The Amateur Wife

The Amateur Wife is a 1920 American silent drama film directed by Edward Dillon and written by Nalbro Bartley and Jane Murfin. The film stars Irene Castle, William P. Carleton, Arthur Rankin, S.J. Warrington, Alex Saskins and Augusta Anderson. The film was released on February 22, 1920, by Paramount Pictures.
"The Amateur Wife" is a lost film.
Plot.
As described in a film magazine, Justine Spencer (Castle), daughter of the musical comedy queen Dodo Spencer (Anderson), arouses the interest of wealthy bachelor Cosmo Spotiswood (Carleton) on account of her odd appearance and unhappy life. When Dodo Spencer is killed by a jilted admirer, he marries the young woman in a spirit of pity, and when she asks him to show some love for her, he tells her the true state of affairs. While he is abroad for a year, she secures a maid to brighten up her appearance and immediately is transformed into a pretty woman with a score of admirers. When her husband returns, she rebuffs him. Finally, convinced that she has awakened his love, she consents to live with him.


Nemean Baths

The Nemean baths are an athletic bathing house at the Panhellenic sanctuary of Nemea in the Argolis. The baths are located on the south most part of the Hellenistic complex. They are directly west of the similarly dated Xenon, which served as athlete's lodging.
Dating of the site.
Though the sanctuary has existed since the Archaic period, the baths are thought to have been built in the 4th century BC. This first approximation date was first proposed during the 1926 excavations given the position of the site. Subsequent finds seem to suggest that the construction of the baths were part of a larger 4th century monumentalization program at the site. An adjacent 4th century aqueduct that does not appear to feed the baths further supports a post 4th century date. Furthermore, a small Classical trench may be thought to suggest an earlier bath which once occupied the same site. Period pottery in the foundation also seems to correlate to the 4th century.
Physical description.
The bath itself is divided between a west wing with a series of basins and an east wing with an open bath. Both of which are elevated and accessible beneath a flight of stairs. Under these stairs a terracotta pipe served to let drainage off to a small compartment and then to the river. The source of the water is a matter of contention and archaeological evidence has yet to produce a definitive answer. It is speculated to have come from a yet unknown aqueduct. Channels and reservoirs to leading the bath do survive and suggest a more complicated system than direct delivery. One postulation is that this was to allow the water to heat in the sun before being used in the baths, or else just control temperature.
Function.
Along with the Xenon, the bath served as amenities to athletes during the Nemean games. The individual basin found in the west wing are typical general 4th century Greek baths, and are similar to those found at sites in Eretria and Corinth. They most likely functioned as personal bathing facilities to the Athletes during the games. The east wing's circular immersion bath or 'plunge bath' is remarkable as it is one of only four in Greece. Rather than a basin for the individual they seem to have some purpose in communal bathing. Curiously all four extant immersion baths have been found at Panhellenic athletic sites. Their function is not entirely clear, yet it does seem that they had some ritual or perhaps practical use unique to the Panhellenic games or else they would be more common to Athletic sites.
Disuse and later history.
The bath seems to be used by the 1st century AD as evidenced by a layer of silt in the bath. This abandonment predates the end of the Nemean games in 275 AD, perhaps suggesting the general decline of the site. Through the end of the pagan context of the site it served as a trash heap. Early Christians turned the temple of Zeus into a Basilica in the 5th century AD and used the open chamber of the bath house as a repository for the dead; three burials have been found thus far.


Agent Orange (film)

Agent Orange is an American short silent film directed by Tony Scott. The film is about a psychedelic love story taking place in a "shadowy dreamscape". In 2004, the film was shot at 1 and 6 frames per second, noticeably altering motion and exposure. It was produced by Amazon.com's Amazon Theater.
The Orange Boy was played by Christopher Carley, and Orange Girl played by supermodel Jessica Stam. Troy Cephers played the janitor.
It was filmed on a Panavision Hollywood camera, with Eastman Kodak film.
Plot.
While waiting in a subway station, a young man catches a glimpse of a beautiful woman, dressed entirely in orange. Before he can reach her, her subway car speeds off.
The young man repeatedly visits the station, each time failing to make contact with the mysterious woman. Revealing he also wears all orange attire.
He plasters posters along the station's walls, only for them to be torn down minutes later by a janitor.
After finally giving up hope, a paper plane land in front of him. It is one of his posters. He looks up to see his dream girl. They stare at each other, before smiling.


Bandini (film)

Bandini (Hindi: बन्दिनी, translation: "Imprisoned") is a 1963 Hindi drama film directed and produced by Bimal Roy, the man who directed classics such as "Do Bigha Zameen" and "Devdas". Bandini stars Nutan, giving one of the finest performances of her career, along with Ashok Kumar and Dharmendra as leads, and explores the human conflicts of love and hate intertwined in the mind of Kalyani (Nutan). The lead female role was offered to one of Roy's favourite actresses Vyjayanthimala, who earlier worked with Roy in "Devdas" and "Madhumati". However, due to her busy schedule she refused the role, which later went to Nutan, who had worked with Roy in "Sujata" (1959). The movie tells the story of a woman prisoner serving life imprisonment for murder, Kalyani, the all suffering, selfless, sacrificing and strong, yet weak Indian woman. She must make a choice between two very different men, Devendra (Dharmendra), the loving prison doctor, and Bikash (Ashok Kumar), a man from her past.
The film is based on the Bengali novel "Tamasi" by Jarasandha (Charu Chandra Chakrabarti), a former jail superintendent who spent much of his career as a jailor in Northern Bengal, and wrote many fictional versions of his experiences.
Bandini was the tenth highest grosser of the year and was declared a 'Semi Hit' at Box Office India, though it received not just critical acclaim, but also swept that year's Filmfare Awards, winning six awards in all, including the top awards of Best Film and Best Director, as well as Best Actress, and is still considered a landmark movie of the 1960s, especially being the last feature film of the director Bimal Roy, a master of realism.
Overview.
A female-centric movie, one of the rare ones in Indian movies, Bandini revolves around Kalyani or Bandini, literally meaning imprisoned. It is also the only film to have depicted the sacrifice made by ordinary rural women during the Indian independence struggle.
This was Bimal Roy's final feature as a director and regarded by many as his crowning achievement. After casting her, in his previous women-centric film "Sujata" (1959), now the key laid in persuading Nutan out of her post-nuptial retirement to play the strictly raised, poetry-loving village girl, Kalyani. Nutan is strongly supported by Ashok Kumar and Dharmendra, just beginning to make an impact in the film industry and directed by award-winning director Bimal Roy, who ventures into the life of a convict and reveals his/her humanity and the circumstances that often force an ordinary person to commit a crime. This deep social concern is however conveyed subtly without being didactic, through the predicament of the main protagonist, Kalyani lodged in the prison through the majority of the film and her longing for freedom. The film also highlights the spirit of sacrifice in the youth during the freedom struggle when a youth would even sacrifice his future wife, at his party's command. Despite having a dramatic turn of events throughout the film, the melodrama never overpowers the narrative, the pace remains engrossing yet easy, and cinematography highlights the stillness and vacuum of prison life. Nutan remains understated through the film, and the director employs irony and symbolism throughout the film to make his statement instead.
S. D. Burman composed the songs for the film, at the height of his musical career and even chose to sing one himself; "Mere Saajan Hain Uss Paar". The movie has songs such as "Mora Gora Ang Lai Le" by Lata and the haunting and brilliant "O Jaanewale Ho Sake To Laut Ke Aana" by Mukesh. The film is brilliantly photographed in black and white by Kamal Bose, with its rich tonal quality and evocative framing, especially in the stark prison scenes, winning him the Filmfare Award for the year. It was noted for its use of black and white film, to bring "texture and form in simplicity mixed with richness", especially in the way he captured the prison environment.
Plot.
The film is set in a prison in around 1934 in pre-Independence India, where Kalyani is serving life imprisonment prison for committing a murder, and we learn the circumstances of her crime in flashback as she divulges it to the jailor. The film is set in Bengal in the 1930s, during the British Raj, where Kalyani (Nutan) is the daughter of the postmaster (Raja Paranjpe) of the village, who falls in love with a freedom fighter, Bikash (Ashok Kumar), who later leaves her in the village promising to come back but never does. Society treats them harshly. Broken by her father's misery and that of her own, Kalyani moves to the city, to the singing of the sad song "O Jaanewale Ho Sake To Laut Ke Aana". In the city, she works as a caretaker of an obnoxious and mentally unstable woman, who turns out to be the wife of Bikash. Kalyani learns that her father came to the city looking for her and died in an accident. That prompts her to poison her lover's wife, identifying her as the cause of her miseries in a moment of insane rage. Director Bimalda captures her emotions as she resolves to commit the crime, with light and darkness falling on her face due to a welder's torch and the thumping of iron in the background, and the ambient sounds as she inches towards the decision, pumping vigorously into a kerosene stove, without uttering a single word through it all. And subsequently confesses to the crime with equal passion.
Back from the flashback in the jail, Deven (Dharmendra), the jail doctor falls in love with her. Kalyani is not ready for it and starts to stay away from him. They are always shown with a partition in between after Deven proposes her. Another symbolism used in the movie is the occasional shouting of "All is well" by the prison guard when nothing in the movie is; and just as Kalyani is leaving prison for good, she receives yet another ironic message from a jail official, "Ab ghar grihasthi ki jail mein qaid rahogi!" Now you will be imprisoned in the jail of household! In the end, she finds Bikash at a ship harbour where she finds him in an ill condition. She then decides to take care of Bikash and her love is again reborn.
The lines "Main Bandini Piya ki, Main Sangini Hoon Saajan ki" in the end score of the movie tells us that Kalyani is imprisoned by her love, thus revealing the title of the film. "Mere Saajan Hain us Paar" is sung by the musician S. D. Burman himself, this climactic song beautifully expresses Kalyani's dilemma of having to choose between Bikash and Deven. Thus the character of Kalyani gets lifted from that of a woman who is a prisoner of destiny to one who defines her own freedom.
Production.
The screenplay of the film was written by Nabendu Ghosh, who had previously done the Bimal Roy films "Devdas" (1955) and "Sujata" (1959). It was based on the story "Tamasi" by Jarasandha, pen name of Charu Chandra Chakraborty, a former jail superintendent who wrote many stories based on his career as a jailor in Northern Bengal, including many fictional versions of his experiences, "Louha-Kapat" (1953), "Tamasha" (1958) and "Nyaydanda" (1961), effective creating a new genre in Bengali literature of prison stories.
The principal photography of the film took place at Mohan Studios in Mumbai, with some parts in Naini Central Jail, Yerwada Central Jail and Bhagalpur Central Jail, and the climax scene on the banks of the Ganga River at Sahibganj, in present Jharkhand.
Music.
The soundtrack includes the following tracks, composed by S. D. Burman, with lyrics by Shailendra. The film also marks the debut of Gulzar, who was working as an assistant director on the film as a film lyricist, initially having refused Bimal Roy on the offering, saying that he didn't want to become a lyricist, Gulzar relented only after the film's music director S.D. Burman convinced him so, and he wrote the song "Mora Gora Ang Lai Le" in five days. The rest of lyrics are by Shailendra, who gave classics like the haunting "Mere Sajan Hain Us Paar" in the bardic voice of S.D. Burman himself, Mukesh's sad song "O Jaanewale Ho Sake", where Burman uses "Bhatiyali" with a variation.
Though the movie features excellent songs, they all depict the situation like nothing else could, like a prisoner singing an ode to an imprisoned bird, "O Panchhi Pyare", sung by Asha Bhosle and Asha Bhosle's touching "Ab ke Baras Bhej Bhaiya ko Babul" composed in Raga Pilu, excellently uses the folk idiom of a traditional song of a newly married girl longing for her maternal home, ("maika"), but being sung by a prison inmate of Kalyani, immediately conveys the irony in its placement.


