Fay Tincher

Fay Tincher (April 17, 1884 – October 11, 1983) was an American comic actress in motion pictures of the silent film era.
Early career.
Tincher began her career on stage. In 1908 she was touring in California
with "The Merry Go Round Company". In August of that year she may have married fellow actor, Ned Buckley, on a dare. He was a Yale graduate and a resident of Bridgeport, Connecticut. She visited her
lawyer at the New York Life Insurance Building at 112-114 Broadway (Manhattan). She asked him to obtain a divorce if he learned that she was truly wed.
While performing on the Keith-Albee-Orpheum vaudeville circuit, Tincher was approached by a man who commented about her resemblance to actress Mabel Normand. She did not know Normand because she had never seen a movie in 1913. The agent gave her his card and said he wanted director D.W. Griffith to see her. The following day she came calling at Biograph Studios. In her first role Griffith cast her in the role of a vamp. Within three weeks she began to play comedy, at first slapstick, and later comedy drama.
Films.
Tincher played in "Bill Manages A Fighter" (1914), one of a series of "Bill" comedy shorts. It was made by the Komic Pictures Company of Los Angeles, California. The performers worked out of the Reliance Studios. Directed by Edward Dillon, former ex-lightweight fighter "Hobo" Dougherty was among the featured actors. In one scene Tincher encourages Dougherty "to get knocked out" on film. However she has trouble convincing the fight veteran that he is not really in a pugilistic contest.
By the end of 1915 Tincher worked for the Fine Arts Film Company. Aside from comic roles, she often depicted working class types such as a laundry girl in "Laundry Liz" (1916). Dillon directed and Anita Loos was the scenarist. The short movie was released by the Keystone Film Company. In "Skirts" (1916) Tincher plays an artist's
model who becomes a victim of drugs. This was a new type of role for her.
Tully Marshall plays the artist.
Griffith staged a presentation of comic bull fights, massive floats, theatrical comedy, and drama, in July 1915. The production was
called "the Pageant of the Photoplay". Audiences were able to view directors carrying megaphones, the process of film development, and movies being put together in make-up rooms. Tincher played a dramatic part in a comedy on the final day of the event. A stage was assembled and four scenes were acted out.
In 1918 Tincher became head of her own company, Fay Tincher Productions. Her movies were released by the World Film Company.
In the "Andy Gump" comedy series (1923–1928) Tincher played "Min", who wears her hair bobbed, alongside Joe Murphy as her husband, Andy Gump. The series numbered around forty-five films and was produced by Universal Pictures and Samuel Von Honkel.
American cartoonist Sidney Smith created the film characters.
Tincher's final motion picture was "All Wet" (1930). This is a two reel comedy short directed by Sam Newfield.
Inheritance.
Tincher inherited $25,000 from the bequest of the will of Mrs. Julian Dick, who died from inhaling illuminating gas on December 22, 1930. Dick's residence was at 116 East 36th Street in New York City. Her husband, Captain Dick, was a member of the New York Cotton Exchange. He had been accidentally shot to death by a friend in 1922.
Personal life and death.
In May 1915 Tincher won a bathing suit contest at Venice Beach, California, winning a first prize of $50. She wore a costume that was resembled her famous "typewriter dress", which she wore in movies. A crowd of approximately 75,000 attended the procession.
In 1918, she roomed with scenario writer, Maie B. Havey, in a small bungalow. Tincher liked working in the fine art of vitreous enamel.
Fay Tincher, at age 99, died of a heart attack in Brooklyn, New York, in 1983.


Park Railway Maltanka

The Park Railway Maltanka (, sometimes abbreviated to Maltanka) is a narrow gauge railway located in Poznań. It is long and is owned by "Miejskie Przedsiębiorstwo Komunikacyjne w Poznaniu Sp. z o.o." (). The line connects Rondo Śródka (Śródka Roundabout) and New Zoo transporting max. 150.000 passengers annually (e.g. 2019 - 138.122 passengers; 2020 - "Covid year" with extremely low result - 73.502 passengers).
History.
The first narrow gauge railway, called the "Harcerska Kolejka Dziecięca" () in Poznań, was built in 1956 and was operated by Polish Scouting Association (see Children's railway). This long route connected Ogród Jordanowski and Łęgi Dębińskie (). During construction of Hetmańska Str, part of second road ring of Poznań, the authorities decide to move the railway to a new location where the line would not conflict with main communication arteries. The railway, now renamed "Maltanka" was re-opened on 21 July 1972 in Malta. Since then it has been operated by "Public Transport Company". In 1998 its name was changed to "Maltańska Kolej Dziecięca" (), and again in 2002 to current name.
The name "Maltanka" comes from the Knights of Malta, who used to own the land and the old church nearby.


Ryan Premises

The Ryan Premises is a National Historic Site of Canada located in the town of Bonavista, Newfoundland and Labrador. It is preserved as an example of a large-scale merchant operation in a Newfoundland outport.
The site consists of the proprietor's house, a carriage shed, a retail shop, a retail store, a fish store and a salt store. The staff house, adjacent to but not part of the historical site, is a Registered Heritage Structure. Earlier, the premises also included a larger salt store, a cooperage, a powder magazine, a telegraph office, wharves, fish flakes, a lumber yard and a shipyard.
History.
James Ryan Ltd. was established in the Bayley's Cove section of Bonavista in 1857 where it operated a pub as well as a retail store. The main operation was relocated to its present location on Bonavista harbour in 1869 and liquor was only sold in bulk and the fishery became the main focus. The company bought and sold salt cod, supplied salt and other materials for the cod fishery, and sold general merchandise. By 1895 James Ryan Ltd exported 100,000 quintals (approximately 5,000,000 kg) of salt cod, approximately 10% of the total for Newfoundland. James Ryan Ltd. exited the fishing industry in 1952 and continued on as a general store until closing in 1978. In 1987, the Ryan Premises at Bonavista were designated as a National Historic Site. Parks Canada took over the property and it was officially opened to the public by Queen Elizabeth II on June 24, 1997 to mark the 500th anniversary of John Cabot's landfall at Bonavista.


Litvish (disambiguation)

Lithuanian Jews is a branch of Judaism traced to the Jews from the 18th century Grand Duchy of Lithuania.
Litvish may also refer to:
Mags and snags


List of New York State Historic Markers in Essex County, New York

This is an incomplete list of New York State Historic Markers in Essex County, New York.


Sencha mac Ailella

Sencha mac Ailella is a character from the Ulster Cycle of Irish mythology. He acts as an important judge and notable poet during the reign of Conchobar mac Nessa. He volunteered to foster Cúchulainn, but was only an educator. Sencha helped establish peace between the Ulstermen.
Sencha's face broke out in "blotches" when giving a misogynistic judgment. They were a consequence of a spiritual or magical ban that compelled him to behave fairly. His face was later healed when Brigit convinced Sencha to reconsider his judgment.
He has been compared to Nestor of Homer's Iliad and Merlin of the Arthurian Legends.


General Crack

General Crack is a 1929 American pre-Code part-talkie historical costume melodrama with Technicolor sequences which was directed by Alan Crosland and produced and distributed by Warner Bros. It was filmed and premiered in 1929, and released early in 1930. It stars John Barrymore in his first full-length all-talking feature. The film would prove to be Crosland and Barrymore's last historical epic together.
Plot.
The film takes place in the 18th century Austria and revolves around Prince Christian, commonly known as General Crack (John Barrymore). His father had been a respectable member of the upper ranks of the nobility but his mother was a gypsy. General Crack, as a soldier of fortune, spent his adult life selling his services to the highest bidder. He espouses the doubtful cause of Leopold II of Austria (Lowell Sherman, reigned 1790-1792) after demanding the sister of the emperor in marriage as well as half of the gold of the Holy Roman Empire. Before he has finished his work, however, he meets a gypsy dancer (Armida) and weds her. Complications arise when he takes his gypsy wife to the Austrian court and falls desperately in love with the emperor's sister (Marian Nixon). The court sequence was originally in Technicolor and proved to be Barrymore's last appearance in color.
Box office.
According to Warner Bros records the film earned $919,000 domestic and $401,000 foreign.
Preservation.
The sound version of "General Crack" is lost. The silent version of this film, with Czech intertitles, survives, but does not have any of the original color sequences. Copies are located in the Czech archive and the Museum of Modern Art. Although the complete soundtrack for the sound version survives on Vitaphone disks, the silent version was either a "B" negative or an alternate take with intertitles. So while this is a legitimate version of the film, it does not match up with the Vitaphone soundtrack.


