeth II also presented a set of eight silver handbells to the Chapel Royal in 2010. The chapel also houses a memorial window given by Dr. Oronhyatekha, who is buried at the Royal chapel.
Plaques commemorating the service of Mohawks during the First and Second World Wars hang in the chapel, demonstrating the continuing bond between the Tyendinaga Mohawks and the Crown.
The Chapel Royal has undergone major restoration work in recent years. A Roman Catholic group associated with the Personal Ordinariate of the Chair of Saint Peter celebrates there regularly, at the invitation of the Mohawk leadership.
Style.
Built to symbolise the political and military alliance between the British Crown and the Mohawk people, and to house a number of gifts given to the Mohawks by the Royal Family over three centuries, it was built by the Mohawks themselves in a simplified Gothic Revival style in 1843. The new church replaced a wooden structure which had been built near the site when the Mohawks arrived in 1784. The style, popular in the mid 19th century, is demonstrated in the narrow lancet windows and dripstones, stepped piers on the tower and flanks of the nave, and crenellations and pinnacles on the spire, all contributing to an overall sense of verticality common to gothic architecture.


2020 in literature

This article contains information about the literary events and publications of 2020.
New books.
"Dates after each title indicate U.S. publication, unless otherwise indicated."
Awards.
"The following list is arranged" alphabetically:


Kotwica coat of arms

Kotwica (Polish for "Anchor") is a Polish coat of arms. It was used by several "szlachta" (noble) families under the Polish–Lithuanian Commonwealth.
History.
The "Kotwica" coat of arms was particularly popular among families of foreign origin indigenated in the Polish–Lithuanian Commonwealth.
Blazon.
Gules, an Argent anchor, with three lopped branches on the dexter, all proper, debruised of a loop or anille in chief, also proper. Out of a crest coronet, three feathers.
Alternatively the shield is Argent and the anchor Black, Brunatre or Or.
Notable bearers.
Notable bearers of this coat of arms have included:


Film City

Film City is an integrated film studio complex situated near Sanjay Gandhi National Park at Goregaon East, Mumbai in India. It has several recording rooms, gardens, lakes, theaters and grounds that serve as the venue of many Bollywood film shootings. It was built in 1977 by the state government to provide facilities and concessions to the film industry. The plan for Film City was prepared and executed under the guidance of V. Shantaram. It was renamed Dadasaheb Phalke Chitra Nagari in 2001 in memory of India's first producer-director-screenwriter Dadasaheb Phalke, who is considered father of Indian film industry. It has been the shooting location for almost all Bollywood films. It has all types of location available for shooting including a temple, prison, court, lake, mountains, fountains, villages, picnic spots, garden and even a man-made waterfall.
Film City spans across more than 520 acres land in the suburbs of Mumbai.
Film city has approximately 42 Outdoor Shooting Locations & 16 studios of various sizes
Workforce.
Approximately 800 people are said to be working in the studio's eight filming locations on any given day.
Current times.
Tours.
In 2014, the tourism board of the Maharashtra state government launched guided tours of the studio for the public, each ticket costing ₹650 approx.


Immaculate Conception Cathedral (Brownsville, Texas)

Immaculate Conception Cathedral is a historic church at 1218 East Jefferson Street in Brownsville, Texas, United States. It is the cathedral church for the Roman Catholic Diocese of Brownsville. It was built in 1856 and added to the National Register of Historic Places in 1980 as Immaculate Conception Church.
History.
The Missionary Oblates of Mary Immaculate were the first priests to celebrate Mass in the area of Brownsville in 1849. The present Gothic Revival style building was designed by Peter Yves Keralum. The Oblates operated a seminary in the rectory, which also was a haven for priests who fled the revolutions in Mexico. The first Catholic bishop to reside at Immaculate Conception was Dominic Manucy who was the Vicariate Apostolic of Brownsville. The Vicariate became the Diocese of Corpus Christi in 1912. On July 10, 1965 Pope Paul VI established the Diocese of Brownsville from Corpus Christi and Immaculate Conception became the cathedral for the new diocese.