Atzmon (disambiguation)

Atzmon is a communal settlement in Gush Segev in the Galilee region of Israel.
Atzmon () may also refer to:


Neubergthal

Neubergthal is unincorporated rural community and a National Historic Site of Canada in the Municipality of Rhineland, Manitoba, Canada. Neubergthal was founded in 1876 as a Mennonite community with settlers who came from the Bergthal Colony in Russia. The historic site encompassed six sections of land and the village was laid out in traditional long narrow farmsteads. The village is famous for its traditional Mennonite housebarns and other historic buildings.
History.
Heavy persecution in The Netherlands in the 16th century forced Mennonites to flee for the Vistula Delta and Danzig areas of Prussia, where they were welcomed and allowed to follow the tenets of their faith. Here they developed an ethnic identity. Eventually Plautdietsch became the everyday working language, and High German replaced Dutch in the churches. The swampy marshes were turned into fertile farmland, and flourishing communities evolved. Housebarns were built in Strassendoerfer (street villages). Schools, churches, homes for the aged, Waisenamt (care of widows and orphans), and Brandordnung (fire insurance) were organized.
By 1786, after 200 years of prosperity, land was getting scarce and the Mennonites were denied the right to purchase any new land. Responding to the invitation of Catherine the Great, many families moved to resettle on the vast steppes of southern Russia, having received the assurance that they would receive free land and exemption from military service.
Within a few years there were 400 families living in 18 villages in the Chortitza Colony. When land became scarce again in 1836, a new colony ‘Bergthal’ was established. This is the colony where most ancestors came from. In the early 1870s school reforms, landlessness, and the threat of military conscription led the Mennonites to respond to the Canadian government's invitation to settle in the new province of Manitoba. In 1874 the first of many families landed at the Rat River and stayed in the Shantz shelters near Niverville, Manitoba until village sites had been selected in the East Reserve.
The first settlers moved from villages east of the Red River to the west, looking for fertile farmland. This area was known at the West Reserve. Migration to the new village of Neubergthal was based on family relations, which can be seen in the surnames and marriage patterns of the first inhabitants.
Historic Status.
In addition to its status as a National Historic Site of Canada, Neubergthal is home to multiple municipal historic sites. These include the Herdsman's House, H.F. Hamm House, and Friesen Interpretive Centre.
The H.F. Hamm House and Friesen Interpretive Centre are maintained by the Neubergthal Heritage Foundation, a nonprofit organization which oversees heritage preservation in the village.
In 2017, the group received a Parks Canada matching grant to restore the historic Klippenstein house barn, targeted for March 2018 completion.
Media exposure.
Neubergthal has been featured in the news for some high-profile arrivals to the town, Terry Mierau and Monique Scholte, a couple of opera singers turned farmers. The town, nearby farmers and research work from Winnipeg's University of Manitoba were featured in Katharina Stieffenhofer's documentary called 'From Seed To Seed'.


List of years in Canadian television

This is a list of years in Canadian television.


Melamid

Melamid is a Hebrew surname which translates to "teacher" in English, a variant of Melamed; see this page for other variants.
Melamid may refer to:


Canada lunar sample displays

The Canada lunar sample displays are two commemorative plaques consisting of small fragments of Moon specimen brought back with the Apollo 11 and Apollo 17 lunar missions and given in the 1970s to the people of Canada by United States President Richard Nixon as goodwill gifts.
Description.
Apollo 11.
The Apollo 11 Canadian moon rocks commemorative podium plaque display consists of four "Moon rock" rice-size particle specimens that were collected by Apollo 11 astronauts Neil Armstrong and Buzz Aldrin in 1969 and a small Canadian flag that went to the Moon and back.
The four Moon rocks weigh about 0.05 grams total and are entirely enveloped in a clear plastic button the size of a coin which is mounted to a wooden board approximately a foot square on a small podium pedestal display. The small podium plaque display also has mounted on it a small Canadian flag that had been taken to the moon and back on Apollo 11, which lies directly below the Moon rocks. The small podium plaque display was given to the people of Canada as a gift by President Richard Nixon. Similar lunar sample displays were also distributed to all the states of the United States and all the countries of the world.
Apollo 17.
The Canada Apollo 17 lunar sample display commemorative wooden plaque (10 by 14 inches) consists of one Moon rock particle specimen that was cut from lunar basalt 70017 and a Canadian flag. The basalt 70017 was collected by Apollo 17 astronaut Harrison Schmitt on the Moon in 1972. Once lunar basalt 70017 was brought back to Earth from the Moon, the basalt Moon rock was cut up into small fragments of approximately 1 gram. The specimen was enveloped in a plastic ball and mounted on the wooden plaque along with the Canadian flag which had been taken to the Moon and back by the crew of Apollo 17. The wooden plaque display was then distributed in 1973 by President Richard Nixon to the country of Canada as he did that year to all the countries of the world and all the states of the United States (the same as for the Apollo 11 plaque display gifts). This was done as a goodwill gesture to promote peace and harmony.
History.
In 1972 a 10-day international "Youth Science Tour" took place in the United States with 80 "youth ambassadors" ages 17 to 21 from all the countries of the United Nations participating. Jaymie Matthews, age 13 at the time (falsely identifying himself as 17), of Chatham, Ontario, was the Canadian "youth ambassador" representative whose reward for winning an essay contest on "The Importance of Space Flight to Mankind" was to go to the United States national capital. There Matthews met President Nixon and vice-president Spiro Agnew.
From Washington, D.C. the "youth ambassadors" were flown to Orlando, Florida and put up in a luxury hotel. They watched the launch of Apollo 17 in Florida from NASA's Mission Control Center. Matthews not only saw the launch but the landing of Apollo 17 on the Moon, which was memorialised by astronauts Eugene A. Cernan and Harrison H. Schmitt when they talked directly to the "youth ambassadors" from the surface of the Moon. Matthews was able to see astronaut Neil Armstrong personally at the luxury hotel in Orlando, Florida.
The program directors promised each "youth ambassador" a lunar sample from the Apollo 17 mission. In 1973 Matthews was sent the Canadian "goodwill Moon rock" encased in a clear Lucite ball about the size of a billiard ball and mounted to a 10-inch by 14-inch wooden board. In the center of the plaque was a small Canadian flag that had flown on the Apollo 17 mission to the Moon and back. On the bottom was a label inscribed:
Matthews kept the commemorative Canadian "goodwill Moon rock" display in his bedroom. The Apollo 17 display was out in plain view for months in his bedroom. He often showed it off to his space geeks. On September 21, 1973, during a ceremony at Rideau Hall (home of the governor-general Roland Michener), Matthews turned over possession of the lunar sample display to the National Museum of Natural Sciences in Ottawa, where it was exhibited for several years.
In 1978 the museum lost the lunar sample wooden plaque display during a national tour. They told Matthews it was stolen during the tour in Edmonton, Alberta, Canada. As the years went on. Matthews became a professor at the University of British Columbia. One day, as he was teaching a class, he googled for the commemorative Canadian "goodwill Moon rock" display. He came upon a picture taken of it in 2000. Doing more googling, he discovered it was in a museum warehouse in Aylmer, Quebec. Matthews compares it to a huge warehouse scene in "Raiders of the Lost Ark" where millions of pieces are stored. It was literally lost in the multitude of items stored and only through the accidental chance of Matthews finding a picture of it did its continued existence come to light. The National Museum of Natural Sciences in Ottawa told Matthews back in 1978 that apparently it was stolen, since at that time they themselves had lost it and needed a story to cover that. There was not even a 1978 national tour. It was all a cover-up story for Matthews. Eventually the Apollo 17 "goodwill Moon rock" display was put back on display at the Canada Science and Technology Museum in Ottawa.


Bonnie Annie Laurie

Bonnie Annie Laurie is a 1918 American silent drama film directed by Harry F. Millarde and starring Peggy Hyland, Henry Hallam, William Bailey, Sidney Mason, and Marion Singer. The film was released by Fox Film Corporation on September 1, 1918.
Preservation.
The film is now considered lost.


Devine

Devine is an Irish surname derived from Ó Daimhín/Ua Daimhín. Notable people with the surname include:


Cooney (name)

Cooney (from O'Cooney, Gaelic: "Ó Cuana") is a common Irish surname. In various forms, the name dates back to the 12th century. It is first associated with County Tyrone then in the province of Connaught, in the townland of Ballycooney, Loughrea barony, in County Galway, then to County Clare, County Mayo, and Dublin.
Alternate spellings are "O'Conney, Coony, Coonahan, Coonihan, Coonie, Coonan, Coumey, (Coomey)" and "Cooihan." Alternate spellings of O'Cuana are "Cuana, Coona, O Cuanaic," and "O'Cuanaich." Some with the name, Coonifer, Coonihan and Coumey, the latter mainly from County Cork, have been changed into Cooney.