Sulima coat of arms

Sulima is a Polish coat of arms. It was used by several szlachta families in the Kingdom of Poland and the Polish–Lithuanian Commonwealth. Among its most notable users were Zawisza Czarny (a famous Polish knight) and the Sułkowski family.
Description.
The coat of arms consists of a shield split horizontally into two regions, most commonly using the colors of red and yellow. The bottom region is usually depicted as red (rarely blue) with three white stones or crosses adorning it. The top region is depicted as yellow (sometimes described as gold) or less commonly white (also described as silver), adorned with the top half of a right-facing eagle with its wings outstretched. More ornate depictions of the coat of arms include various mantling, for example a helmet on top of the shield, and a further eagle on top of the helmet.
Variations used by individual families may change the color scheme, use a different eagle, or otherwise incorporate the entire design as part of a larger coat of arms.
History.
The earliest recorded uses of the Sulima coat of arms are found on three wax seals attached to documents from 1352 and around 1360. One of them was owned by the curator of the collegiate church of St. Michael's Castle - Francis. In its initial form the coat of arms consisted of only the undivided shield. The colors from this period are unknown.
Among several images of the seal from the 14th century the most note-worthy is the seal of Stanisław Gamrat from Klimontów impressed under the act of Union of Horodło in 1413.
Around the same time Sulima was used by Zawisza Czarny. Fighting with the Turks and performing various missions at the side of king Sigismund, perhaps in reference to the emblem of Germany, he gave the eagle in his coat of arms black color (a "cognomen" Czarny means 'black' in Polish). Associated with the figure of Zawisza is also the first colored version of Sulima. It ended up in "St. Christophers Fraternal Book on Arlberg in Tyrol" (pol. "Księga bracka św. Krzysztofa na Arlbergu w Tyrolu)" as a donation to the fraternity for caring for travellers crossing Alps. The arms of the eagle, the top field, and an added girdle on the eagle were silver. Bottom field was red with golden stones in a 2 and 1 distribution. Presumably the Western illustrator was inspired by the eagles of Silesia (girdle and color), Germany (color) and Poland (color of the field).
In the 15th century appearances Sulima was featured in three Western rolls of arms. The most famous of these is the Burgundian "Armorial Toison d'Or" by Jean Le Fèvre de Saint-Remy from around 1435. Armorial repeats the color scheme of the familiar "Fraternal Book", but the upper field is thinner, coming closer to a third of the shield instead of the usual half. That version lacks any jewels or mantling. Two other Western armorials "Codex Bergshammar" and "Armorial Lycenich" from 1420s/30s, publish a similar image, also shrinking the top field.
At the same time in Poland images of Sulima have already had a clear division into two fields. An example of this are the seals of Władysław from Oporów, bishop of Wrocław in the years 1435-1441. Images in the same style were also preserved at the castle in Oporów.
An interesting variant of the look comes from the decoration of the reliquary of St. Barbara from the years 1484-1493. The shield alongside the already established division has an additional element in the form of decorative fringes, the emblem is red, and the field is gold.
Subsequent elements of the full coat of arms next to labrów and jewel, appeared on the bell of the Dmosin and, dating back to 1,500 years, the foundation of a family member Oporowski. It is worth noting that this is the first presentation of Sulima labrami and the jewel in Poland. Additionally, the helmet had a crown.
The first performance Sulima with a top field gold comes from the portrait of Peter Gamrat from the years 1541-1545. Here, however, the top field more like a head. Division two-pole and gold upper field shows while so-called. "Herbal Arsenalski" from about 1535 to 1555. In addition, the stones are all silver. Although silver tincture upper field appears even in the sixteenth century, but it can be assumed that the tincture of gold then became dominant. Much of the merits of a new compendium of heraldic from 1584 - "Herby rycerstwa polskiego" by Bartosz Paprocki. It shows the image of the coat of arms full, but does not identify the color of stones. In addition, due to an engraver's error, eagle jewel and emblem is facing to the left, which was replicated in later times.
Moreover, this coat of arms is found on several gothic tombstones, among others in Gniezno and Koło, as an architectural detail in several churches and in a castle in Oporów near Kutno, as well as a symbol of the founders of the various ecclesiastical jewels - precious chalice, books.
Decline of fourteenth century brought in the first written mention of the coat of arms Sulima. In 1397, the name of the family and the coat of arms appeared in court records Łęczyca voivodeship (record "de cleynodio Sulima"). For the same year it comes the first mention of a kindred Sulimów in court records Konin. Since then repeatedly scrolled in various writings heraldic, sometimes with a terse description of the coat of arms in Latin or Polish, for example. "Pol Horla and trzi kamene" (1423) " eagle with three stones " (1568 year), or "three stones s pools eagle v black box" (1580). Particularly noteworthy so far unexplained mention of the black box. Perhaps it is a closer vague variation.
Description Sulima was also the first Polish armorial - Gem attributed to Jan Długosz with 60s fifteenth century. Dlugosz describes the coat of arms without the distribution of the field. It is possible that simply omitted this detail description, or based on older depictions.
The earliest mention of proklamie, which is identical with the name of the coat of arms comes from 1424.
According to Maria Kowalska Bobowski-name coat of arms comes from the personal name (name) Sulima, Sulim (from 1394 is present in the sources Sulima with erysipelas, undoubtedly a member of this family).
For reliable can be regarded as hypothesis Wladyslaw Semkowicz derived the name of Sulima (such as topographic) from the village of nest Sulimów in Wielkopolska Sulina under Kleck in the district of Gniezno, parish Dębnica. Another village with a similar name - Sulimów (now Sulmów) was in the district of Sieradz, parish Goszczanów. It is known from written sources until 1391. And far away, geographically, from Łęczyca goods of different families of the arms known from a later period. Not too far away, but from here (about 30 km in a straight line) to Sieradz Ostrowska near Uniejów - the village associated with Sulimami already in 13th in.
Unlikely it seems to be another hypothesis derived from the name of the family Sulimów kind of medieval polearms - sulicy.
Black eagle as a symbol of strength was the emblem of the Roman emperors and German.
According to legend, given by Leopold von Ledebur progenitor Sulimitów was added to the coat of arms of three precious stones to show the community of blood with his two brothers, from whom he had to distinguish by name and emblem.
Jan Dlugosz hypothesized repeated later by other heralds (Paprocki, Bielski, Okolski, Niesiecki), allegedly Sulimczycy were knights migrant from Germany. Would testify about the black eagle, allegedly referring to the heraldry of kings and emperors of the Reich. Niesiecki even gives an example of Prussian family Slomff that in one of the fields czterodzielnego coat of arms was half black eagle and writes about them as relatives Sulimczyków. This hypothesis, however, is today called into question by some historians: it is not meet so. " Criterion imino ", which clearly shows that the names of the earliest mentioned Sulimitów were purely Polish (e.g. Strzeszko, Budzisław, Wierzchosław).
This article has been prepared on the basis of reliable sources, especially classical and contemporary armorials. However, you should pay attention to the frequent occurrence of assigning the wrong families of noble coats of arms, especially intensified during legitimacy nobility against offensive Herold me, which was then fixed in turn issued armorials. The identity of the names does not mean belonging to the family coat of arms. Membership in the can clearly determine only study genealogy.
The list of names contained in the article (in infoboksie right) comes from 'Herbarium Polish' 'Tadeusz Gajl. This is so far the most comprehensive list of herbownych, constantly replenished by the author of the new editions of "Herbarium". Occurrence on the list of names does not necessarily mean that a particular family sealed the coat of arms Sulima. Often, the same names are the property of many families representing all the states of the former Republic, i.e. The peasants, burghers, nobility.
Some of the common names there are for families of assumed to coat the road adoption. The first (not counting Rodywiła) documented an adopted (year 1506) was a councilor Jan Baytel (Beutel) of Toruń. In 1522 Sulimitą became Stanislaw Vitreator (Glazier - Szklarzewski), while four years later - Fedor Dawiłowicz of Vitsyebsk and children and brothers - Saul Emanuel and Jerzy Zylajewiczami. They were adopted by Peter and John Służewski Gamrat. With the adoption came a coat of Felix of Trynczy 1540, but it made the gem varieties (see variant versions aristocratic and alternative representations of the coat of arms). New Sulimitów admitted to the family until the end of the First Republic. Anthony, Christopher and Valentine Deymów knighted and given Sulima 1768 George Trublajewicza year later, and Melchior, Gaspar and John Szajowskich (Szajewskich) in 1776.
Sulima was used by several families of foreign origin, including Tatar and Armenian.
Stanislaw Dziadulewicz lists Tartar origin family kniaziowską Ułanowiczów (who have come from Jasiek Kazkowicza an older line of princes Kryczyńskich; name is the name of the village Ułanowicze had taken in the period 1640-1650 Adam). He mentioned, too, that in 1819 Ignatius Ułanowicz Sulima (who wrote the Ullanowicz and using the nickname "on Solms') filed an application to the Senate of the Polish Kingdom to grant him the title of earl because of that his father in various transactions, the official took the title and that was registered even in metric as Count. The Commission of the Senate in 1824, evidence recognized and awarded it. Zablocki name as the name of a family of Tatar origin lists service " Polish Tartars ".
Armenian origin by Louis Corvinus was supposed to be a family Jaśkiewiczów. With this family were to be among others: Jan - court physician of King Stanisław August Poniatowski, Jagiellonian University professor, Joseph - the judge rights of Armenian in Lviv 1765, king's secretary, Gabriel and Francis Xavier - secretaries of the king.
It is worth mentioning published in 1855 a book of Russian heraldry Alexander Borisovich varnish 'Heraldry Russian' '. The author cites the names there of the Russian nobility, which took over some of the Polish coat of arms. Among them is Sulima. The paint does not explain how such a takeover occurred. What is certain is that few Polish families settled in Russia. Native Russian families could receive the Polish coats of arms on the principle of assimilation images of their own. Coat of arms Sulima had the varnish to seal the family: Bantysz-Kamienski, Guriew and Sabłukow (of unspecified variety). Herb Sulima, as one of the 271 Polish nobility coats of arms has been absorbed by the Russian heraldry.
Origin and occurrence coat.
The earliest mention of evolution and the image of the coat of arms.
Notable bearers of this coat of arms include:


The Midnight Sun (film)

The Midnight Sun is a 1926 American silent drama film directed by Dimitri Buchowetzki and starring Laura La Plante, Pat O'Malley, and Michael Vavitch. It is based on a novel by the French writer Pierre Benoît. The film is set in pre-Revolutionary Tsarist Russia.
The film includes a brief scene shot in Technicolor.
Production.
Some on-location scenes were filmed in Truckee, California.
Preservation.
A complete print of "The Midnight Sun" is located in the UCLA Film and Television Archive.


Southwold Earthworks

The Southwold Earthworks is the remains of a pre-contact village site of the Neutral people, occupied about AD 1450 to 1550. The entrance to the site is located on Iona Road, approximately three kilometres south of Iona Ontario, Canada. A double oval ring of raised earthworks surrounds the remains of the village.
Background.
Occupied between AD 1450 and 1550, it is located in southwestern Ontario in rural Elgin County, near the banks of a tributary of Talbot Creek, approximately 20 km west of St. Thomas, Ontario. Archaeological investigations have indicated the presence at one time of eighteen longhouses of various sizes within the village, with an estimated population of 800-900 people. These native inhabitants were the Attiwandaronk (Attarawandon) Indians, an Iroquoian-speaking people called the Neutrals by the French colonists. An open area in the centre of the community appears to have provided a common activity area or meeting place. The archaeological interpretation concludes that Southwold was a typical pre-contact Neutral village, palisaded for defensive purposes.
The site consists of an oval ring of earthworks enclosing archaeological remains of a double palisade and village, which may have included up to 24 longhouses. Estimated to have originally been about 0.8 hectares (2 acres) in size, the village was surrounded by a double ring of earthworks, which served as the foundation for a double ring of upright pickets or palisades, which completely circled the village. The main entrance was believed to have been located at the northeast corner of the earthworks. Two other openings, one on the northwest and one in the southern section of the perimeter, permitted a small stream to flow between the rows of palisades.
Heritage recognition.
The Southwold Earthworks was one of the first sites considered for official recognition by the Historic Sites and Monuments Board of Canada. The site was designated a National Historic Site of Canada in 1923 and was purchased by the Canadian federal government in 1929.
Archaeological investigations.
Two major archaeological investigations were conducted at Southwold Earthworks, in 1935 during the Great Depression and in
1976. Oral tradition within the local Oneida community recounts that Southwold was used as a ceremonial site, which was enclosed by the palisade so that activities taking place within the village were screened from the view of people outside the wall. According to the same oral tradition, the site would have been occupied not as a year-round village, but as a seasonal place of pilgrimage. The palisade was not defensive in nature, but protected a center for healing and purification rituals.
Archaeologists found the site atypical of Neutral villages of the period: it is located on flat land with no natural defensive advantages and, despite the presence of apparent fortifications, it contains no evidence of ever having been attacked. Although archaeological estimates of site population were that about 800 people could have lived there, the site has little evidence of the refuse and garbage of occupation.