Mazes and Monsters

Mazes and Monsters (also known as Rona Jaffe's Mazes and Monsters) is a 1982 American made-for-television drama film directed by Steven Hilliard Stern about a group of college students and their interest in a fictitious role-playing game (RPG) of the same name.
The movie starred a 26-year-old Tom Hanks in his first leading film role.
Background.
The film was adapted from a novel of the same name by Rona Jaffe. Jaffe had based her 1981 novel on inaccurate newspaper stories about the disappearance of James Dallas Egbert III from Michigan State University in 1979. Early media accounts had over-emphasized Egbert's participation in fantasy role playing, often speculating that his hobby of "Dungeons & Dragons" might have been a factor in his disappearance. William Dear, the private investigator on the case, explained actual events and the reasons behind the media myth in his 1984 book "The Dungeon Master". Jaffe wrote her novel in a matter of days because of a fear that another author might also be fictionalizing the Egbert investigation.
The film premiered on CBS in 1982. It stars Tom Hanks, Wendy Crewson, David Wallace and Chris Makepeace. The film has been available on VHS tape, DVD and Amazon Prime.
Like the book on which it is based, the film touches on the claim that the playing of role-playing games could be related to psychological problems. At least one protagonist is (or at least appears to be) suffering from schizophrenia (or some analogous condition).
Plot.
The film opens with a scene that is repeated later in the film in which a reporter meets with police searching a cavern. He is told a game of "Mazes and Monsters" got out of hand.
Robbie Wheeling (Tom Hanks) starts college at the fictional Grant University and soon develops a group of friends, all of whom have their own personal problems and issues. Jay Jay (Chris Makepeace) feels marginalized by his mother, who constantly redecorates his room since she cannot make up her mind about the best look. In his "self-decorating", he wears a variety of unusual hats. Kate (Wendy Crewson) has had a series of failed relationships, and suffers from her father leaving home; Daniel's (David Wallace) parents reject his dream of becoming a video-game designer; and Robbie's alcoholic mother and strict father fight constantly, and he is still tormented by the mysterious disappearance of his brother, Hall. They are fans of "Mazes and Monsters", a fantasy role-playing game that had previously caused Robbie to get kicked out of his last school when he became too obsessed with it. Though he is reluctant, the other three students convince him to start playing again with them.
Through the course of playing the game, Robbie and Kate begin a serious relationship, in which he confides in her that he still has nightmares about his missing brother. Eventually, Jay Jay, upset by feeling left out by his friends, decides to commit suicide in a local cavern. In the process of planning it out, he changes his mind and decides the cavern would be better suited to a new "Mazes and Monsters" campaign. He dramatically kills off his character to force them to start a new campaign, in which he describes they will be living out their fantasy. He proposes playing his new game in a disused and condemned cavern, and dismisses the warnings from his friends – who reluctantly agree to participate.
During the actual spelunking, Robbie experiences a psychotic episode involving the last time he saw his brother, and he hallucinates that he has slain a monster, called a Gorvil. From this point forward, Robbie believes he is actually his character, the cleric Pardieu. This leads him to break off his relationship with Kate (to maintain celibacy), and to start drawing maps that will lead him to a sacred place he has seen in his dreams called the Great Hall. In his dream, the Great Hall tells him to go to the Two Towers, and he disappears.
His friends report him to the police while concealing their trip into the caverns. They and police investigators suspect he is deceased. Robbie travels to New York City, where he stabs a mugger whom he imagines to be a monster. He sees blood on his knife, then sees his bloodied clothes in a window and breaks out of his delusions for long enough to call Kate from a payphone. After he agrees to go to Jay Jay's house, a delusion leads him into the subway. Not finding him at Jay Jay's house, the friends deduce Robbie has equated the Two Towers with the Twin Towers of the World Trade Center. Robbie believes that by jumping off one of them and casting a spell, he will finally join the Great Hall. After a search, his friends find him and stop him from jumping off the south tower observation deck using the game's rules, once again pulling him out of his delusion.
The film ends with the friends visiting Robbie at his parents' estate, hoping to pick up their friendship where they left off. Though he is now in regular counseling, it is implied that Robbie will live out the rest of his life trapped in his imaginary world believing that he is still Pardieu, that his friends are really their characters, and that he is living at an inn (actually his parents' home) and paying for his boarding with a magic coin, which "magically" reappears in his pouch each morning. He then tells his shocked friends of a great evil lurking in the forest across the lake, believing that it threatens the lives of the "innkeeper" and his wife. The three, feeling sorry for Robbie and guilty for their role in his psychotic break, decide to engage him in a "game" of "Mazes and Monsters", letting Robbie dictate the events to them. In the end, Kate says, "And so ... we played the game again ... for one last time."


A Little Sister of Everybody

A Little Sister of Everybody, sometimes called A Little Sister "to" Everybody, is a 1918 American silent comedy-drama film directed by Robert Thornby and starring Bessie Love and George Fisher. It was produced by Anderson-Brunton Company and distributed by Pathé.
The film is presumed lost.
Plot.
Hugh Travers, Jr. (Fisher) is left in charge of a large manufacturing business in Manhattan's Lower East Side through the death of his father, and is confronted by considerable unrest among the employees due to the socialist doctrines preached by Ivan Marask (Sarno). Disguising himself as a poor factory worker, he labors in his own mill and thus becomes interested in Nicholas Marinoff (Dowling), a socialist writer, and his niece Celeste Janvier (Love). Discharged for inciting the workers to violence, Marask determines to kill Travers. He tells Celeste of his intention and they both arrive at the Travers home at the same time. The young woman spoils his aim so the shot meant for Travers goes wild. Marask is astonished to discover that the man he knew as Hughes is Travers, and his astonishment is shared by Celeste. Travers tells them of his planned reforms for the employees and of his love for Celeste.
Production.
"A Little Sister of Everybody" was filmed at Paralta Studio in Los Angeles.
Release and reception.
The film received mixed reviews.
Like many American films of the time, "A Little Sister of Everybody" was subject to cuts by city and state film censorship boards. For example, the Chicago Board of Censors cut, in Reel 4, the intertitle "I'll kill his dog, Hugh Travers, as a warning".
On its release, it was shown with the Toto (Armando Novello) comedy short "The Furniture Movers".
Re-release.
In 1922, the film was edited down to 3 reels, and released as a "Pathé Playlet".