Parthian Dark Age

The so-called "Parthian Dark Age" refers to a period of three decades in the history of Parthian Empire between the death (or last years) of Mithridates II in 91 BC, and the accession to the throne of Orodes II in 57 BC, with various date ranges being mentioned by scholars. It is called a "Dark Age" due to a lack of clear information on the events of this period in the empire, except a series of, apparently overlapping, reigns.
No written source describing this period has survived, and scholars have been unable to clearly reconstruct the succession of rulers and their regnal years using the existing numismatic sources due to their ambiguities. No legal or administrative document from this period has been preserved. Multiple theories have been proposed to partially address this numismatic problem.
Based on the classical sources, the names of the rulers in this period are Sinatruces and his son Phraates (III), Mithridates (III/IV), Orodes (II), the sons of Phraates III, and a certain Darius (I), ruler of Media (or Media Atropatene?). Two other names, Gotarzes (I) and Orodes (I) are attested in dated cuneiform tablets from Babylon.


Dev Entertainment Ventures

Dev Entertainment Ventures Pvt Ltd is an Indian movie production and distribution company based in Kolkata. The company was established by Deepak Adhikari and Gurupada Adhikari in 2017. In a short while, the company has grown on to become one of the leading Bengali movie production houses in Eastern India.
History.
Dev Entertainment Ventures Pvt Ltd was founded by Deepak Adhikari, better known in the Bengali film industry as Dev, one of the leading artists of Bengal in 2017, with his father Gurupada Adhikari. Dev started his career as an assistant to Abbas Mastan in Mumbai, after that he came to Kolkata for his debut film Agnishapath in 2004. After few years he shot to fame and commercial success with films like I Love You, Premer Kahini, Mon Mane Na, Challenge etc With the emergence of the new wave in contemporary Bengali cinema, Dev founded his company Dev Entertainment Ventures Pvt Ltd to showcase new concepts and talents not from the same mold of the past. Since then all the films produced under his banner have gone on to be both critical as well commercial success and were termed pathbreaking in the Bengali film fraternity.
Offices.
In India, Dev Entertainment Ventures has two different offices in Kolkata, Register office and Distribution office.


Jonathan Edvardsson

Jonathan Edvardsson, (born 7 April 1997) is a Swedish handball player. He was part of the Swedish national team competing in the 2021 World Men's Handball Championship in Egypt.
The season of 2021/22 he's leaving sweden for the german club TSV Hannover-Burgdorf.


Coal Miner (statue)

The Coal Miner is a public artwork by Polish American artist John J. Szaton (1907–1966) which is located in two US State capitals; the original, commissioned in 1963 in Springfield, Illinois, as well as a copy on the west lawn of the Indiana State House in Indianapolis The statues commemorate coal miners who had lost their lives in those states' mining industry. The tall statue rests on a square, granite base supported by a cement foundation that is thick.
Historical information.
Illinois.
"The Coal Miner" statue was originally commissioned in 1963 by the State of Illinois, after 15 years of advocacy work by coal miner, artist, and poet Vachel Davis (1898–1966). The Illinois legislature appropriated $15,000 for the construction and casting of a memorial to Illinois coal miners. Davis, who was acquainted with artist John J. Szaton, recommended that he submit a sketch for the monument based on Davis's 1946 painting "American Coal Miner". The legislature accepted Szaton's initial sketch. After submitting an model of the sculpture, which was approved, Szaton received a contract to create the full-scale piece. Szaton created a full-scale plaster sculpture in his Tinley Park studio before casting the statue in bronze. The plaster sculpture is still able to be viewed in the Tinley Park Historical Society Museum. The sculpture, dedicated in Illinois in 1964, was intended to commemorate the Illinois coal miners who had been killed in the state's coal mines. It is installed on the north end of the Illinois State Capitol's lawn in Springfield, Illinois, and faces Second Street. The dedication ceremony took place on October 16, 1964, with speeches from Illinois governor Otto Kerner, Jr. and Paul Powell, former speaker of the Illinois House of Representatives. Michael F. Widman Jr. represented the United Mine Workers of America at the dedication ceremony, standing in for John L. Lewis, president of the United Mine Workers, who was ill and unable to attend. A letter from Lewis commended the State of Illinois for being the first to honor their coal miners with such a memorial. A plaque was added in 1981 citing Szaton as its sculptor. The Illinois statue is owned and administered by the State of Illinois.
Indiana.
In 1965 the Indiana General Assembly appropriated funds to commission a copy of the sculpture to memorialize Hoosier coal miners who had been killed on the job. The Indiana statue was dedicated in 1967. As with the Illinois sculpture, it is a public artwork. Indiana's statue of "The Coal Miner" is owned and administered by the State of Indiana, Department of Administration.
Szaton's wife donated the full-scale plaster sculpture to the Tinley Park Historical Society in 1986.
Reproductions of small-scale versions of the monument have been mass-produced; over 200 have been given as gifts by the coal industry over the years.
Artist.
John J. Szaton was born in 1907 in Ludlow, Massachusetts. He apprenticed under well-known Illinois sculptor Lorado Taft, who invited Szaton to come to Chicago after meeting him on a lecture tour of various high schools and art schools in Massachusetts. Szaton, who became known for his sculpture, studied at the Art Institute of Chicago and at the now-defunct National Academy of Art in Chicago. He also worked on project for Taft and other artists, including the Lincoln Trail State Memorial by Nellie Walker, his wife's aunt. During the 1940s Szaton created several other sculptures: a War Memorial (1940) at the Northwest Armory, Chicago; "Indian Shooting the Stars" (1947) for Lane Tech High School, Chicago, as a tribute to students who died in World War II; and "Now I Lay Me Down to Sleep" (1947) for Cedar Park Cemetery, Calumet Park, Illinois. Szaton continued to work at Taft's studio until it disbanded in 1947, then moved his family to Tinley Park, at that time a small rural suburb of Chicago, and commuted to Chicago to work during the week as a greeting card engraver; income from art commissions was not sufficient to sustain his family. In 1948 Szaton built a large, vaulted-ceiling garage studio behind his home and continued to work on art projects.
In 1963 Szaton collaborated with artist Vachel Davis to reinterpret Davis's iconic 1946 painting "American Coal Miner" into a permanent, sculptural memorial to coal miners. Szaton's 7-ft. bronze statue, "The Coal Miner", is displayed on the lawn of the Illinois State Capitol in Springfield. It was dedicated on October 16, 1964, and became his most widely known sculpture. A second "The Coal Miner" statue, cast in 1966, is installed on the west side of the Indiana Statehouse and was dedicated in 1967. Szaton died in 1966 and is buried in Cedar Park Cemetery, Calumet Park, Illinois.
Statue.
Process.
The statue was first sculpted in plaster and then cast in bronze to create the Illinois statue, which was dedicated in 1964; the Indiana statue was cast later, in 1966, and dedicated in 1967. Both statues were cast at the Spampinato Art Workshop foundry in Chicago.
Description.
"The Coal Miner", which measures , is installed in the northwest corner of the Indiana Statehouse lawn and faces west. The figure wears overalls, boots, a belt, a long-sleeve shirt, and a miner's hat. He has a contrapposto stance with his proper left foot forward. He carries a miner's fire safety lamp, or "bug light", in his proper left hand, which is at his side. His proper right hand is raised, gripping the base of a miner's pick axe that rests on his proper right shoulder. The shirt-sleeve on his proper right arm is unbuttoned and hangs open on his forearm. The belt hanging at his waist has three visible belt punches. He wears a MSA Comfo Cap Model P miner's hat with its battery pack clipped to the backside of his belt. The artist's signature, "John Szaton, Sc." appears on the proper left side of the base, toward the front. On the proper left side of the base, toward the back, a foundry mark reads, "Cast by Spaminato ["sic"] Art Foundry Chicago, Ill. 1966".
The square, granite base measures . Its front-facing side has a bronze, bas-relief plaque depicting a drag-line mining crane at work in a strip mine. A cement foundation, thick, supports the base.
The plaque on the rear-facing side reads:
Condition.
The Indiana sculpture was assessed in November 1992 and added to the Smithsonian American Art Museum's Inventories of American Painting and Sculpture database. The statue was considered well maintained at the time of the assessment. Photos taken of the sculpture in 2005 show ample presence of lime scale, which was removed between late 2005 and October 2010.


List of Indiana state historical markers in Knox County

This is a list of the Indiana state historical markers in Knox County.
This is intended to be a complete list of the official state historical markers placed in Knox County, Indiana, United States by the Indiana Historical Bureau. The locations of the historical markers and their latitude and longitude coordinates are included below when available, along with their names, years of placement, and topics as recorded by the Historical Bureau. There are 7 historical markers located in Knox County.