Kathak

Kathak is one of the eight major forms of Indian classical dance. The origin of Kathak is traditionally attributed to the traveling bards of ancient northern India known as Kathakars or storytellers. The term Kathak is derived from the Vedic Sanskrit word which means "story", and "Kathakar" which means "the one who tells a story", or "to do with stories". Wandering Kathakars communicated stories from the great epics and ancient mythology through dance, songs and music. Kathak dancers tell various stories through their hand movements and extensive footwork, their body movements and flexibility but most importantly through their facial expressions. Kathak evolved during the Bhakti movement, particularly by incorporating the childhood and stories of the Hindu god Krishna, as well as independently in the courts of north Indian kingdoms. Kathak is unique in having both Hindu and Muslim gharanas and cultural elements of these gharanas. Kathak performances include Urdu Ghazals and commonly used instruments brought during the Mughal period.
Kathak is found in three distinct forms, called "gharanas", named after the cities where the Kathak dance tradition evolved – Jaipur, Banaras and Lucknow. While the Jaipur gharana focuses more on the foot movements, the Banaras and Lucknow gharanas focus more on facial expressions and graceful hand movements. Stylistically, the Kathak dance form emphasizes rhythmic foot movements, adorned with small bells ("Ghungroo") and the movement harmonized to the music. The legs and torso are generally straight, and the story is told through a developed vocabulary based on the gestures of arms and upper body movement, facial expressions, neck movements, eyes and eyebrow movement , stage movements, bends and turns. The main focus of the dance becomes the eyes and the foot movements. The eyes work as a medium of communication of the story the dancer is trying to communicate. With the eyebrows the dancer gives various facial expressions. The difference between the sub-traditions is the relative emphasis between acting versus footwork, with Lucknow style emphasizing acting and Jaipur style famed for its spectacular footwork.
Kathak as a performance art has survived and thrived as an oral tradition, innovated and taught and from one generation to another verbally and through practice. It transitioned, adapted and integrated the tastes of the Mughal courts in the 16th and 17th centuries, particularly by Akbar, and was ridiculed and declined in the colonial British era, then was reborn as India gained independence and sought to rediscover its ancient roots and a sense of national identity through the arts.
Etymology and nomenclature.
The term "Kathak" is rooted in the Vedic term "Katha" () which means "story, conversation, traditional tale". "Kathak" refers to one of the major classical dance form primarily found in northern India, with a historical influence similar to Bharatanatyam in south India, Odissi in east India and other major classical dances found in South Asia. It differs from the numerous folk dance forms found in north and other parts of the Indian subcontinent.
The Kathak dancers, in the ancient India, were traveling bards and were known as "Kathakas", or "Kathakar".
Kathak has inspired simplified regional variants, such as the "Bhavai" – a form of rural theatre focussing on the tales of Hindu goddesses (Shakti), and one which emerged in the medieval era, is presently found in Gujarat, Rajasthan and Madhya Pradesh. Another variant that emerged from ancient Kathak is Thumri.
Thumri was developed by the tawaif community who were called "nautch" dancers by the British.  Their history as Kathak dancers have been erased in modern India "". "", also see ""
History.
According to Mary Snodgrass, the Kathak tradition of India is traceable to 400 BCE. The earliest surviving text with Kathak roots is the Natya Shastra, attributed to sage Bharata, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE.
The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters. The text, states Natalia Lidova, describes the theory of Tāṇḍava dance (Shiva), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances including Kathak. Dance and performance arts, states this ancient Hindu text, are a form of expression of spiritual ideas, virtues and the essence of scriptures.
The 2nd century BC panels found in Bharhut show the dancers in a vertical stance with their arms' positions already suggesting today's Kathak movements. Most of the dancers have one arm near the ear in a "pataka hasta" (Mudra). In subsequent years, the hasta was lowered to the bust level.
The term Kathakas in the sense of "storytellers" appears in ancient Hindu texts, such as the Mahabharata:
Bards, actors, dancers, songsters and musical reciters of legends and stories are mentioned hundreds of times in the Hindu Epics.
Bhakti movement era.
Textual studies suggest that "Kathak" as a classical dance form likely started in Banares (Varanasi) and from there migrated northwest to Lucknow, Jaipur and other parts of north and northwest India. The Lucknow tradition of Kathak dance attributes the style to a Bhakti movement devotee named Ishwari from the Handia village in Allahabad, Uttar Pradesh, who credited Hindu God Krishna appearing in his dream and asking him to develop "dance as a form of worship". Ishwari taught his descendants, who in turn preserved the learning and developments through an oral tradition over six generations ultimately yielding the Lucknow version of the Kathak dance – a family tree that is acknowledged in both Hindu and Muslim music-related Indian literature.
The evolution in Kathak dance theme during the Bhakti movement centered primarily around divine Krishna, his lover Radha and milkmaids ("gopis") – around legends and texts such as the Bhagavata Purana found in the Vaishnavism tradition of Hinduism. The love between Radha and Krishna became symbolism for the love between Atman (soul within) and the supreme source (Cosmic soul everywhere), a theme that dance ballet and mimetic plays of Kathak artists expressed. Although central asian influence of Kathak rapid whirls has been proposed, Sangitaratnakara, a 13th century Sanskrit text on Indian classical music and dance in Chapter 4 mentions a dance movement with rapid whirling around like a wheel keeping the arms in the Dola pose and bending the body inwards called 'Cakramandala' It is employed in worshipping gods and in vigorous movement.
The emergence of Raslila, mainly in the Braj region (Mathura in Western U.P.) was an important development. It combined in itself music, dance, and the narrative. Dance in Raslila, however, was mainly an extension of the basic mime and gestures of the Kathakars or story-tellers which blended easily with the existing traditional dance.
Mughal era.
With the coming of the Mughals, this dance form received a new impetus. A transition from the temple courtyard to the palace durbar took place which necessitated changes in presentation. In both Hindu and Muslim courts, Kathak became highly stylized and came to be regarded as a sophisticated form of entertainment. Under the Muslims, there was a greater stress on nritya and bhavag - the dance's graceful, expressive and sensuous dimensions.
The Mughal era courts and nobles accepted Kathak as a form of aristocratic entertainment, which low income families were willing to provide. According to Drid Williams:
Over time, the Kathak repertoire added Persian and Central Asian themes, such as the whirling of Sufi dance, the costumes replaced Saris with items that bared midriff and included a transparent veil of the type common with medieval Harem dancers. When the colonial European officials began arriving in India, the Kathak court entertainment they witnessed was a synthesis of the ancient Indian tradition and Central Asian-Persian dance form, and the Kathak dance performers were called the "nautch girls" (or "natch", a derivative of the more difficult to pronounce Sanskrit "natya").
British Raj era.
With the spread of colonial British rule in 19th-century India, Kathak along with all other classical dance forms were discouraged and it severely declined. This was in part the result of the Victorian morality of sexual repressiveness along with Anglican missionaries who criticized Hinduism. Reverend James Long, for example, proposed that Kathak dancers should forget ancient Indian tales and Hindu legends, and substitute them with European legends and Christian tales. Missionaries recorded their frustration in "Church Missionary Review" when they saw Hindu audiences applaud and shout "Ram, Ram" during Kathak performances.
The seductive gestures and facial expressions during Kathak performances in Temples and family occasions were caricatured in "The Wrongs of Indian Womanhood", published at the start of the 20th century, as evidence of "harlots, debased erotic culture, slavery to idols and priests" tradition, and Christian missionaries demanded that this must be stopped, launching the "anti-dance movement" or "anti-nautch movement" in 1892. Officials and newspapers dehumanized the Kathak dancers and the sources of patronage were pressured to stop supporting the Kathak performing "nautch girls" (also termed as "devadasis" and "tawa'ifs" in mid 20th century literature). Many accused the dance form as a front for prostitution, while revivalists questioned the constructed histories by the colonial writers.
Not only did missionaries and colonial officials ridicule the Kathak dancers, Indian men who had been educated in colonial Britain and had adapted to Victorian prudery joined the criticism, states Margaret Walker, possibly because they had lost their cultural connection, no longer understood the underlying spiritual themes behind the dance, and assumed this was one of the "social ills, immoral and backward elements" in their heritage that they must stamp out. However, the Hindu families continued their private tutoring and kept the Kathak art alive as an oral tradition. Kathak teachers also shifted to training boys to preserve the tradition, as most of the 20th-century ridicule had been directed at Kathak "nautch girls".
Kathak was brought to the attention of audiences outside India in the early 20th century through Kalkaprasad Maharaj.
Post colonial era.
The movement to end the colonial era and for an independent India, states Walker, also witnessed a revival of Kathak and more broadly, a cultural ferment and effort to reclaim culture and rediscover history. The Kathak revival movements co-developed in Muslim and Hindu "gharanas", particularly by the Kathak-Misra community. Of these the Jaipur and Lucknow sub-traditions of Kathak have attracted more scholarship.
The oldest Kathak department pat a degree college (university) was formed in 1956 at Indira Kala Sangeet University, a public university located in Khairagarh where Dr. Puru Dadheech instated the first Kathak syllabus for degree programs. It was inspired by the diploma syllabus of Mohanrao Kallianpurkar at Bhatkhande College.
According to a BBC Arts article, Kathak is unique in being practiced by the Muslim community of the India, and thus has a "historical link to Islam." Farah Yasmeen Shaikh, a Muslim and a disciple of Pandit Chitresh Das in the Lucknow school, considers Kathak as a "confluence of Hindu and Muslim cultures", and has presented her performance in Pakistan. In contrast, states BBC, "Nahid Siddiqui, settled and nurtured in the UK, has a hard time practising and presenting her [Kathak] art in her birth-country of Pakistan".
While most scholars consider Kathak as an ancient art, some such as Margaret Walker suggest the modern Kathak is a 20th-century phenomenon, more a form of cultural revival, if one relies on the music-related Indian documents.
Repertoire.
A modern Kathak, in all three major sub-traditions called Lucknow, Benares and Jaipur styles ("gharana"), states Bruno Nettl, consist of three main sections - the invocation, one pure (abstract) dance recital and one expressive dance.
The invocation ("vandana") consists of the dancer coming to stage and offering respect to his or her guru and the musicians on the stage. If the team is from the Hindu tradition, the dancer(s) combine facial expressions and hand gestures ("mudra") to invoke Hindu gods and goddesses; while a Muslim performance replace the devotional expressions with a "salami" (salutation).
The pure dance is called a "nritta", while the expressive dance is called a "nritya". A Kathak performance can be solo, duo or team. In a technical performance, the speed and energy the dancers exchange with the audience increases in multiples, that is the tempo doubles or quadruples. During the performance, one or more of the Kathak artists may come to the microphone, interact with the audience, explain something, tell an anecdote in a particular language, or rhythmically recite a song.
The costumes of the dancer and the facial cosmetics between a Hindu or Muslim Kathak dance troupe varies. The stage typically is bare with no distracting background, states Williams, with musicians seated on rugs downstage right (audience's left), and if it is a Hindu performance there is an image of dancing Shiva (Nataraja) or a Ganesha on the stage's left with flowers and perfumed incense burning.
Pure dance (Nritta).
The "nritta" performance starts off with a "thàth" sequence, which is a slower graceful movement of wrists, neck and eyebrows. Thereafter, the dancer gradually increases speed and energy, while completing a sequence of "bol" (mnemonic syllables in Indian tradition). Each "bol" has short sections, similar to technical exercises in western dance traditions, wherein the dancer engages the audience with "tora", "tukra", "parhant", "paran" and others stressing footwork, gestures and turns. Each section when completed has a punctuation mark, usually a sharp turn of the head. Each ankle is adorned with small bells ("ghungroo"), which may have just one bell or hundreds. The dancer's rapid movements and footwork in a "nritta" is perfectly timed to the musical beats ("tala") and tempos, and the footwork sequences are called "tatkars".
Most of the "Nritta" performance is abstract, fast and rhythmic aspect of Kathak. In a Kathak "nritta", as with all classical Indian dance forms, the viewer is presented with pure movement, wherein the emphasis is the beauty in motion, form, speed, range and pattern. It aims to engage the senses (prakriti) of the audience.
Expressive dance (Nritya).
"Nritya" is slower and expressive aspect of Kathak that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions. In a "nritya", the dance expands to include words, musical notes and gestures to articulate a legend or message, it is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.
The expressiveness of Kathak is also found in other classical dances of India. Its roots are found in the "Natyashastra" text which defines drama in verse 6.10 as that which aesthetically arouses joy in the spectator, through the medium of actor's art of communication, that helps connect and transport the individual into a super sensual inner state of being. The "Natya" connects through "abhinaya" (literally, "carrying to the spectators"), that is applying body-speech-mind and scene, wherein asserts "Natyashastra", the actors communicate to the audience, through song and music. Drama in this ancient Sanskrit text, thus is an art to engage every aspect of life, in order to glorify and gift a state of joyful consciousness. According to Massey, another important ancient text that has influenced Kathak is the "Abhinaya Darpanam" of Nandikeshvara (~2nd century CE).
In Kathak, "abhinaya" is in the form of expressive gestures and pantomime set to music that usually outline a legend or the plot of a well known story. The gestures and facial expressions convey the "ras" (sentiment, emotional taste) and "bhava" (mood) of the underlying story. In the Hindu texts on dance, the guru and the artists successfully express the spiritual ideas by paying attention to four aspects of a performance: "Angik" (gestures and body language), "Vachik" (song, recitation, music and rhythm), "Aharya" (costume, make up, jewelry), and "Satvik" (artist's mental disposition and emotional connection with the story and audience, wherein the artist's inner and outer state resonates). A Kathak nritya performance, however grants flexibility to the artists and invites improvisation, and it may not be accompanied with a song or recital about the legend. The stories in Kathak performance generally tend to be about the Hindu god Krishna (or in some cases Shiva or Devi), and the stories come from sources such as the Bhagavata Purana, or the Indian Epics. This form of expressiveness is also found in "thumri" and Persian "ghazals".
Costumes.
The costumes vary among Kathak performers, and find their sources in either Hindu or Muslim culture.
The Hindu costume for female dancers has two variations.One is based on a Sari, but is worn in a style different from the customary style that goes over the left shoulder. A Kathak artist generally wraps the sari around the waist and it hangs down from the left. A blouse called "choli" covers the upper body. The artist may wear a scarf (called "orhni" in some places). Hair, face, ear, neck, hand, wrist and ankle jewellery, typically of gold, may adorn the artist. A "tika" or "bindi" in the middle of forehead is common. The second variation of a Hindu Kathak dancer uses a long, full (just above the ankle), light-weight skirt usually with embroidered border that helps highlight the dance motion. The skirt is contrasted with a different color "choli", and a transparent scarf typically drapes over it and the dancer's head. Jewelry is typically present in the second variation.
The Muslim costume for female dancers also uses a skirt, but includes close fitting churidar pyjamas and sometimes a long coat covering hands and the upper body. The head has a cover scarf and the jewelry is light.
The Hindu costume for male Kathak performers is typically a silk "dhoti" draped around the waist, and covered with a silk scarf tied over the top. The upper body is usually left bare or with only the Hindu thread, but is sometimes covered with a loose sleeveless jacket. Kathak male artists also wear jewelry, but often of stones and much simpler than the female artists.
Instruments.
The ensemble of musical instruments vary with any Kathak performer, ranging from two to twelve classical Indian instruments or more in versions with synthetic innovations. The most common instruments that go with Kathak are "tabla" (a pair of hand drums) that syncs with the dancer's feet rhythms, "sarangi" or harmonium with "manjira" (hand cymbals) that meters the "tal" (cycle), and other instruments to add effect, depth and structure to the expressive stage of a Kathak performance.
Music.
The ancient music genre of India, Dhrupad, was re-introduced into Kathak for the first time by India's senior Kathak exponent Mahamahopadhyay Dr. Pandit Puru Dadheech. He is India's first Kathak dancer to bring back 'Dhrupad' on the formal Kathak stage and this composition in 28 matra. Shankar Pralayankar, his Dhrupad composition, has the unique status of regularly being sung in concerts by 'Dhrupad' maestros the Gundecha Brothers.
Gharanas.
Kathak is a diffuse tradition, of which three "gharanas" (schools) are more well known and studied – Jaipur, Benares and Lucknow. The schools place different relative emphasis between aspects of a Kathak performance such as the acting versus footwork. The Lucknow style, for example, emphasizes acting while Jaipur style emphasizes the dance and footwork. Traditionally, the Jaipur gharana has had a strong spiritual flavor, covering a diverse range of ideas in Vaishnavism and Shaivism.
The Jaipur gharana traces its origins to Bhanuji, a famed Shiva Tandava dancer who upon visiting Vrindavan was inspired and taught Natvari Nritya. Bhanuji's grandons Laluji and Kanhuji were similarly inspired by Krishna. They returned to Jaipur, and together they began the Jaipur gharana of Kathak. The Jaipur style developed under the sponsorship of Rajput rulers, and they favored the Kathak dance with Hindu religious themes. In the modern era, this school has continued their emphasis on dance and footwork with Jai Lal, Janki Prasad, Kundan Lal, Mohan Lal and Nawal Kishore. This school is best known for its systematic innovations in rhythmic dancing, and the use of dance movement to express a story.
The Lucknow gharana of Kathak dance attributes its origins to a rural Krishna devotee named Ishwari from the village in southeast Uttar Pradesh, who aimed to develop Kathak dance as a form of loving devotion to Krishna. This school thrived after the Mughal Empire collapsed, when Kathak artists moved from Delhi to Lucknow under the sponsorship of Avadh nawabs who favored court dance culture. In the modern era, the Lucknow gharana style influences the dance school in New Delhi with Shambu Maharaj, Birju Maharaj and Lacchu Maharaj. Kathak choreography there has developed themes beyond Krishna-Radha, such as those based on the drama works of Kalidasa's Shiva-Parvati and Bhavabhuti's Malati-Madhav. This school has also attempted a Hindu-Muslim Kathak fusion style, highlighting the court dancers theme.
The Benares gharana is the third major style, traditionally believed to be the oldest. Its history is unclear. According to Kothari, the school started with Janakiprasad from a village near Bikaner who resettled in Varanasi, but one whose ancestors were famed dancers and musicians. Janakiprasad was a dancer and a Sanskrit scholar, and credited with inventing the "bols" of Kathak, which are mnemonic syllables within the language of this classical dance of India.
According to Nicole Lehmann, modern Kathak dancers show, to varying degrees, a fusion of the styles from all three gharanas.
Relationship with other art forms.
The north Indian "Kathak" dance differs from the south Indian "Bharatanatyam" in several ways, even though both have roots in the Hindu text "Natya Shastra". Kathak expressions – particularly in Hindu devotional styles – are more introverted and withdrawn, while "Bharatanatyam" is more extroverted and expansive. "Kathak" is normally performed in a standing form with legs and torso typically straight, while "Bharatanatyam" extensively utilizes bent knee form ("ara mandi", half sitting position that is somewhat similar to "Demi Plié" ballet move).
"Kathak" is also different from "Kathakali", though both are Indian classical dance traditions of "story play" wherein the stories have been traditionally derived from the Hindu epics and the Puranas. Kathakali emerged in the southwestern region of India (modern Kerala), and is distinctive in its elaborate codified colorful makeup, masks and costumes. Kathakali traditionally has been troupes of predominantly male actor-dancers, who dress up as hero, heroines, gods, goddesses, demons, demonesses, priests, animals and daily life characters. Both dance forms employ elaborate footwork, choreography and hand gestures, but "Kathakali" integrates south Indian martial arts movements such as leaps and jumps. Both dance forms trace their roots to classical Sanskrit texts, but "Kathakali" has relatively more recent origins, more closely follows the "Hastha Lakshanadeepika" text and began flourishing in the 16th century. While each has a different musical and dance language, both deploy a host of similar traditional Indian musical instruments.
According to Miriam Phillips, the Indian Kathak and the Spanish Flamenco dance share many visual, rhythmic and kinesthetic similarities.