Great Goddess of Teotihuacan

The Great Goddess of Teotihuacan (or Teotihuacan Spider Woman) is a proposed goddess of the pre-Columbian Teotihuacan civilization (ca. 100 BCE - 700 CE), in what is now Mexico.
Discovery and interpretation.
In years leading up to 1942, a series of murals were found in the Tepantitla compound in Teotihuacan. The Tepantitla compound provided housing for what appears to have been high status citizens and its walls (as well as much of Teotihuacan) are adorned with brightly painted frescoes. The largest figures within the murals depicted complex and ornate deities or supernaturals. In 1942, archaeologist Alfonso Caso identified these central figures as a Teotihuacan equivalent of Tlaloc, the Mesoamerican god of rain and warfare. This was the consensus view for some 30 years.
In 1974, Peter Furst suggested that the murals instead showed a "feminine" deity, an interpretation echoed by researcher Esther Pasztory. Their analysis of the murals was based on a number of factors including the gender of accompanying figures, the green bird in the headdress, and the spiders seen above the figure. Pasztory concluded that the figures represented a vegetation and fertility goddess that was a predecessor of the much later Aztec goddess Xochiquetzal. In 1983, Karl Taube termed this goddess the "Teotihuacan Spider Woman". The more neutral description of this deity as the "Great Goddess" has since gained currency.
The Great Goddess has since been identified at Teotihuacan locations other than Tepantitla – including the Tetitla compound (see photo below), the Palace of the Jaguars, and the Temple of Agriculture – as well as on portable art including vessels and even on the back of a pyrite mirror. The 3-metre-high blocky statue (see photo below) which formerly sat near the base of the Pyramid of Moon is thought to represent the Great Goddess, despite the absence of the bird-headdress or the fanged nosepiece.
Esther Pasztory speculates that the Great Goddess, as a distant and ambivalent mother figure, was able to provide a uniting structure for Teotihuacan that transcended divisions within the city.
After Teotihuacan.
The Great Goddess is apparently peculiar to Teotihuacan, and does not appear outside the city except where Teotihuacanos settled. There is very little trace of the Great Goddess in the Valley of Mexico's later Toltec culture, although an earth goddess image has been identified on Stela 1, from Xochicalco, a Toltec contemporary. While the Aztec goddess Chalchiuhtlicue has been identified as a successor to the Great Goddess of Teotihuacan, archaeologist Janet Catherine Berlo has suggested that at least the Goddess' warlike aspect was assumed by the Aztec's protector god – and war god – Huitzilopochtli. The wresting of this aspect from the Great Goddess was memorialized in the myth Huitzilopochtli, who slew his sister Coyolxauhqui shortly after his birth.
Berlo also sees echoes of the Great Goddess in the veneration of the Virgin of Guadalupe.
The Great Goddess.
Defining characteristics of the Great Goddess are a bird headress and a nose pendant with descending fangs. In the Tepantitla and Tetitla murals, for example, the Great Goddess wears a frame headdress that includes the face of a green bird, generally identified as an owl or quetzal, and a rectangular nosepiece adorned with three circles below which hang three or five fangs. The outer fangs curl away from the center, while the middle fang points down. She is also always seen with jewelry such as beaded necklaces and earrings which were commonly worn by Teotihuacan women. Her face is always shown frontally, either masked or partially covered, and her hands in murals are always depicted stretched out giving water, seeds, and jade treasures.
Other defining characteristics include the colors red and yellow; note that the Goddess appears with a yellowish cast in both murals.
In the depiction from the Tepantitla compound, the Great Goddess appears with vegetation growing out of her head, perhaps hallucinogenic morning glory vines or the world tree. Spiders and butterflies appear on the vegetation and water drips from its branches and flows from the hands of the Great Goddess. Water also flows from her lower body. These many representations of water led Caso to declare this to be a representation of the rain god, Tlaloc.
Below this depiction, separated from it by two interwoven serpents and a talud-tablero, is a scene showing dozens of small human figures, usually wearing only a loincloth and often showing a speech scroll (see photo below). Several of these figures are swimming in the criss-crossed rivers flowing from a mountain at the bottom of the scene. Caso interpreted this scene as the afterlife realm of Tlaloc, although this interpretation has also been challenged, most recently by María Teresa Uriarte, who provides a more commonplace interpretation: that "this mural represents Teotihuacan as [the] prototypical civilized city associated with the beginning of time and the calendar".
Domain.
The Great Goddess is thought to have been a goddess of the underworld, darkness, the earth, water, war, and possibly even creation itself. To the ancient civilizations of Mesoamerica, the jaguar, the owl, and especially the spider were considered creatures of darkness, often found in caves and during the night. The fact that the Great Goddess is frequently depicted with all of these creatures further supports the idea of her underworld connections.
In many murals, the Great Goddess is shown with many of the scurrying arachnids in the background, on her clothing, or hanging from her arms. She is often seen with shields decorated with spider webs, further suggesting her relationship with warfare.
The Great Goddess is often shown in paradisial settings, giving gifts. For example, the mural from Tepantitla shows water dripping from her hands while in the tableau under her portrait mortals swim, play ball, and dance (see photo to right). This seeming gentleness is in contrast to later similar Aztec deities such as Cihuacoatl, who frequently has a warlike aspect. This contrast, according to Esther Pasztory, an archaeologist who has long studied Teotihuacan, extends beyond the goddesses in question to the core of the Teotihuacan and Aztec cultures themselves: "Although I cannot prove this precisely, I sense that the Aztec goal was military glory and staving off the collapse of the universe, whereas the Teotihuacan aim seems to have been the creation of paradise on earth."
This is not to say, however, that the Great Goddess does not have her more violent aspect: one mural fragment, likely from Techinantitla, shows her as a large mouth with teeth, framed by clawed hands.
Other interpretations.
Mixed-Gender Interpretation.
Elisa C. Mandell's 2015 article "A New Analysis of the Gender Attribution of the 'Great Goddess' of Teotihuacan" published by Cambridge challenges the interpretation of the Great Goddess as being not only female but also male, a mixed-gender figure. Sex is understood as the biological and anatomical difference between men and women, while gender is a socially and culturally constructed identity. There are disagreements among historians over the role of biology to informing gender and “whether sex as a biological concept exists outside Western society”. There is a history of mixed-gender identity within Mesoamerican people, and considering that the Goddess is from Teotihuacan, Western models of gender binary should not be imposed upon non-Western figures. Additionally, there are no explicit sexual characteristics shown on the Great Goddess so their sex cannot be deduced.
There is a history of masculine and feminine attributes being shown within the same figure in Mesoamerican art. The Maya Maize Deity can be seen as an example of this, as posited by Bassie-Sweet. Considering the importance of maize, or corn, which has the ability to switch between the two biological sexes. With the fact that Mesoamerican people considered themselves to be descendants of the corn plant, this nature based culture allows for ambiguity of sex and gender within the peoples. Furthermore, we have evidence that the Maize God inspired Maya elites, no matter their gender, to wear mixed-gender costumes to honor the Maize God.
Mandell's article analyzes and reattributes each element included in the Goddesses depiction in the Tepantitla and Tetitla murals, reconsidering previous gendering of these elements. Pasztory references the three main elements of the Goddess: the avian headdress, the yellow and red zig-zags, and the nosebar. Mandell references many depictions of male and female deities where these elements are including, suggesting that it is impossible to determine any specific gendering from the headdress, zig-zags, and nosebar. Mandell then suggests that the mixture of these male and female attributes suggests that the Goddess is mixed-gender.
More generally, many images have been understood as depicting the Goddess because of their inclusion of water, which is also understood as a feminine symbol. Mandell posits that there is nothing inherently feminine about this liquid. In the Tepantitla and Tetitla murals, the water is filled with seed and shell shaped object. Liquid with sea-life and sperm may represent semen made up of sperm, thus suggesting a masculine association. One of the reasons Pasztory had asserted that the Goddess was a feminine deity is because it was understood to be wearing a quechquemitl. The quechquemitl is often associated with female figures. However, the triangular shirt or cape had multiple meanings for different people that also changed over time, and therefore it cannot be used as a simple demarcation of a figure’s sex or gender. Similarly, the Goddess’ ear ornaments had been a factor in deciphering the deity as feminine. Mandell asserts that there is no conclusive evidence to support these ornaments as feminine, and rather this particular ear ornament has been seen on male and female gods. The short skirt seen worn by figures in the Tepantitla mural has been considered another attribute of femininity, yet in Teotihuacan it was more common for males to be depicted in short kilts. The profile figures in the Tepantitla mural carry small bags, which men are known to carry, as seen in depictions of priests in Maya art. Mandell asserts that the ambiguity and combination of masculine and feminine attributes should be seen as a mixed-gender performance, not subjected to the Western binary model of gender.
Similar deities.
Some American Indians, such as the Pueblo and Navajo, revered what seems to be a similar deity. Referred to as the Spider Grandmother, she shares many traits with the Teotihuacan Spider Woman.


Altes Lager (Menzlin)

Altes Lager (German for "Old Camp") is a site south of the village of Menzlin near Anklam, Western Pomerania, Germany. The site, on the banks of the river Peene, was an important Viking trading-post during the Viking Age. At that time, Pomerania was inhabited by Slavic Wends, yet several Viking trading-posts were set up along the coast (the nearest were Ralswiek to the West and Jomsborg/Wollin to the east).
The settlement covered an area of approximately 18 hectares in the 9th century. Remnants of a bridge and a cemetery have been excavated. Some artifacts found in the graves originated in Ireland and in the lands east of the Baltic. Following Scandinavian customs, the dead were buried either in stone ships, i.e. ship-like graves, or within stone circles. The graves excavated so far have been found to be the tombs of women. Most findings date back to the 9th and 10th centuries.
Name.
The ancient name of the site is unknown. "Altes Lager", the current name, dates back to Friedrich Wilhelm I of Brandenburg's 1676 siege of Anklam.


Grace Episcopal Church (Galveston, Texas)

Grace Episcopal Church is a historic church at 1115 36th Street in Galveston, Texas.
It was built in 1894 and added to the National Register in 1975.


Twenty Years of African Cinema

Twenty Years of African Cinema () is a 1983 Tunisian documentary film directed by Férid Boughedir, which looks back at 20 years of African cinema. It was screened in the Un Certain Regard section at the 1983 Cannes Film Festival. In April 2019, a restored version of the film was selected to be shown in the Cannes Classics section at the 2019 Cannes Film Festival.


Dahn (surname)

Dahn is German surname, and may refer to:


Stand by Me Doraemon 2

 is a Japanese 3D computer animated science fiction comedy film based on the "Doraemon" manga series and a sequel to 2014 film "Stand by Me Doraemon". Directed by Ryūichi Yagi and Takashi Yamazaki, it is largely based on Doraemon' s 2000 short film "" and shortly based on Doraemon's 2002 short film "The Day When I Was Born".
Synopsis.
Nobita - following his previous adventure - has managed to change his future for the better, making Shizuka marry him. Taken by despair, however, he decides to return to the past to re-meet his beloved grandmother, she died when he was still in kindergarten and to whom he was really fond of; grandmother is happy that Nobita came back in time to be with her, and confides in him a great desire: to meet his future bride. Meanwhile, the Nobita of the future, who is about to get married to Shizuka and crown his "dream of happiness", is seized by a panic attack and flees into the past to see Doraemon again, fearing that he is not the right person for Shizuka.
Release.
It was originally scheduled to release in theaters on 7 August 2020. However, due to the COVID-19 pandemic, the film was temporarily removed from the release schedule, and was replaced by "" (which had been postponed from a previous March release). The film was then postponed to 20 November 2020 when it was given a theatrical release in Japan.
The film was released in Indonesia on 19 February 2021. The film was released in Malaysia on 5 March 2021.
Soundtrack.
The theme song is Niji (Rainbow) by Masaki Suda.
Box office.
Debuting on 416 screens with limitations on seating capacity due to COVID-19 pandemic, "Stand by Me Doraemon 2" earned $3.7million on 305,000 admissions in its first weekend and ranked number-two on Japanese box office.
Here is a table which shows the box office of this movie of all the weekends in Japan:


Not a Drum Was Heard

Not a Drum Was Heard is a lost 1924 American silent western film directed by William A. Wellman. The title is taken from the first line of Charles Wolfe's poem "The Burial of Sir John Moore after Corunna":