Howard Pursuivant Extraordinary

Howard Pursuivant of Arms Extraordinary is an officer of arms extraordinary in England. As such, Howard is a royal herald, but is not a member of the College of Arms in London.
The present office was created in November 1992 by the Earl Marshal, who was also the Duke of Norfolk. The name of the office is taken from the barony of Howard of Glossop (created in 1869), to which the 17th Duke inherited in 1972, from his father the 3rd Baron. The Duke himself has never used the title, since his mother's barony of Beaumont takes precedence.
The badge of office was assigned in 1992: "A cross-crosslet fitchy argent enclosed within a pair of wings displayed and reflexed gold." The crosslet is taken from the Howard's Arms and crest, while the wings allude to one of the Howard's crests and also the swiftness of the pursuivant as a messenger.
There has only been one appointment to this office since its creation.


Come Again Smith

Come Again Smith is a lost 1919 American silent comedy drama film distributed by Pathé Exchange and directed by E. Mason Hopper. It is based on a play "Come Again Smith" by John H. Blackwood.


Shalimar Television Network (STN)


Leo Monosson

Leo Monosson (Russian: Лев Исаакович Моносзон, lit. Lev Isaakovich Monoisson) (1897–1967) was a tenor singer born in Moscow, who found fame in Germany in the years 1928-1933. He spoke eleven languages and produced over 1400 records, one of his best-known being "Liebling, mein Herz lässt dich grüßen" with the Ben Berlin Orchestra. He was also an actor, appearing in films such as the musical "The Three From the Filling Station". As a Jew, he had to leave Germany in 1933, moving first to France and then the United States. In New York, he started a new career as a stamp trader.


Poronia coat of arms

Poronia 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:


Fleming coat of arms

Fleming - is a coat of arms of Flemish origin. It was used by the Flemming family in the times of the Polish–Lithuanian Commonwealth.


Ardclough Sedition Case

Ardclough Sedition Case was a complaint and threat of prosecution leveled against “Nora J Murray” (1888–1955), an Irish poet and school teacher, during the revolutionary period.
Complaint.
Ms Murray’s teaching of history in Ardclough National School was the subject of a complaint from local Unionist landlord Bertram Hugh Barton (1858–1927) in 1916.
Late in 1917 these allegations reappeared in the form of a complaint about “seditious teaching” filed to the National School commissioners in the name of Mrs Bourke, who said that her child had been discriminated against because he was the son of a British soldier.
Mrs Bourke informed the Commissioners that the teacher “instructs the children always to hate the British and tells them when they grow up she hopes they will fight and die for an Irish Republic,” phrases uncannily similar to the complaints used by Bertram Barton.
She alleged that Ms Murray taught children the nationalist poetry written by Emily Lawless (1845–1913) who had been born in nearby Lyons and who was a granddaughter of United Irish leader Valentine Lawless 2nd baron Cloncurry (1773–1853). She also alleged that Ms Murray had allowed songs composed by Thomas Davis and Peadar Kearney to be sung in class. Influences of all three writers can be found in Murray’s own poetry.
Response.
In October 1917 the Commissioners notified the manager of the school, John Donovan that the complaint had been received. He responded that, contrary to Mrs Bourke's accusations, that there had been no instances of seditious teaching in the history class, which had focused mainly on the Norman period, that the charge of victimisation of Bourke’s child was “absolutely false” and that the numbers attending the school had not, as alleged, fallen as a consequence of a loss of confidence in Miss Murray.
Fr Donovan referred to “the celebrated tongue” Mrs Bourke had in the neighbourhood.” He claimed that the teacher was both efficient and popular, and that any songs that may have been sung in class were so widely known that “no-one attaches any significance to them.”
Enquiry.
A sworn enquiry organised by Commissioners was postponed, pending a prosecution for sedition by the Dublin Castle administration in Ireland. A defence fund was organised by local people and after considerable publicity no sedition proceedings were initiated.
The only demand on Miss Murray from the Commissioners was that she was required in future to submit all songs to be sung in class for prior approval. Mrs Bourke’s children moved to a Protestant school run under the patronage of Barton in Straffan demesne.
Significance.
The case was regarded as a turning point in the battle between the Colonial authorities and the Irish National Teachers Organisation and school managers for freedom of expression in the Irish classrooms at a time when teachers were instructed to force children to recite poems such as “a happy English child.”


Jewlia Eisenberg

Jewlia Eisenberg (died March 11, 2021) was an American singer, composer, bassist, educator, and cantor. As founder and bandleader of Charming Hostess she coined the term "Nerdy-Sexy-Commie-Girly" to describe her genre of music which spans an eclectic range of styles.
Originally from New York City, Eisenberg became an integral member of the San Francisco Bay Area and the New York Downtown music scenes in the 1990s.
Her music was both physical, using voices, vocal percussion, handclaps, heartbeats, sex-breath, silence, and also intellectual, exploring such topics as Bosnian genocide in "Sarajevo Blues" (2004) and the political/erotic nexus of Walter Benjamin and his Marxist muse in "Trilectic" (2002). Both of these works were released on John Zorn's Radical Jewish Series on Tzadik.
She was commissioned from such sources as by the Sloan Foundation and the Goethe Institut SF and has received numerous awards, including: Trust for Mutual Understanding grant for collaboration with poets in ex-Yugoslavia, the Puffin Foundation grant for her Red Rosa project, a Katzenstein Fellow for collaboration with experimental architects and engineers as an Artist-In-Residence at MIT, a Rockefeller Foundation Multi-Arts Production Fund Grant for "'The Grim Arithmetic of Water", with aerial dance choreographer Jo Kreiter, a Goldman Fund Tikea Fellow for project-based radical film and music work with youth, and a Weisz Fellow for field research and recording among Jewish women in the Gondar region of Ethiopia. Eisenberg enjoyed a retreat as part of the Djerassi Resident Artists Program in October–November 2006.
Early Life.
Eisenberg was born in Brooklyn, New York, and grew up in Starrett City. Her parents were communists, and she stated that she lived with them in "a commune that was for black and Jewish people". Eisenberg's mother was a musician, who encouraged her musical development.
Eisenberg studied music at UC Berkeley, and later travelled the world. She also studied at the Pardes Institute of Jewish Studies.
Early work.
Eisenberg's music got a kick-start at University of California in Barrington Hall. It was there that she founded the first incarnation of Charming Hostess. At that time the West Oakland scene was also home to bands such as Fibulator and Eskimo. Half of the members of Charming Hostess were also in Idiot Flesh and Sleepytime Gorilla Museum. Eisenberg has described the genre of early Charming Hostess as "klezmer-punk/balkan-funk". Members included Jewlia Eisenberg (voice, direction), Carla Kihlstedt (voice, fiddle), Nina Rolle (voice, accordion), Wes Anderson (drums), Nils Frykdahl (guitar, flute, saxophone, percussion), and Dan Rathbun (bass).
Illness and death.
Eisenberg died on March 11, 2021, of complications from a rare immune disorder known as GATA2 deficiency. News of the artist's death was announced on her social media page later that day.


The Desert Breed

The Desert Breed is a 1915 American silent Western film directed by Joe De Grasse, written by Tom Forman, and featuring Lon Chaney and Pauline Bush. It is now considered to be a lost film.
Plot.
Two fugitives, Fred and Jack, dash out of the tiny town of Rawhide one night with a posse in hot pursuit. At the desert's edge, they come upon the cabin of Jessie, whom the townspeople refer to as "The Girl of the Desert". Jessie refuses to open the door to the two strangers and when they break in, one of the men lights a match and sees Pauline in the shadows pointing a revolver at them. They agree to leave her alone, if she will let them camp out near the cabin for the night.
The posse meanwhile has split up, and three members of the group approaches Jessie's cabin. They break in and Jessie wounds one of them, thinking they are the two outlaws returning. The posse members fire back, and Frank and Jack are awakened by the sound of gunshots. They come to the girl's defense and manage to capture and restrain the three posse members. Out of gratitude, Jessie offers to show the fugitives the trail that will bring them safely across the desert to the border.
Fred was wounded back at the cabin and starts hallucinating at one point, but after many hardships, they reach the border. They are alarmed to find the waterhole they were seeking has dried up, but Jessie manages to find them another source of water. Jessie leaves them there and, waving goodbye, she returns to her cabin.
Reception.
"This picture is full of strange charm and both acting and settings combine to produce the fascinating desert atmosphere. It is artistically handled and makes an unusual appeal to the observer. A strong offering." ---Moving Picture World
"An original drama of a decidedly pleasing nature, relying more on the clearly drawn characters for interest rather than the plot which, if analyzed, would prove almost nil...Mr. Chaney gets in an excellent piece of character work in this part." ---Motion Picture News