Ryongtongsa

Ryeongtongsa is a Korean Buddhist temple located on Ogwansan in Kaesong, North Korea.
History.
Founded by the Cheontae sect of Buddhism in 1027, the temple is believed to be one of the first of the sect's temples in Korea. Destroyed by a fire in the 16th century, and further damaged by American bombing during the Korean War, little remained of the original temple when reconstruction began in 2000 as a joint Korean cultural project. After five years of work, the restoration was completed on October 31, 2005. The temple contains the ashes of Uicheon, the sect's founder. A son of Emperor Munjong of Goryeo, he spent most of his life in Kaesong before retiring to the temple as an ascetic, where he lived until his death. The temple was thus closely connected with the royal family of Goryeo and was where they would attend services.
Architecture.
The main temple is divided into two sections: a west court and an east court. The main entrance to the temple is through the South Gate, in front of which are located the temple's original stone banner pillars. Through the gate is an unwalled plaza containing a monument to Uicheon. Erected in 1125, the much-worn stele rests on the back of a lion-turtle, and commemorates episodes from the life of the great monk. It is listed as National Treasure #155. From here, both the Middle and East Gates are accessible. The Middle Gate, directly across from the South Gate, leads to the temple's large West Court, which is dominated by Bogwang Hall (, "Hall of Universal Light"), the temple's main shrine. To the right, the East Gate leads to the smaller courtyard fronting Bojo Hall (, "Hall of Universal Clarity"), devoted to veneration of the Bodhisattvas.
In front of Bogwang Hall there are three pagodas, two three-storied, and one five-storied. The smaller three-storied pagoda measures 4.1 meters, while the larger measures 4.4. The five storied pagoda is 5.5 meters. The pagodas are plainly carved in sandstone, with upturned eaves surmounting square segments decorated only with raised vertical lines on the corners. All three date to the Koryo dynasty. The pagodas are registered as National Treasure #133.
Directly behind Pogwang Hall is Junggak Hall (), a meditation room and lecture hall decorated with paintings of important Buddhist monks. Behind this there are two gates to the back courtyard of the temple, where Sungbok Hall () is located. This building once held the living quarters for the temple's monks.
Behind the main temple and up the mountain is Gyeongseon Hall (), containing a shrine to Uicheon; The stone stupa in front of the hall contains his ashes.
The roofs of the main buildings are decorated with ceramic ornaments in the shapes of fish (known as wenshou in Chinese). These are believed to keep the buildings safe from evil and fire.
Altogether, the reconstructed temple consists of over 26 buildings in an area of over 4,000 square meters.


SpiralFrog

SpiralFrog was a very early music streaming service based in New York City that launched in the United States and Canada on September 17, 2007. SpiralFrog offered free and legal music downloads, all supported by advertising, and was the largest site of its kind in North America. On March 19, 2009, SpiralFrog terminated operations due to loan recalls. While SpiralFrog was not successful in the end, it nonetheless helped shaped the digital music industry shift from the purchase to streaming models, and its ultimate revenue recovery. Trash
Business model.
SpiralFrog was entirely supported by advertising, allowing free download of its music. The ads were presented in the form of banner ads much like any news website rather than in the form of popups or adware. Songs downloaded from the service could not be burned to a CD, put on more than two portable devices and would not work on Mac OS X or the Apple iPod, iPhone, or the Microsoft Zune. However, they would work with any digital audio player or music phone that supports WMA PlaysForSure subscription services. Customers had to visit the site at least once every 60 days and renew their license by signing in or downloading a song, and the songs would work for sixty days after the last license renewal. In the event that the license should expire, it could always be renewed at a later date to restore function to the tracks. For songs that were on portable devices, the device had to be synced with a computer once every 60 days to keep the songs active. In addition to music, Spiralfrog had 5000+ music videos also available for free at 300kbit/s streaming or 1000kbit/s if you chose to download it. Spiralfrog boasted approximately 800,000 songs upon its launch and offered more than 3 million tracks for download. When active Spiralfrog.com had 3,000,000+ songs and 5,000+ music videos available for free download, and at peak had more than 6,000,000 monthly visitors, and 2.6 million registered users.
Music selection.
SpiralFrog had licensing agreements with most major music owners in the United States, Canada and in Britain.
Launching.
On September 17, 2007, SpiralFrog.com formally launched in United States. Joe Mohen, then chairman and founder of SpiralFrog Inc. stated: ""With SpiralFrog you know what you're getting ... there's no threat of viruses, adware or spyware; We believe it will be a very powerful alternative to the pirate sites"." At initial launch, it offered 800,000 tracks and 3,500 music videos for download (by way of Vivendi SA's Universal Music Group).
File formats.
SpiralFrog utilized 128 kbit/s which is the standard for most digital music stores such as the Walmart digital music store or 192 kbit/s (for more complex songs that would otherwise sound distorted) Windows Media Audio files wrapped in Microsoft's PlaysForSure DRM. DRM does not allow burning music to a CD but allows sideloading music to up to two portable audio devices. Music from SpiralFrog was not compatible with the Apple iPod or Microsoft's Zune.


Eldad

Eldad () may refer to:
All later Eldads are directly or indirectly named for the Biblical one


Saint Eskil

Saint Eskil (11th century) was an Anglo-Saxon monk particularly venerated during the end of the 11th century in the province of Södermanland, Sweden. He was the founder of the first diocese of the lands surrounding Lake Mälaren, today the Diocese of Strängnäs. He is the patron saint of Södermanland and the Diocese of Strängnäs.
Saint Eskil was sent as a missionary bishop to the Lake Mälaren area by Saint Sigfrid of Växjö along with Saint Botvid and Saint David. Botvid lies buried in Botkyrka, today a suburb of Stockholm in the east of Södermanland. All three saints are known to have perished trying to Christianize the people living around Lake Mälaren and both Eskil and Botvid have been made patron saints of Södermanland County. David has been made patron saint of Västerås and the province of Västmanland. They all are sources of several medieval legends.
Saint Eskil made the village of Tuna (present day Eskilstuna) his missionary diocese and later, around 1080, he made a journey east of Tuna to Strängnäs, an Old Norse holy place. Saint Eskil was killed by being stoned and chopped up with an axe, according to tradition, because he disrupted a holy ritual. Saint Eskil's followers decided to take his corpse back to Tuna. The local tradition says that during that journey, his body was placed on the ground and that a miraculous spring gushed from that spot and started to flow out of the mountainside just outside Strängnäs. The spring is known as the Spring of Saint Eskil.
Saint Eskil was buried in his monastery in Tuna. Strängnäs was later converted to Christianity and the diocese that Eskil had created in Tuna was moved or reestablished in Strängnäs.
Veneration.
Strängnäs Cathedral was later built on the same site of the pagan ritual Eskil had observed. This is confirmed, since the hill where the cathedral now stands is known to have been the ritual site and that the first wooden church built there was dedicated to Saint Eskil. The old church and burial site of Saint Eskil in Tuna later became one of the first monasteries in the region. When Tuna received its municipal status, "Eskil" was added into the name, creating Eskilstuna.
Eskil probably lived during the reign of King Inge the Elder at the end of the 11th century. According to the source closest in time, a legend of the Danish king Saint Canute, which was authored about 1122 by Ælnoth of Canterbury, an Anglo-Saxon priest who had settled in Denmark, an "Eskillinus", an English bishop of noble origins, was killed by the "wild barbarians" (specified as the "Suethi et Gothi", i.e. Swedes and Geats) among whom he was preaching the gospel.
In its more developed form, the legend of Eskil is attested from the 13th century and known from a few different sources: according to this, he was successful in his mission during the reign of King Inge, but killed by Blot-Sweyn when trying to stop a pagan sacrifice on the hill where the Strängnäs Cathedral now stands. He is said to have been killed by stoning and with axes, and the stones later became his attribute. The legend shows stylistic influence from various sources, including the legend of Saint Olaf of Norway.
The veneration of Eskil spread in Sweden and to Denmark (Odense) and Norway (Trondheim). Eskil's feast (and purported day of death) was on 11 June, but it was later moved to June 12, except in the Diocese of Strängnäs, in order not to conflict with the Feast of Barnabas. Relics of Eskil existed in the church of Eskilstuna, which was traditionally seen as his burial place, as well as in other churches within the diocese, elsewhere in Sweden, and in Roskilde and Copenhagen in Denmark.


Tel Habuwa

Tel Habuwa (also Tell Habua) is an archaeological site in Lower Egypt, located 3 kilometers from the Suez Canal in the Ismailia Governorate. It was suggested by scholars that this is the Ancient Egyptian Eastern-border city called Tjaru from the Middle Kingdom of Egypt.
The site consists of three sectors, labelled Tel Habuwa I, II and III. Tel Habuwa I dates from the end of the Second Intermediate Period, up to the 26th Dynasty. Tel Habuwa II dates to the beginning of the New Kingdom and also up to the 26th Dynasty. Tel Habuwa III seems to be mainly New Kingdom settlement remains.
The 2013 excavations in the site had unearthed the remains of buildings from Thutmoses III and Seti I's reigns and beneath them what seems to be a two stories tall administration buildings and silos from the Hyksos period. These buildings associated with the Hyksos were heavily burnt. The silos in Tel Habuwa could store up to 280 tons of grains, which led the scholars to believe that an army unit was sitting in this settlement. Underneath the courtyard in one of the administrative buildings, there were coffins and skeletons found, the skeletons contained clear evidences of violent deaths: they had cutting marks on them and signs of arrows' spearheads that penetrated their bodies and injured them. The bodies were estimated to be the remains of the Hyksos forces who battled against Ahmose I, whose papyrus describing the burning of the city was also found in Tel Habuwa.
Two steles were also discovered in Tel Habuwa, they contained the names of a woman who seemingly was a Hyksos royalty, called "Tani" (dated to live circa 1570 BC), whose title was "Sister of the King", and of a Hyksos prince called "Nahsy", who is also mentioned in the Turin King List and in scarabs previously found in Egypt.
The head of the excavation had offered that this site was attacked prior to Avaris' downfall to make sure that the Hyksos would not send messengers from Tel Habuwa to call back-up forces from Canaan (which is quite near) to aid them against Ahmose I's army.
In Tel Habuwa I were uncovered parts of a Saite temple complex. The main temple had pylons and was about 61.2 m long and 28.2 m wide. North east of the palace were excavated the remains of a palace and south of it were found the remains of a square building consisting of many casemates, forming a platform. Such buildings are known from others temple complexes. Their function is enigmatic.


Robin van Helsum

Robin van Helsum (born 22 April 1992 in Hengelo) is a Dutch citizen who went missing on 2 September 2011 and appeared in the Berlin city hall Rotes Rathaus three days later, claiming his mother had died in an automobile crash when he was 12 and that he had lived with his father for five years in the forests of Germany, where he buried his father after the latter died in August 2011. Dubbed "Forest Boy" by the media, van Helsum later admitted that the disappearance was a hoax and was sentenced to 160 hours of community service. Van Helsum was believed to have vanished before he was discovered working in Berlin.
Early life.
Van Helsum was born on 22 April 1992 to Doreen and Johan van Helsum. Van Helsum's parents divorced shortly after he was born, and his mother emigrated to Portugal taking him and his older brother. As a child, he was rebellious towards his father and was known to be shy and rarely socialised. He is reportedly a fan of American cartoons South Park and Family Guy. Van Helsum's father Johan fought and won a custody case against his ex-wife and moved his sons back to the Netherlands upon their return to his legal guardianship. His father was known by his coworkers to be a dedicated father and brought up the children on a strict routine. Van Helsum had become traumatised as his mother attempted to contact her son by sending him gifts with van Helsum showing no interest.
He attended the ROC van Twente College to study Media and Communications. He was known to miss classes and did not gain his final certificate. Van Helsum moved to a group home under supervised accommodation at the age of 16, after he became estranged from his father, but was forced to leave at the age of 18 when officials discovered that he had impregnated a fellow resident of the facility. Upon hearing the news of the pregnancy, van Helsum disagreed with the pregnant woman over plans for the child as van Helsum did not want the child whereas she expressed interest for the child to be born. His son, Damien, is now eight years old. At the same time, van Helsum was working as an intern at Voicedata, a local telecommunications company which he left in February 2011. After leaving his job, van Helsum went into a Youth Hostel. During his time there, he spent most of his time using a computer and often argued with the hostel owners over payment of bills.
One week before his trek into Germany, van Helsum posted a message on the internet stating the need for housing for a long period of time to share with a roommate.
Disappearance.
Van Helsum made a five-day trek into Germany from his residence in Hengelo, Netherlands with a friend named Lex. The pair hiked with the help of a map and compass, and both stayed in tents overnight. He showed up at Berlin City Hall on 5 September 2011. He spoke to the office workers saying; "I'm all alone in the world, I don't know who I am. Please help me.” He gave his first name as "Ray" and that his date of birth was 20 June 1994. had claimed that his father had died in August 2011 and that he had buried him "in a hole in the forest underneath some stones" and that his mother had died in a car crash when he was 12 and that van Helsum received scars on his face. (Unknown to van Helsum, his real father died in February 2012, not knowing what had happened to his son.) He was wearing a golden-coloured necklace around his neck with the pendant "D", the first letter in his mother's name. He had appeared without a passport and any form of identification. "Ray" spoke English with a slight accent suggesting to the German Authorities that one or both of his parents were American or British. Police in Berlin believed that he may have been from the Czech Republic having given the indication that he lived in the undergrowth of the Ore Mountains.
In care.
Believed to be a minor and an orphan, van Helsum was provided shelter in social care housing in western Berlin by the Berlin Jugendamt (Youth Office). During his time in care, he was around other teenagers but had spoken little, having little knowledge of the German language. Van Helsum shared a room with another boy, showing the ability to eat with a knife and fork and went bowling with fellow residents. He was later moved to a long-term Hostel. Van Helsum had adapted to life in Berlin quickly. He was going to school and became adapted with technology, using a laptop and mobile phone, he had also learnt more German by taking lessons. and received pocket money. English language experts were employed attempting to determine where his origins were without any success.
Identification.
Bild newspaper published a blurred photograph head and shoulders portrait of van Helsum. The photograph was blurred as the authorities suspected him of being a minor. In November 2011, van Helsum's DNA was taken to a local police data bank after he initially refused to give a sample. Fingerprints and photographs, along with DNA samples, circulated through Interpol and other major police forces and showed that van Helsum did not have a criminal record. Police attempted to search for a grave with no success and van Helsum was unable to locate the forest he was living in. A couple from Switzerland had contacted police to come forward believing that van Helsum was their grandson and had DNA samples taken.
With the attempts at identification of "Forest boy Ray" having failed, the Berlin police released a photograph in early June 2012, requesting identification. Van Helsum was then identified by a former girlfriend, whereupon he admitted having made up his story.
According to friends from his hometown of Hengelo, he was inspired by the films of the Zeitgeist Movement.
Post-disappearance.
Van Helsum was evicted from the Jugendamt shelter on 18 June 2012. As he is not a minor, he cannot be forced to return to the Netherlands. A spokesperson of the Berlin Jugendamt stated they were going to file a complaint against van Helsum for falsely acquiring youth assistance. He could face criminal charges and as much as a euro 30,000 (US$40,000) fine. Social services had complained about not receiving an apology or any sign of gratitude when van Helsum was in care.
Van Helsum was believed to have vanished, and the German Authorities believed he spent the Summer moving from village to village with unconfirmed sightings in Berlin. His ex-girlfriend made an emotional appeal on Dutch television hoping that contact would be made between the pair.
A court case against van Helsum was held in Berlin on 26 September 2013. The court decided to drop the complaint of fraud if van Helsum will agree to 150 hours of community service. The Berlin Jugendamt could still demand payment back of costs incurred in a civil case.


Comal County Courthouse

The Comal County Courthouse is located in New Braunfels in the U.S. state of Texas. It was added to the National Register of Historic Places in Comal County, Texas in 1976 and designated a Recorded Texas Historic Landmark in 1993.
Comal County has had two courthouses. The first was designed by Wilhelm Thielepape and completed circa 1860, but had deteriorated in condition by the late 1890s. The current Romanesque Revival style courthouse was designed by James Riely Gordon and completed in 1898 by contractors Fischer and Lamie. Gordon, along with another San Antonio architect Albert Felix Beckmann, submitted bids to replace the courthouse designed by Thielepape. In addition to reviewing the bids, the county commissioners traveled to Gonzales to assess the architectural quality of the Gonzales County Courthouse, a work designed by Gordon and completed in 1896.
The courthouse was restored to its original appearance in 2013 after a three-year, $8.7 million undertaking that included removing two additions, and restoring or replicating paint, tile, doors and furniture. Atop the three-story building is a corniced stone tower.


Frequency (record producer)

Bryan Fryzel (born January 17, 1983), better known by his stage name Frequency, is an American music producer and musician from Rockville Centre, New York.
Biography.
Frequency was born in Rockville Centre, New York in 1983. While attending Oceanside High School, he began to DJ at school dances and house parties. He also began experimenting with production. While still in high school, Frequency met 6th Sense, a MC from Pelham, New York. Soon thereafter, the two of them formed a group, The Understudies, alongside 6th Sense's friend and mentor Mr. Tibbs. The Understudies then signed a record deal on Freshchest/High Time Records, where they released the 12" single, "Now & Then" b/w "Bananas" in the summer of 2004. Later that year, Frequency went on to work with several artists he had met in New York's independent scene: from Wordsworth ("Shoulder," "One Day" and "Don't Go" on Mirror Music) to Oktober (“NYC” on Projekt: Building) to Tonedef (“Give A Damn Remix” on Archetype) to El Da Sensei (“Natural Feel Good” on The Unusual).
2006 was a break out year for Frequency. That year, Frequency won Scion's New York leg of the King of the Beats competition, and produced a number of records for major label artists such as “Plenty of Love” by Raekwon, Gravy and Tikky Diamonds and “Ya’ll Can’t Live His Life” by Cam'ron and "Think About It" by Snoop Dogg. Snoop himself repeatedly referred to the song in interviews as his favorite track on the album.
Soon thereafter, Frequency began working with the Trackmasters, with whom he produced several tracks for an unreleased Lil' Kim LP, as well as tracks for The Game, Keyshia Cole, Beenie Man, Slim (from 112) and others. He also continued to place records on his own, producing songs such as “One Chance (Make It Good)” for Snoop Dogg's 2008 release Ego Trippin', "Like Me" for Ja Rule, and "White Linen Affair" for Ghostface Killah.
By 2009, Frequency began working extensively with Slaughterhouse, serving as their tour DJ, producing their first two singles -- "Onslaught" and "Fight Klub"—and working with each individual member. In December of that year, Frequency released "Road Kill" with Joell Ortiz, a mixtape featuring freestyles that Joell recorded during the K.O.D. Tour and four original tracks, three of which - "Ortiz In This Bitch", "Snake Charmer", and "50 For the People" — were produced by Frequency.
Over the next several years, Frequency went on to work with Machine Gun Kelly, B.o.B., Iffy the Badman and more.
Frequency is perhaps best known for co-writing and co-producing the #1 hit song "The Monster" by Eminem featuring Rihanna, released in October 2013. "The Monster" reached No. 1 on eight separate Billboard charts, including four weeks at No. 1 on the Hot 100 and thirteen weeks at No. 1 on the Hot R&B/Hip-Hop Songs chart. It also topped the charts in twelve countries including Australia, Canada, France, Ireland, New Zealand, Switzerland, and the United Kingdom and won a Grammy for Best/Rap Sung Collaboration.
In recent years, Frequency has expanded his horizons by working on more pop and rock projects. Specifically, Frequency produced the debut album for New York-based band MisterWives, entitled Our Own House. The album's lead single "Reflections" peaked at No. 13 on the Billboard Hot Rock Songs chart and went Gold. Frequency also produced the debut album "Waiting For The Sun" from Weekday/Sony band Jule Vera and 5 of 7 songs on the debut EP from Bryce Fox.