Edelweiss Pirates

The Edelweiss Pirates (Edelweißpiraten, ) were a loosely organized group of youth in Nazi Germany. They emerged in western Germany out of the German Youth Movement of the late 1930s in response to the strict regimentation of the Hitler Youth. Similar in many ways to the "Leipzig Meuten", they consisted of young people, mainly between the ages of 14 and 17, who had evaded the Hitler Youth by leaving school (which was allowed at 14) and were also young enough to avoid military conscription, which was only compulsory from the age of 17 onward. The roots and background of the Edelweiss Pirates movement were detailed in the 2004 film "Edelweiss Pirates", directed by Niko von Glasow.
History.
The origins of the "Edelweißpiraten" can be traced to the period immediately prior to World War II, as the state-controlled Hitler Youth was mobilized to indoctrinate young people, at the expense of the leisure activities previously offered to them. This tension was exacerbated once the war began and youth leaders were conscripted. In contrast, the "Edelweißpiraten" offered young people considerable freedom to express themselves and to mingle with members of the opposite sex. This was unlike Nazi youth movements, which were strictly segregated by sex, the Hitler Youth ("Hitler-Jugend") being for boys and the "League of German Girls" ("Bund Deutscher Mädel") for girls. Although predominantly male, the casual meetings of the "Edelweißpiraten" even offered German adolescents an opportunity for sexual experimentation with the opposite sex. The "Edelweißpiraten" used many symbols of the outlawed German Youth Movement, including their tent (the "Kohte"), their style of clothing (the "Jungenschaftsjacke"), and their songs.
The first "Edelweißpiraten" appeared in the late 1930s in western Germany, comprising mostly young people between 14 and 18. Individual groups were closely associated with different regions but identifiable by a common style of dress with their own edelweiss badge and by their opposition to what they saw as the paramilitary nature of the Hitler Youth. Subgroups of the "Edelweißpiraten" included the "Navajos", centred on Cologne, the "Kittelbach Pirates" of Oberhausen and Düsseldorf, and the "Roving Dudes" of Essen. According to one Nazi official in 1941, "Every child knows who the Kittelbach Pirates are. They are everywhere; there are more of them than there are Hitler Youth... They beat up the patrols... They never take no for an answer."
Although they rejected the Nazis' authoritarianism, the "Edelweißpiraten"s nonconformist behaviour tended to be restricted to petty provocations. Despite this, they represented a group of youth who rebelled against the government's regimentation of leisure and were unimpressed by the propaganda touting "Volksgemeinschaft" ("people's community").
During the war, many "Edelweißpiraten" supported the Allies and assisted deserters from the German Army. Some groups also collected propaganda leaflets dropped by Allied aircraft and pushed them through letterboxes.
Apart from gatherings on street corners, the "Edelweißpiraten" engaged in hiking and camping trips, defying the restrictions on free movement, which kept them away from the prying eyes of the totalitarian regime. They were highly antagonistic to the Hitler Youth, ambushing their patrols and taking great pride in beating them up. One of their slogans was "Eternal War on the Hitler Youth". As one subgroup, the Navajos, sang:
Nazi response.
The Nazi response to the "Edelweißpiraten" was relatively slight before the war, because they were viewed as a minor irritant and did not fit in with the policy of selective terror. As the war went on, and some Pirates' activities became more extreme, so did the punishments meted out. Individuals identified by the Gestapo as belonging to the various gangs were often rounded up and released with their heads shaved to shame them. In some cases, young people were sent to concentration camps specifically organized for youths, or temporarily detained in regular prison. On 25 October 1944, Heinrich Himmler ordered a crackdown on the group and in November of that year, a group of thirteen people, the heads of the "Ehrenfelder Gruppe", were publicly hanged in Cologne. Some of these were former "Edelweißpiraten". The "Edelweißpiraten" hanged included six teenagers, among them Bartholomäus Schink, called Barthel, former member of the local Navajos. Fritz Theilen survived.
Nevertheless, government repression never managed to break the spirit of most groups, which constituted a subculture that rejected the norms of Nazi society. While the "Edelweißpiraten" assisted army deserters and others hiding from the Third Reich, they have yet to receive recognition as a resistance movement (partly because they were viewed with contempt by many of their former Youth Movement comrades because of their 'proletarian' background and 'criminal' activities), and the families of members killed by the Nazis have as yet received no reparations.
Post-World War II.
Contrary to what the Allies had hoped, the "Edelweißpiraten" were neither pro-British nor pro-American. In the early days of the Allied Occupation, they sought contact with the Occupying Authority to intervene on behalf of friends, and even to propose that they might go on patrol, as did the Wuppertal "Edelweißpiraten". They were taken seriously and courted by various factions; the first known pamphlets of the KPD ("Kommunistische Partei Deutschlands") in July 1945 were directed at them.
While a small number of "Edelweißpiraten" remained in the Antifascist Youth and the Free German Youth organizations, the majority turned their back on these bodies as soon as they realized that, in the words of one member, "politics were taking centre stage again". For example, a group in Bergisch Gladbach disbanded when young people of Communist orientation tried to form a majority in the group.
The "Edelweißpiraten's" turning away from the re-authorized political youth groups forced them into the role of social outcasts and brought them into conflict with the Allies. The headquarters of the American Counter-Intelligence Corps in Frankfurt reported in May 1946 that Edelweiss activities were known throughout the British and American Zones.
Groups identifying themselves as "Edelweißpiraten" conducted many violent attacks against Soviet Russian and Polish displaced persons. Author Peter Schult witnessed such an attack against a Polish black marketeer. There were also attacks against German women who were known to have been friends or been intimate with British soldiers.
In a trial held by a military court at Uelzen in April 1946, a juvenile named as Heinz D. was initially sentenced to death, for his "...very active part in carrying out the nefarious schemes of the E. Piraten. An organization such as this might well threaten the peace of Europe." The sentence was commuted the following month to a prison term. In the Soviet Zone, young people suspected of being "Edelweißpiraten" were sentenced to a virtually obligatory 25 years in prison.
Controversy surrounded the claims that the group was Widerstandskämpfer [resistance fighters] after one member Fritz Theilen published his memoirs in 1984, leading to several legal battles that Theilen won. In April 2011, Cologne's Mayor Jürgen Roters presented Theilen and four other survivors the Order of Merit of the Federal Republic of Germany.


Wanda Tuchock

Wanda Tuchock (March 20, 1898 – February 10, 1985) was an American advertising copywriter, screenwriter, director, and producer during the early 20th century. She was credited with writing for over thirty films, and was one of the at least three women in the 1930s to be credited as a director on a Hollywood film.
Early life.
Tuchock was born on March 20, 1898 in Pueblo, Colorado. She attended the University of California at Los Angeles.
Career.
Tuchock began her career as an advertising copy editor. In 1927, at the age of 30, she entered the silent film industry. She only had one silent film credit; she was "one of the few women who began her career in the silent era and was able to maintain her career in Hollywood during the early sound years". She was one of the few female screenwriters who worked at Metro-Goldwyn-Mayer in the early 1930s. At RKO Radio Pictures she became one of only a small number of women in the 1930s, next to Dorothy Arzner and Dorothy Davenport, to be credited as a director on a Hollywood film. Between the 1930s and the 1950s, she drew in thirty-one writing credits, two directing credits, and one producer credit. In the 1950s, Tuchock was credited as a producer, writer, and director of a short called "Road Runners".
In 1929 Tuchock wrote "Hallelujah", the first black-cast film produced by a major studio. In 1931 she wrote the adaptation for the film "Susan Lenox (Her Fall and Rise)." In 1932 she did the original adaptation for the film "Little Orphan Annie", based on the comic strip. In 1934 Tuchock co-directed and wrote the film "Finishing School" with George Nichols Jr. In 1940 she wrote the musical "Youth Will Be Served". In 1947 she wrote the screenplay for "The Foxes of Harrow".
She retired in 1973 and died in 1985 at the age of 86.
Achievements.
Apart from Dorothy Arzner and Dorothy Davenport, Tuchock was the only woman to receive directing credit on a Hollywood studio film in the 1930s. She wrote and co-directed the film "Finishing School" with George Nicholls, Jr., and directed "Ready For Love". She also achieved recognition during the early 20th century as a female screenwriter at Metro-Goldwyn-Mayer. Tuchock was a charter member of the Screen Writers Guild. She was named a lifetime member of the Board of Trustees of the Motion Picture and Television Fund.
Personal life.
She married the actor and director George DeNormand, who was born on September 22, 1903 in New York and died on December 23, 1976 in California. Tuchock retired at the age of 75 in 1973. She died on February 10, 1985 at the Motion Picture and Television Hospital in Woodland Hills, Los Angeles of an undisclosed illness at the age of 86.
Filmography.
Tuchock wrote for over 30 films, directed three, and produced one.


Riel House

Riel House is a National Historic Site commemorating the life of the Métis politician and activist Louis Riel, and also the daily life of Métis families in the Red River Settlement. The house is situated in the historic St. Vital parish, Winnipeg in Manitoba Canada. From 1865, the residence belonged to Riel's mother, Julie Riel (Lagimodière), and housed his brothers and their families. Louis Riel lived along with them from his return to Red River in 1868, through the Red River Resistance, until his exile in 1870. It is also where his body lay in state for two days in December 1885 after his sentencing and execution for murder and treason, before being buried in St. Boniface.
The house remained within the possession of Riel descendants until 1968, when it was acquired by the Winnipeg Historical Society.
The house was restored to its 1886 condition, and converted into a museum. It was designated a National Historic Site in 1976 and a Federal Heritage Building in 2000. It is owned and administered by Parks Canada, but since 2013 the Louis Riel Institute (an associate of the Manitoba Métis Federation) has provided interpretation and programming.


Temple Beth Elohim (Georgetown, South Carolina)

Temple Beth Elohim is a Reform synagogue located at 230 Screven Street in Georgetown, South Carolina.
In the early 1760s, Abraham Cohen (1739-1800) and his younger brother Solomon Cohen (1757-1835), were the first Portuguese Jews (Sephardim) to arrive and settle in Georgetown (Parish) District, South Carolina. Moses Cohen (1709-1762) their father, emigrated to colonial America with a small group of impoverished Portuguese Jews, with eldest son Abraham age ten, circa 1750 from London, England into Charleston, South Carolina. Moses Cohen was the first religious leader of the small congregation of Jews, known as Kahal Kadosh Beth Elohim. They used old established Portuguese Rituals used in Bevis Marks, the place of worship for Sephardim in London. Charles Patrick Daly in his work; The Settlement of the Jews in North America wrote, "They formed themselves into a religious society in 1750, worshipping for seven years in a small wooden house in Union near Queen Street, each year bringing an accession to their numbers".
Abraham Cohen and a small number of (Sephardim) Portuguese Jews "worshipped in each other's homes and also at the Winyah Indigo Society" in Prince George's Parish (Georgetown District) according to the book, Shared Traditions; Southern History and Folk Culture by Charles Joyner. Cohen the eldest child of Moses Cohen was a Vendu-master (Aunctioneer), he "lived on Prince Street in Georgetown Parish (District) with Free Peggy [Margaret) McWharter (b. abt. 1745-d. 1806) a Free Person of Color," owned a Blacksmith shop and also served as first United States Postmaster. Abraham Cohen along with his sister Esther Cohen Myers and her husband Mordecai Myers are buried in Beth Elohim Cemetery, which Cohen "helped to establish in 1772, twenty-eight years before he was laid to rest there". However, the grave marker for younger brother Solomon Cohen (1757-1835) can be found in Chatham County, Georgia at Laurel Grove Cemetery. Solomon Cohen, Jr. (1802-1875), the son of Solomon Cohen, Sr (1757-1835) was the first Portuguese Jew born in Georgetown, South Carolina. He became a lawyer and later moved his widowed mother Bella Moses Cohen and wife Miriam Gratz Moses to Savannah, Georgia circa 1840, around the time of the so-called "Organ Controversy," involving the installation of a musical organ and music in Kahal Kodosh Beth Elohim, then an Orthodox place of worship in Charleston. Mordecai Myers the husband of Esther Cohen and brother n' law of Abraham Cohen, arrived in Georgetown (Parish) District about the same time. Abraham Cohen, Solomon Cohen Sr, and Mordecai Myers became prominent Planters in the colonial economy of Indigo, and growing rice, including auctioning and ownership of enslaved Kissi (Geechee) people from West Africa. For years they worshipped at home or the Winyah Indigo Society building.
History.
Congregation Beth Elohim in Georgetown, South Carolina's constitution was signed October 30, 1904 and the building opened in 1906. Temple Beth Elohim, in Georgetown, South Carolina as a place of worship was not organized until 1904, more than one hundred years after Abraham Cohen (1739-1800) the Portuguese Jew born in London, England and son of Moses Cohen of Charleston was buried in Beth Elohim cemetery in Georgetown, South Carolina, alongside his sister Esther Cohen Myers and her husband Mordecai Myers.
The Temple Beth Elohim building and place of worship located just blocks away from historic Beth Elohim cemetery founded in 1772 by Abraham Cohen and others, the cemetery is directly across from the old Bethel African Methodist Episcopal (AME) Church, built after Emancipation.
Current status.
Temple Beth Elohim organized in 1904 is an active Reform congregation with approximately 50 members and weekly Sabbath (Shabbat) services on Friday nights at 7:30 p.m.


Dixiana (film)

Dixiana (1930) is a lavish American pre-Code comedy, musical film directed by Luther Reed and produced and distributed by RKO Radio Pictures. The final twenty minutes of the picture were photographed in Technicolor. The film stars Bebe Daniels, Everett Marshall, Bert Wheeler, Robert Woolsey, Joseph Cawthorn, Jobyna Howland, Ralf Harolde, Bill "Bojangles" Robinson (in his film debut) and Dorothy Lee. The script was adapted by Luther Reed from a story by Anne Caldwell.
This is the film in which composer Max Steiner received his first screen credit for orchestration. Additionally, it was Wheeler & Woolsey's third film; however, as they were not yet an official "team", they were still billed separately.
Plot.
Dixiana Caldwell and her friends, Peewee and Ginger, are circus performers in the antebellum Southern United States. When Dixiana falls in love with a young Southern aristocrat, Carl Van Horn, she leaves the circus where she is employed and, with Peewee and Ginger, accompanies Carl to his family's plantation in order to meet Van Horn's family. At first thrilled with the news of their impending nuptials, Carl's father and stepmother, Cornelius and Birdie Van Horn, throw a lavish party for the couple. However, Peewee and Ginger inadvertently disclose Dixiana's background as a circus performer, creating a scandal for the elder Van Horns.
Asked by the stepmother to leave in disgrace, Dixiana and her friends return to New Orleans, seeking to gain re-employment from her former employer at the Cayetano Circus Theatre, but they are regretfully refused by him, due to the way she had departed. Desperate, she takes employment at a local gambling hall, run by Royal Montague, who also has personal designs on Dixiana. As part of his plan, he intends to financially ruin Carl and his family and use Dixiana to accomplish that purpose.
Things come to a head when Dixiana is crowned queen of the Mardi Gras. When Montague absconds with her, Carl challenges him to a duel, but, when a disguised Dixiana shows up in his stead, she tricks Montague into revealing his nefarious plans. Carl and Dixiana are reunited.
Copyright status.
At the end of 1958, the film entered the public domain in the United States because RKO did not renew its copyright registration in the 28th year after publication.
Preservation status.
The Technicolor sequences were considered lost for years but were re-discovered in 1988 and subsequently included in the restored DVD.
Reception.
Reviewer Mordaunt Hall of "The New York Times" wrote of the singing, "...one wishes there was more of it and less of the somewhat futile attempt at a story" and noted that Bill Robinson "...gives an excellent exhibition of tap dancing, which won a genuine round of applause" and concluded, "The early glimpses of the circus theatre ... lead one to expect more than one is apt to get out of this production."
The film reunited the director and most of the cast of RKO's most successful film of the year before, Rio Rita, but lackluster performances and direction, as well as a glut of movie musicals led to the film being one of RKO's biggest disappointments of 1930. The film lost an estimated $300,000.


The Sunset Legion

The Sunset Legion is a lost 1928 American silent Western film directed by Lloyd Ingraham and Alfred L. Werker, written by Garrett Graham and Frances Marion, and starring Fred Thomson, Edna Murphy, William Courtright, and Harry Woods. It was released on April 21, 1928, by Paramount Pictures.


Community newspapers in Hollywood, California

Community newspapers in Hollywood, California, have included the "Hollywood Sentinel" (1903 or before-1911), "Hollywood Inquirer" (unknown-1914), "Hollywood Citizen" (1905–1931), "Hollywood News," (unknown-1931), and "Hollywood Citizen-News" (1931–1970).
"Sentinel".
In 1903, veteran publisher A.A. Bynon sold his interest in a newspaper called the "Hollywood Sentinel" to G.P. Sullivan, who became the paper's editor. The "Sentinel" received the Hollywood city contract for printing legal advertising in December 1903. In 1904 C.N. Whitaker, former editor of the "Monrovia Messenger," bought the business, but on November 1 Morris & Ponay of Portland, Oregon, took it over.
In 1905 Charles Mosteller of Los Angeles was the new owner of the "Hollywood Sentinel." It was still being published in 1907 and 1909.
In 1909 Mosteller, identified as the "Sentinel's" managing editor, said the newspaper would begin a daily edition in June, which would compete with the "Hollywood Citizen". It was explained that the legal advertising for the City of Hollywood (which was then independent from Los Angeles) had to be published in a daily newspaper, so both journals were switching from weekly to daily publication in order to bid on the contract.
The "Los Angeles Herald" commented that each paper would try to underbid the other for the city's advertising and that "The fight, which promises to be a hot one, will result in the city's printing being done at a greatly reduced figure, probably below cost, and in forcing the losing paper to the wall."
In 1909, the "Sentinel" office was the scene of a fist fight occasioned by the refusal of editor Herbert F. Clark to print the poetry of W.D. Cowley unless it were paid for as advertising. Cowley, who was the caretaker at the home of "Los Angeles Times" publisher Harrison Gray Otis, refused to do so, and Clark thereupon wrote a column "casting reflections upon the character of Cowley's poetry," according to a report in the "Tacoma (Washington) Times."
"Cowley called at the "Sentinel" office to whip the editor and lost the battle," the Tacoma newspaper said.
In 1911 E.E. Brown purchased both the "Hollywood Sentinel" and the "Hollywood Citizen" and was to combine the two newspapers. "By so doing," wrote the "Alma (Michigan) Record," "he will have control of the newspaper business in a town of 7,000 people only 10 miles from Los Angeles."
"Inquirer".
A newspaper called the "Hollywood Inquirer" was owned and published by Herschel Spencer Lander until 1914.
"Citizen".
The first edition of the "Hollywood Citizen" appeared as a four-page, six-column weekly on Sunday, April 23, 1905, measuring 16 by 22 inches. The "Los Angeles Times" said that "its neat appearance caused much favorable comment." It was established by Ezekial Dunton Taylor (1842–1917), a veteran newspaperman originally from Ohio, who came to Los Angeles in 1902, and his son-in-law, W.C. Parcher. Taylor was editor until 1910, when he moved to the "Owens Valley Herald."
Harlan G. Palmer was editor of the "Citizen" in 1917.
"News".
Ira C. Copley of Aurora, Illinois, purchased the "Hollywood News" and the "Glendale Daily Press" from F.W. Kellogg and his son, W.S. Kellogg, effective February 15, 1928.
He also bought the "Alhambra Post-Advocate, Pasadena Evening Post, Monrovia Evening Post, Eagle Rock Daily Press, Burbank Daily Press, San Fernando Valley News, Sawtelle Evening Tribune, Santa Monica Evening Outlook, Venice Evening Vanguard, Culver City Star-News, Redondo Daily Breeze, Hermosa Daily Breeze" and the "San Pedro Daily News," effective September 1, 1928.
These latter papers were to be taken over and operated by the Southern California Newspapers Associated, of which Samuel G. McClure would become president and general manager. To make the transaction, Copley said, he assumed shares of ownership in the new group. McClure said that the "Hollywood News" would be immediately expanded, but that no changes would be made in the other papers.
Copley said that a holding company to be known as the Copley Press would be created by the succeeding September and that F.W. Kellogg would have an interest in it.
"Citizen-News".
The "Hollywood Citizen-News" was a "flourishing medium-sized daily, concentrating its coverage on Hollywood," according to the "Van Nuys News." "In the late 1930s, the paper led many a reform fight in local government."
Palmer ownership.
Merger.
Judge Harlan G. Palmer, the owner of the "Hollywood Citizen" since 1911, purchased the "Hollywood News" from Ira Copley in 1931 and combined the two papers under the name "Citizen-News." The first issue appeared on Monday, November 2, 1931, published from the "News" building. The combined circulation was expected to reach "more than 30,000," it was said. The "Citizen" circulation was given as 20,000 and the "News" as "over 20,000."
Union activity.
The editorial staff of the "Citizen" struck and picketed the plant on May 17, 1938, in the first walkout called by the American Newspaper Guild in California. Managing editor Harold Swisher said other workers were being hired and that production employees were on the job as usual. Publisher Harlan G. Palmer discharged three of the Guild members while negotiations were going on.
Sontag Company filed suit against the Los Angeles Newspaper Guild and others, contending it was damaged by union pickets at its Hollywood drug store.
A Superior Court judge issued a temporary restraining order against the union prohibiting it from picketing 166 companies that continued their advertising in the struck newspaper. The order against this secondary picketing was later made permanent.
The union took the matter to the National Labor Relations Board The strike ended on July 30, 1938, with an agreement between the two sides.
Superior Judge Emmet Wilson, however, ruled that six guild members he had cited for contempt of court must stand trial.
The union lost an appeal to the United States Circuit Court of Appeals which had been asked to rule on its claim, among others, that the company had violated labor law when it denied bylines to some employees who had been involved in the strike. The court held that it was within the right of the employer to make such a decision for business reasons.
Heyler ownership.
Palmer died on July 25, 1956, and the publishership of the company was taken over by his son, Harlan G. Palmer Jr., who in 1961 sold it to David B. Heyler, owner of the "Beverly Hills Citizen."
In January 1962, Heyler announced that the "Citizen-News" would have separate editions for three districts of the Los Angeles area: (1) Hollywood and the metropolitan area, (2) Beverly Hills west to Santa Monica, and (3) the San Fernando Valley.
Copeland ownership.
In July 1964 Lamott du Pont Copeland Jr., owner of the "Valley Times" in the San Fernando Valley, purchased the stock of the "Citizen-News," including twenty-seven weeklies operated in the Los Angeles area. A spokesman said it was the largest community-newspaper group in the United States.
Copeland appointed Richard M. Horton as publisher. The "Los Angeles Times" identified him as "a federal parolee with a long felony record and no previous newspaper experience." He had served time for a "real estate swindle in San Francisco and, later, parole violation."
The "St. Louis Post-Dispatch" said that Copeland acquired the Los Angeles newspapers "apparently as a forum for his ultra-conservative views." It said that revenues of the 27 weeklies in the Los Angeles group had fallen from $9 million a year to $5 million. Revenues were going to another group of weeklies that Copeland owned in Northern California, and he was paying himself a "consulting fee" of $13,000 a month.
The "Citizen-News" was merged with the "Valley Times", which ceased publishing under its own name in spring 1969.
The Hollywood newspaper changed its name to "Los Angeles Evening Citizen News" in March 1970 and attempted to gain readers by switching its editorial policy from conservative to liberal.
At one point in August 1970 a finance firm that was owed about half a million dollars sent in a team of security guards to take possession of the Citizen-News building. The next morning, according to the "St. Louis Post-Dispatch," Richard Horton, the publisher,
assembled a small army of 300 employes, lawyers and hangers-on and at 6 a.m. the following day launched a counterattack. Horton and some confederates slipped through an open window . . . The finance company still wouldn't agree to open the place up, so Horton told his employes to break in. They smashed several large plate glass windows and hustled — with the help of local police — the finance company guards out the door. The newspaper continued to publish for two weeks . . .
The company was seized by the Internal Revenue Service in August 1970 for nonpayment of taxes. On the same day its publishing company, Graphic Production Corp., filed a petition in bankruptcy court for an arrangement to pay its debts. The company went into receivership that month and was adjudged bankrupt on October 29, 1970.
Copeland filed a petition for personal bankruptcy in October 1970. It was the largest such action ever filed in the United States.
The final edition of the newspaper, with a black-bordered front page, was published on Friday, August 28, 1970. It had 321 employees, including 40 on the editorial staff. They had been working without pay in order to save the newspaper. The end meant there were only two daily newspapers published within the Los Angeles city limits, other than trade papers for the motion picture industry.
The assets of the newspaper company, including its real estate, the building, and everything in it, were sold at auction on May 11, 1971.
Office locations.
The "Citizen" office was at 108 West Prospect Avenue in 1906 and at 1640 Cahuenga Avenue in 1912. The print shop was at 6426 Hollywood Boulevard in 1919.
The Palmer Building Corporation in 1921 was erecting a three-story structure at the corner of Hollywood Boulevard and Cosmo Street for a new plant, at an investment of $250,000. It was to be completed on December 1 of that year.
In 1930 a three-story art deco building designed by architect Francis D. Rutherford was built for Copley's "Hollywood News" at 1545 Wilcox Avenue, between Hollywood and Sunset boulevards.
It was opened on Wednesday, July 1, 1931, with a tour and reception featuring "public officials and film players." The offices were said to be "equipped with automatic Associated Press electric typewriters, financial tape machines, [and] teletypes for the City News Service." Other amenities were
Goss multiple-unit press with a capacity of 72,000 sixteen-page papers an hour, the latest in stereotyping, composing, engraving and photographic appurtenances, north-facing skylights, shower baths, lounges and sound-absorbing desks. Walls and ceilings have been made soundproof and floors insulated with a rubber-and-cork composition.
In 2006 the 75-year-old building "underwent a million-dollar renovation to cater to the tastes of tenants in the media and entertainment industries," according to the "Los Angeles Times."