Shin-Yakushi-ji

 is a Buddhist temple of the Kegon sect in Nara, Japan. It was founded in 747 by Empress Kōmyō. Initially a large complete Shichidō garan temple, it suffered from fire damage and deteriorated during the Heian period. The temple was revived during the Kamakura period. Only one building, the present main hall or , has survived from the 8th century. All other structures date to the Kamakura period.
Shin-Yakushi-ji owns several cultural assets. The "Hon-dō", the principal image of Yakushi Nyorai and eleven statues of the Twelve Heavenly Generals have been designated by the Ministry of Education, Culture, Sports, Science and Technology of the government of Japan as National Treasures.
Name.
The in the name is usually translated as "new". In the case of Shin-Yakushi-ji however it is said to have the meaning of .
"Yakushi" refers to the principal image of the healing Buddha Yakushi Nyorai. Besides the veneration of Yakushi Nyorai, there is no connection to the famous Yakushi-ji which is also located in Nara.
History.
According to records at Tōdai-ji, Shin-Yakushi-ji was founded in March 747 as by Empress Kōmyō wishing for the recovery of her husband, Emperor Shōmu, who suffered from an eye ailment. She had a large nine bay temple hall (Kon-dō) built and statues of the enshrined in it. Such statues were thought to be efficacious against the evil spirits of dead political figures.
Together with the Yakushi Nyorai, statues of attendants Nikkō Bosatsu and Gakkō Bosatsu, and groups of Twelve Heavenly Generals were enshrined in the main hall or Kon-dō. Next to the Kon-dō an east and a west pagoda were erected. In those early days more than 100 monks were studying at the temple. There were living quarters for the monks and many other structures. It was a complete seven-structured temple, a Shichidō garan covering around 200,000 m2.
In 780, 33 years after the foundation, many buildings were destroyed by fire which was caused by a thunderbolt. When the Kon-dō was destroyed in the mid Heian period, another building, today's Hon-dō became the main hall of the temple. It is thought that this building used to be the . The Twelve Heavenly Generals surrounding the main image of Yakushi Nyorai were transferred to the hall from the ruined located not far from Shin-Yakushi-ji on the foot of Mount Kasuga.
In the Kamakura period the priests (posthumous name: Gedatsu Shōnin) and Myōe restored the temple after the general decline. Around that time today's East Gate, South Gate, belfry and Jizō Hall were built.
Architecture.
Hon-dō.
The main hall, or , from the 8th century, Nara period is the oldest extant structure at Shin-Yakushi-ji and one of the oldest wooden buildings in Japan. However it was not designed as the main hall of the temple. The Kon-dō from the time of founding differed from the present main hall in size and its position within the temple grounds. Until about the mid-Heian period the two structures coexisted. During the Kengen era (1302–1303) the Hon-dō was thoroughly restored.
The construction features a large hip-and-gable irimoya style roof and white washed walls.
Inside thick pillars placed on the dirt floor carry the roof. The open ceiling which used to be painted red, leaves the sheathing beams and rafters visible. There is a stained glass window in the east wall of the hall. The Hon-dō has been designated as a National Treasure and houses the main image of Yakushi Nyorai surrounded by a group of Twelve Heavenly Generals.
South Gate.
The , an Important Cultural Property, is the oldest extant example of a . It was built during the Kamakura period at the end of the 12th or the beginning of the 13th century. Gates in this style only appear in high ranking temples or Imperial Palace gates, thus indicating the former status of Shin-Yakushi-ji. The four posts of the gate have very wide chamfered edges and are placed on a platform of unhewn rocks.
East Gate.
The upper parts of the main pillars in the are split in two, held by . This unusual style points to a construction date in the early Kamakura period. The gate has been designated as "Important Cultural Property".
Jizō Hall.
The , an "Important Cultural Property", takes its name from the image of the deity Jizō that would have been enshrined in this building. It is a small construction in from the Kamakura period. Currently an image of the Eleven-faced Goddess of Mercy is enshrined in the building.
Belfry.
Built in 1279, the is another structure from the Kamakura period and a designated "Important Cultural Property". The building features a flared, skirt-like lower portion, also known as style, which became popular in the late Heian period and thereafter.
The bell, an "Important Cultural Property", is reportedly the hanging bell of the at Gangō-ji and dates to the Nara period. It is famous through the story of an ogre which is told in the Nihon Ryōiki. According to this legend, in the Asuka period there lived an Oni in the belfry at Gangō-ji who was tormenting the people. The Oni, known by the names or , was the spirit of a villainous manservant of the temple. One day, a child with superhuman strength who had joined the temple, decides to kill the ogre and lies in wait in the belfry. At early dawn the Oni appears; the child seizes the Oni by his hair and drags him around. At dawn, the Oni had lost all his hair and takes to flight.
The child chases after him but loses him at a crossroad. Later, the superhuman child enters priesthood and becomes the . After the belfry at Gangō-ji burns down, the bell is transferred to nearby Shin-Yakushi-ji. The scars on the bell are said to be the fingernail marks of the Oni. The area around the crossroad at which the Oni lost his pursuer has been named and the place he turns into hiding , literally: "Oni hiding mountain".
Treasures.
Yakushi Nyorai.
The 191.5 cm, Heian period seated Yakushi Nyorai is the principal image of Shin-Yakushi-ji. He is placed on a huge (9 m diameter, 90 cm high) circular platform　(Dais) which almost entirely fills the Hon-dō. Together with six small on its halo, the main statue forms a group of . Yakushi Nyorai is protected by Twelve Heavenly Generals arranged in a circular fashion around it facing outward.
The present image is probably not one of those that had been installed in the original Kon-dō and were made in a technique. However, there are conflicting theories concerning the origin of the present statue. It might have been carved in 793 together with the reconstruction of the temple after fire damage.
Generally it is considered to be a work of the end of the 8th century and a good representative example of early Heian period wooden sculptures. It is cut from a single Hinoki tree and neither paint nor lacquer have been applied to the wood except for some colour to indicate facial features. Distinctive are the protuberant lips, well defined curls and large nose. The eyebrows painted in black are narrow and acute. His right arm is lifted showing the Mudra of no fear (Abhayamudra) while his left arm rests on his leg with the palm of his hand turned up holding a medicine pot.
During an investigation in 1975, eight scrolls of the Lotus Sutra from the early Heian period were discovered inside the body of the sculpture. The scrolls have been designated as National Treasure.
Twelve Heavenly Generals.
The Nara period, roughly life-size standing group of Twelve Heavenly Generals from 729–749 is the oldest extant in Japan. It was made of unbaked clay and originally colored. The skin was salmon color. Beards were drawn with ink, cloths and armour painted in bright colors and gold foil applied in places. Not much of the original decoration remains. The statue of Haira was damaged in an earthquake at the end of the Edo period and replaced by a wooden statue in 1931. As protective deities of Yakushi all twelve generals are placed in a circle surrounding the main image of Yakushi Nyorai. Eleven of the twelve statues have been designated as "National Treasure". The image of Haira from the 20th century is excluded from the nomination. There are two different mappings of names to individual statues in place. In the following the first name is the one used by the temple. The second name, in parentheses, is as assigned in the National Treasure nomination.
The twelve statues in counter-clockwise order starting at the front right (south east) are:
Trivia.
Bazara of the group of Twelve Heavenly Generals was featured on a 500 yen postage stamp. In a collaboration between Shin-Yakushi-ji and the Department of Buddhism at Minobusan University, the whole group of Twelve Heavenly Generals was scanned in three dimensions in 2001 and 2002.