Maison Saint-Gabriel

The Maison Saint-Gabriel Museum is located in Montreal, Quebec and is dedicated to preserving the history, heritage and artifacts of the settlers of New France in the mid 17th century. The museum consists of a small farm, which has been administered for more than 300 years by the Sisters of the Congregation of Notre Dame of Montreal, founded by Marguerite Bourgeoys in Montreal in 1658.
The site was designated a National Historic Site of Canada in 2007.
Beginning.
On October 31, 1662, Paul de Chomedey de Maisonneuve conceded land in Pointe-Saint-Charles to Marguerite Bourgeoys. The purpose of this land was to establish a farm that would feed the Congregation of Notre Dame of Montreal and support its work. In order to plant crops, mainly corn, wheat, and pumpkin, the land was cleared by engagés. These workers helped with the heavy work, and also helped protect the Congregation from any enemy attacks.
In 1668, Marguerite Bourgeoys bought land adjacent to hers, on which stood a house and a barn, from Francois Le Ber and Jeanne Testard. Though it was never referred to as such at the time, this later become the Maison Saint-Gabriel. Initially, Sister Catherine Crolo was primarily in charge of the farm and the house: she planned the labour, the planting, and the harvest, as well as the transport of produce from the farm to the surrounding community. Sister Crolo was also responsible for overseeing the other Sisters in the community.
School.
In its early years, in addition to providing subsistence for the Congregation, the farm served as a preparatory school. It housed young women destined for or residing in Montreal, as well as some Filles du Roi, who were recruited in France. These girls were brought to New France in order to provide wives for the numerous single men of the colony, and by so doing, to boost the settler population; this plan was in effect from 1663 to 1673.
House and farm.
In 1693, the old farmhouse burned down. However, the foundation and the creamery survived the fire, and were incorporated into the reconstruction of the house, which was completed in 1698. This project was spearheaded by tradesmen, mainly masons, carpenters, and woodworkers. The architecture of the rebuilt house, mainly the two-storey body, the oak frame and ash beams, and the lean-tos, contributed to the heritage value of the house because it captured the essence of 17th century structural design.
In the early to mid 18th century, in order to maintain the agricultural roots of the house and to expand the farm, the Congregation bought many pieces of surrounding land. Throughout the 18th century, the Sisters cultivated wheat and oats and built a chicken coop, a barn, and stables. In the 19th century, the animals raised on the farm were used to produce butter, wool, soap, and leather.
19th century.
The house was transformed and modified over the years. As the city of Montreal expanded and industrialized and as immigration increased, some of the farmland of the Congregation of Notre Dame of Montreal was sold to allow for the construction of new housing. The construction of the railroad and the opening of the Lachine Canal brought rapid growth and urbanization to Pointe-Saint-Charles, and from the 1850s onward, developers and the city of Montreal slowly dismantled the domain.
Museum.
In the early 1960s, after officially celebrating the 300th anniversary of Marguerite Bourgeoys' ownership of land in Pointe-Saint-Charles, interest in turning the original house into a museum increased. However, in order to do so, another establishment needed to be constructed to house the sisters who would oversee the museum project. Therefore, the construction of the Jeanne-LeBer house began in 1963, and was completed in 1964.
The Maison Saint-Gabriel, the original farm house purchased by Bourgeoys in 1668, was then classified as a historic monument by the Ministère de la Culture, des Communications et de la Condition féminine in October 1965. Work began to restore the house that same year, under the supervision of architect Victor Depocas. The objective of the restoration was to conserve the walls and re-create within them the living conditions of the sisters who resided in the house in the 17th century. Thus, the kitchen, the common room, the basement, the chapel, the dormitory, the King's daughters' room, and the attic were refurbished and outfitted with artifacts that created an image and feeling reminiscent of the original house.
During the summer, costumed interpreters and artisans host live demonstrations showcasing 17th century craftmaking. In addition, the house and barn are surrounded by gardens. The Glade and the Poetry Path hosts indigenous plants and shrubs. The Farmhouse Gardens re-create a 17th-century vegetable garden. The Sharecroppers' garden honours the women of the Congregation of Notre Dame. These gardens add an horticultural element to the museum.
Collections.
The Maison Saint-Gabriel museum hosts over 15,000 artifacts. The 17th-century house and the 18th-century barn hold a collection that helps re-create rural living in New France, using objects dating from the 17th century onwards. There are many original objects, while others are reproductions based on drawings conserved from the 17th century. The collection includes domestic objects (lighting and appliances), religious clothing and accessories, furniture from homes and churches, materials of correspondence (letters and books), religious and decorative art, and finally textile, construction, agricultural and trade tools.
Expansion.
On November 1, 2010, the Jeanne-Leber house was officially incorporated into the Maison Saint-Gabriel Museum as the Catherine-Crolo pavilion. This building houses the gift shop, which has a tea room overlooking a terrace and which promotes local artisans. It also contains a reception area and a room for cultural activities.
The cost of the project was absorbed in part by the Governments of Canada and of Quebec. The ministries support this project as a way of educating visitors by preserving the heritage of Marguerite Bourgeoys and the Congregation of Notre Dame of Montreal.
Affiliations.
The museum is affiliated with: CMA, CHIN, and Virtual Museum of Canada.


Civil awards and decorations

Civil awards and decorations are awarded to civilians for distinguished service or for eminence in a field of endeavour. Military personnel might also be eligible for services of a non-military nature. There are various forms of civil awards and decorations, including the following.
On everyday occasions, only miniature insignia, often in the form of a circular rosette, are normally worn.


Lower Saxony Order of Merit

The Lower Saxony Order of Merit () is a civil order of merit, of the German State of Lower Saxony. The order was established 27 March 1961. The order is presented in three classes, the highest is the Grand Cross of Merit (Großes Verdienstkreuz), the next is the Cross of Merit First Class (Verdienstkreuz 1. Klasse), and the lowest is the Cross of Merit on Ribbon (Verdienstkreuz am Bande).


Hall of State

The Hall of State (originally the State of Texas Building) is a building in Dallas's Fair Park that commemorates the history of the U.S. state of Texas and is considered one of the best examples of Art Deco architecture in the state. It was designed and built for the Texas Centennial Exposition.
History.
Built in 1936 at the astronomical (especially during the Great Depression) price of $1.2 million, the building was the most expensive per unit area of any structure built in Texas. It was designed for the centennial of the Republic of Texas by architect Donald Barthelme in the beaux arts style and is considered one of the most representative examples of art deco architecture in Texas. Most of the Art Deco ornamental metalwork, including the light fixtures were designed by John F. Livers and made at his company the Livers Lighting and Bronze Company in Kansas City, Missouri, according to records from the Dallas Historical Society Centennial archives collection. The Hall of State is the culmination of the long Esplanade of State which is flanked by six exhibition pavilions and features a long reflecting pool. It was built using Texas limestone and features memorials to many of the heroes of Texas history.
Current.
The Dallas Historical Society has been responsible for managing the Hall of State since 1938. The Hall of State is listed on the National Register of Historic Places as a part of Fair Park. In 1986, the building was restored at a cost of approximately $1.5 million, and the G.B. Dealey Library was opened.
The G.B. Dealey Library, located in the East Texas room of the Hall of State, holds more than ten thousand bound volumes and three million historic documents, including Sam Houston's handwritten account of the battle of San Jacinto.
The Dallas Historical Society rents the Hall of State for events and provides guided tours to school groups.
The structure became a Recorded Texas Historic Landmark in 1981.
The American Museum of the Miniature Arts is currently located at the Hall of State.
Architecture.
The curved exedra at the entrance to the Hall of Texas features tall limestone pillars sit in front of blue tiles designed to evoke the state's flower, the bluebonnet ("Lupinus texensis"). In the center, above the entrance is an bronze with gold leaf statue by Allie Tennant of the "Tejas Warrior": an archer holds high a bow without an arrow, meant to symbolize peace.
Inside the Hall of State is the Hall of Heroes, which features six bronze statues of James Fannin, Mirabeau B. Lamar, Stephen F. Austin, Sam Houston, Thomas Jefferson Rusk and William B. Travis. There are also bronze plaques that commemorate the Battle of the Alamo and the Battle of San Jacinto. Outside, a statue of Robert L. Thornton, benefactor of the State Fair of Texas and former Mayor of Dallas stands, overlooking the esplanade.
On the exterior frieze, the Hall of State commemorates 60 prominent historical figures in Texas' history:


List of Pennsylvania state historical markers in Lackawanna County

This is a list of the Pennsylvania state historical markers in Lackawanna County.
This is intended to be a complete list of the official state historical markers placed in Lackawanna 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 32 historical markers located in Lackawanna County.