Daily Chronicle

The Daily Chronicle was a British newspaper that was published from 1872 to 1930 when it merged with the "Daily News" to become the "News Chronicle".
Foundation.
The "Daily Chronicle" was developed by Edward Lloyd out of a local newspaper that had started life as the "Clerkenwell News and Domestic Intelligencer", set up as a halfpenny 4-page weekly in 1855.
Launched after the duties on advertising and published news had been abolished in 1853 and July 1855, this local paper specialised in small personal ads. At first, it carried about three times as much advertising as it did local news.
As the formula proved popular, it grew in size and frequency and often changed its name to match. In 1872, it finally changed from the "London Daily Chronicle and Clerkenwell News" to plain "Daily Chronicle". It was then being published daily in eight pages, half of which were news and half advertising.
Edward Lloyd was keenly interested in advertising. It had the potential to generate substantial income and so allow the paper's cover price to be kept low. In time it contributed about 40% of "Chronicle" revenues. Demand was strong enough to charge a good price per line but, even so, advertising had to be limited to no more than half the paper. The lobby at 81 Fleet Street served as an informal labour exchange where advertisers and targets would search each other out in person.
Early years.
Lloyd bought the paper in 1876, paying the owner £30,000 for the title and spending a further £150,000 on setting it up (about £19m in modern money). The Fleet Street office cost a further £40,000 a few years later.
Only a small circle knew about his plan and the public was taken by surprise when it appeared in national daily guise on 28 May 1877. They clearly liked what they read and the new paper was a success from the start. It had inherited a circulation of about 40,000 in 1877 and this rose to 200,000 in a year. It had risen to 400,000 by the outbreak of war in 1914 and doubled during the war. It was reputedly the best selling daily in the 1890s and, during the war, sold more copies than the "Times", "Telegraph", "Morning Post", "Evening Standard" and "Daily Graphic" combined.
Lloyd was a great believer in news – objective reporting of facts, unadorned by comment or speculation. The scope and quality of the "Chronicle"’s reporting secured its popularity. It was the first Fleet Street paper to report industrial disputes systematically. This echoed the paper’s political stance, but it also met readers’ need to know about what was a new legal regime at the time – freedom to join a trade union and picket workplaces.
The paper followed the London County Council and its first election in 1889, and covered religion and the affairs of the church. In the 1880s, it created a special section for colonial news under the title "Greater Britain Day by Day". It also led the way in using specialist correspondents. Ample space was made available for books, literary extracts and the theatre.
Politically the paper was left of centre. It supported the radical wing of the Liberal Party but it might well have supported the Labour Party, had that existed in 1877. From 1892, it supported Irish home rule. John O'Connor Power, Irish MP and powerful orator, was one of its liveliest leader writers.
The "Chronicle"’s appearance coincided with the expansion of the London suburbs and the commuting by train that went with it. It competed with the "Telegraph" for that market and for those who felt that elite papers like the "Times" were not for them. The breadth of its news coverage was welcomed by many because it deliberately ranged far and wide – far beyond the Westminster affairs that dominated Fleet Street at the time.
Middle years.
During Lloyd's lifetime, the editor was a literary Irish journalist, Robert Boyle, who had helped Lloyd with the conversion of the paper. He maintained the local news coverage inherited from the Clerkenwell paper, but this was later dropped. He died in February 1890, two months before Lloyd.
The next editor, Alfred Fletcher, had been assistant to Boyle and had a more pronounced left-wing approach. After he left the "Chronicle", he stood as a Liberal candidate for Parliament twice but was not elected. Many of his later writings were on education.
In 1894, Henry Massingham was appointed editor. Generally recognised as one of the leading journalists of the day, with influence in the corridors of power, he was able to build up a newspaper that he valued highly.
Although he worked for the "Chronicle" for a decade, Massingham was editor for just five years. On foreign policy, he was a great believer in the power of diplomacy and expressed his opposition to the Boer War with some vehemence. This went down badly with readers, many of whom had family or friends risking and losing their lives for that cause. As sales were lost, he was asked to resign by Frank Lloyd, son of Edward Lloyd and managing director of the company that owned the paper.
Politically, Massingham was at the radical end of the Liberal Party. He had edited the radical evening paper, "The Star", in 1890-91. He went on to become editor of the "Nation", where he transferred its allegiance to the Labour Party during the war. He resigned in 1923 when John Maynard Keynes, a Liberal, took it over.
In 1899, the "Chronicle"'s former foreign editor, William Fisher, became editor, handing over to Robert Donald in 1904.
Donald had worked as news editor for the "Chronicle" but had taken time off journalism to experience an unrelated occupation – promoting a hotel. From 1906 he also edited "Lloyd's Weekly News", the Sunday newspaper owned by the Lloyd family.
He was thoughtful and principled, with a firm belief in objective reporting and editorial independence. Under his direction, the paper was broadly supportive of the radical wing of the Liberal Party under David Lloyd George. It was never anti-war, but it was critical of political interference in military strategy.
Buy-out.
Donald had got to know Lloyd George well, although he never hesitated to point out failings if justified. After he became prime minister at the end of 1916, Lloyd George valued the "Chronicle"'s impartial and objective coverage and found it the most acceptable of the non-Conservative papers. He misled himself into thinking that Donald was an uncritical supporter, drawing confirmation from Donald's willingness to advise him on the official propaganda effort in 1917 and then to accept an official position – "director of propaganda in neutral countries".
In fact, the relationship between Donald and Lloyd George, always arm's-length in Donald's eyes, had been fatally soured by dealings in 1917 that were unknown to the public. Lloyd George had tried to buy the "Chronicle" through his political allies. Frank Lloyd, as owner, named his price. Although a realistic valuation, £900,000 was too high for the initial backer, the Liberal peer Lord Leverhulme. Lord Beaverbrook, a Conservative press baron who had promised to support Lloyd George for five years, then became involved as a potential backer.
Since selling to a Conservative proprietor would be anathema, Donald tried to form a rival consortium to buy the paper. This failed but the dealings between him and Lloyd George were irretrievably tainted by underhand behaviour on the prime minister's side of the negotiations.
In 1918, events unexpectedly turned Lloyd George's way, albeit rather uncomfortably. He had assured Parliament on 9 April that the number of British troops facing the German onslaught in March had not been reduced. Frederick Maurice, the general in charge of statistics on the Western Front, was greatly concerned by the inaccuracy of this statement. He wrote to the new Chief of Staff asking whether it should not be exposed, but received no reply. After some days examining his conscience, he decided to write a letter to all the major newspapers.
Four of them published the letter on 7 May. Maurice was forced to resign and Parliament debated the matter on 9 May. Lloyd George won the vote, partly by counterattacking Maurice's figures but largely because there was no obvious successor and the war was at too sensitive a point to risk a governmental crisis. The "Chronicle" reported the debate factually.
However, a few days later, it recruited Maurice as its military correspondent. This move infuriated the prime minister. Lloyd George was now determined to buy the paper and set about raising the finance from friends of the party and by selling peerages. Beaverbrook was excluded, as were the Berry brothers of Allied Newspapers. The prime mover was Sir Henry Dalziel who already owned the "Daily News". He was rewarded by a knighthood in 1918 and a peerage in 1921.
Wartime inflation had lifted Frank Lloyd's price from £900,000 to £1.1m. In the end, Lloyd George paid £1.6m – probably for a quick sale. He was already planning the early general election that was announced immediately after the Armistice (he won).
Donald and the "Chronicle" knew nothing of these negotiations. He and Maurice heard a rumour on 3 October 1918 and Frank Lloyd confirmed the following day that the sale had gone through. A new regime was due to come into effect at 6 p.m on 5 October. Both men were obliged to resign.
Later years.
The new editor was Ernest Perris, formerly the news editor. Some suspected him of having been complicit in Lloyd George's negotiations. He was the source of the rumour passed on to Donald and Maurice, but this does not indicate whether he was the messenger or equally taken by surprise. He also became editor of "Lloyd's Weekly" in 1924.
Whatever the loss of independence did to the "Chronicle"'s credibility, its sales did not suffer under the new management. The editorial staff were not unduly interfered with, it seems. Rather, the paper suffered at the hands of corporate finance.
After Lloyd George ceased to be prime minister in 1922, he remained active in politics for the rest of the 1920s. His fall from power marked the end of the Liberal Party as a majority government but that was not apparent at the time. He needed money to back candidates but this time his idea of selling honours was thwarted by the Honours (Prevention of Abuses) Act 1925.
He had a valuable asset in the form of United Newspapers, owner of the "Chronicle" and other Lloyd publishing interests. He had bought off his fellow investors in 1922 and 1926, presumably at the 1918 valuation or thereabouts. He was sole owner in the sale contract. The question of whether the party should not benefit too caused some controversy at the time.
On 11 July 1927, Lloyd George sold the company to three investors who were rich but lacking experience of publishing, let alone newspapers. They paid him £2.9m. On 17 July 1928, a year and a week later, the three sold the company for £1.5m.
The first of these sales contained a curious clause that preserved Lloyd George's editorial control without responsibility for its liabilities. He was granted a 10-year option to buy back the shares if the "Chronicle" or "Lloyd’s Weekly" failed to follow progressive Liberal policies or promoted reactionary or communist views.
This was endorsed by the next owner despite his allegiance to the Conservative Party. He was William Harrison, an entrepreneur who had acquired a number of magazines and provincial newspapers. He had also gone into paper-making through Inveresk Paper Co and that now owned the former Lloyd newspapers. In the 1929 crash, Inveresk's share price fell 80%.
Harrison left the scene. An audit then showed that the "Chronicle" owed £3m in debt and commitments, had no cash and was suffering a marked loss of sales. It looked doomed. However, News and Westminster Ltd, a Cadbury company, offered to take the "Chronicle" on and merge it into the "Daily News" to create the "News Chronicle". Their sales would combine to make 1,400,000, which seemed to offer a viable future. It was not a merger of equals, however, and the loss of jobs was borne by the "Chronicle".
The "News Chronicle" prospered until 1956 when its opposition to the UK's involvement in the Suez crisis caused it to lose readers. Again facing closure, the only offer of help came from Associated Newspapers whose "Daily Mail" had been the "Chronicle"'s adversary since its launch in 1896.
Associated took an option to buy the company if it did not return to profit. When it failed to do that by the summer of 1960, Associated took over the "News Chronicle"'s plant, property and goodwill. The paper disappeared and, with it, the last vestiges of the "Daily Chronicle".


Pre-Hilalian Arabic dialects

Pre-Hilalian dialects are a continuum of Arabic dialects native to North Africa. They constitute, along with the Hilalian dialects, the larger Maghrebi Arabic family.
History.
Pre-Hilalian dialects are a result of early Arabization phases that lasted from the 7th to the 12th centuries, and that concerned the main urban settlements (Kairouan, Constantine, Tlemcen and Fez) and the neighboring harbors (respectively Mahdia and Sousse, Jijel and Collo, Rachgun and Honaine, and Peñón de Vélez de la Gomera and Tangier), as well as the –triangular– areas between them.
This early Arabization also concerned various Jewish communities and a few urban centers outside the main Arabized areas, such as Tunis and Salé.
Variants.
Pre-Hilalian Arabic dialects are classified in three types:
Two geographical groups of pre-Hilalian dialects are distinguished:
Additionally, the Maltese language is often classified as pre-Hilalian, since it shares many pre-Hilalian features.
Pre-Hilalian Urban dialects were formerly spoken in other cities such as Tripoli, Mascara and Azemmour, where they are extinct, replaced by the more widespread Hilalian dialects. Currently, many (Old) Urban dialects are endangered because of the prevalence of the Hilalian-based new urban koinés in everyday communication.


The New Daily (British newspaper)

The New Daily was a minor newspaper in the United Kingdom. It was edited from April 1960 by the political activist Edward Martell, and was associated with his National Fellowship party founded in 1962. The paper took an anti–trade union stance and reached a circulation of 100,000.
Its dates of publication were 1960 to 1967, according to one national library that holds copies.


College Lovers

College Lovers is a 1930 early talkie Pre-Code comedy film produced and released by First National Pictures, a subsidiary of Warner Bros., and directed by John G. Adolfi. The movie stars Jack Whiting, Marian Nixon, Frank McHugh and Guinn 'Big Boy' Williams. The film was based on the story by Earl Baldwin.
Plot.
Guinn 'Big Boy' Williams, a star football player, decides to leave Sanford college after he has found that his girlfriend has eloped with another man. He is drive to the train station by Russell Hopton, his best friend, and also a football player for the same college. Jack Whiting, who plays the part of the student manager of the Sanford college athletic association as well as part of the president of the student body, knows that the college needs Williams to win the important game against Colton college.
Whiting conspires with his girlfriend, played by Marian Nixon, to stop Williams from leaving. He also makes use of Frank McHugh, who plays the part of Whiting's assistant in the film. Nixon fakes a suicide on a bridge when she notices Hopton and Williams approaching. They quickly run to help her and both of them fall in love with her, without realizing that she really love Whiting. Williams and Hopton soon become suspicious of each other and constantly spy on each other, leaving Nixon to spend her time with Whiting. Just before the big game, Hopton and Williams have an argument and show no interest in the upcoming game. Whiting suggests that Nixon write each of them an identical love note, telling the recipient that she loves him alone.
When Williams and Hopton receive these notes, they end their quarrelling, each thinking that Nixon prefers them to the other. Halfway through the game, one of them discovers the other's note and they begin accusing each other of stealing their notes. Their fighting causes them to be benched. Colton ties the score and promises to be the winner, which so scares Hopton and Williams that they shake hands and go back into the game. When the winning touchdown for Sanford is a matter of inches away from the goal line, the two backs waste the last minute of the game trying to decide which of them will have the honor of making the final touchdown and the game ends in a tie.
Production.
The film was planned as a full-scale musical comedy. The majority of the musical numbers of this film, however, were cut out before general release in the United States because the public had grown tired of musicals by late 1930. Although music was mentioned when the film was first released, ads and reviews soon mentioned that, even though Jack Whiting was a musical comedy star, there was no singing in the picture. These cuts accounts for the very short length of the film. The film was marketed as a straight comedy film. The complete musical film was released intact in countries outside the United States where a backlash against musicals never occurred.
Songs.
Although some modern sources mention the songs "One Minute of Heaven" and "Up and At 'Em" as being performed in this film, they were actually written for the 1929 musical comedy "The Forward Pass". Since the film is now lost, and the music was cut from circulating prints in the United States, it is not certain what the songs that were written for this picture were.
Preservation.
No film elements are known to survive, although there is a copy of the screenplay in the Department of Rare Books and Special Collections at Princeton University Library. The soundtrack, which was recorded on Vitaphone disks, may survive in private hands. It is unknown whether a copy of this full version still exists.


Alias Mary Flynn

Alias Mary Flynn is a 1925 American silent drama film directed by Ralph Ince and starring Evelyn Brent. The film is considered to be lost.


Schul

Schul may refer to: