Cleo Madison

Cleo Madison (born Lulu Bailey; March 26, 1883 – March 11, 1964) was a theatrical and silent film actress, screenwriter, producer, and director who was active in Hollywood during the silent era.
Madison began her career on the stage. By 1910, she had begun performing as part of a theatre troupe known as the Santa Barbara Stock Company in California. In 1913, she was contracted by the Universal Film Manufacturing Company to begin appearing in feature films. Madison established a name for herself as an actress with performances in films such as "The Trey o' Hearts" (1914). She is also considered a pioneering female director with a number of shorts and two feature films, "A Soul Enslaved" (1916) and "Her Bitter Cup" (1916), to her credit.
She made several efforts to set up a production company before leaving show business in 1924. She died from a heart attack in 1964 at the age of 80.
Early life.
Cleo Madison was born Lulu Bailey in Bloomington, Illinois on March 26, 1883, the daughter of Dr. C.B. Bailey. She attended Illinois State Normal University (which became Illinois State University in 1965) in Normal, Illinois. After completing her education, she moved to California in order to pursue her dream of performing professionally.
Early career.
She began her acting career on stage with the Santa Barbara Stock Company. She made her first professional appearances on the stages of the Burbank Theatre and the Belasco in 1911. She played the role of the mother in "Captain Swift". In March 1912 she debuted as the leading female player in Ernest Shipman's stock company in Phoenix, Arizona; her first production was "When We Were Twenty-One". She toured on vaudeville briefly.
In 1913 Madison signed with Universal Pictures and achieved star status the following year in "The Trey o' Hearts" (1914), a 15-episode film serial for Universal. Madison played three roles in the serial, portraying both the protagonist, Judith Trine, and the villain, her evil twin Rose, as well as the twins' mother.
Acting style.
Madison's performances were based on an acting style she developed during her time as a vaudeville performer, relying on large gestures and melodramatic facial expressions. She did not avoid physical exertion in pursuit of convincing portrayal, as demonstrated in "The Trey of Hearts" (1914) in which her character endured a number of physical challenges such as being in a car crash, being shot at, and escaping a forest fire. Her characters often defied stereotypical roles of women in film and encompassed heroines, free-thinkers, villains, temptresses, and adventurers. Madison's acting style employed her total commitment and passion to each role, and her performances were often acclaimed as such. Journalist William M. Henry, writing for "Photoplay", highlighted her skill by contrasting her emotional performances with her calculating and business-like persona in real-life: "... to see Madison in pictures tells you absolutely nothing about her character. Before the camera, she smiles and weeps with the wonderful sympathy of which only a woman is capable."
By 1915, Madison had become well known as one of the foremost women working in Hollywood, and she began to seek new challenges within the industry such as screenwriting, producing, and directing.
Directorial career.
In 1915, Madison became one of the few women in Hollywood to begin directing her own short and feature films. Madison was among the unprecedented wave of female directors employed by Universal that included Grace Cunard, Jeanie MacPherson and Lois Weber. Madison, known for her progressive views, was eager to begin work and was confident in her own ability. She was quoted in "Photoplay" magazine:
Madison directed sixteen shorts and two feature-length films in a directorial career lasting only one year. Her most notable credits included the short films "Her Defiance" (1916), "Eleanor's Catch" (1916), and "Triumph of Truth" (1916). "Eleanor's Catch" was notable from a directorial perspective as one of the first films to use the twist ending; her character is revealed to have a surprising identity.
Both of Madison's feature film efforts have been praised in recent history by film historians; "Her Bitter Cup" (1916) is the underdog tale of unionized workers led by Madison's character staging a protest against their oppressive boss. "A Soul Enslaved" (1916) features a desperate heroine becoming a rich man's mistress to escape poverty, and afterward suffering the consequences of her actions in a later, conventional relationship.
Madison's role as director allowed her to incorporate themes previously ignored by mainstream Hollywood such as oppression, sexuality, and power from a female perspective. She believed being female positively influenced her directing style, remarking once that each of her directed pieces had to have a certain "feminine touch".
Madison's directorial credits end after 1916 for unknown reasons, although film historians have speculated that her status and workload led to a nervous breakdown that forced her into early retirement.
Later career.
Reports in 1916–1917 indicated she was forming a production company with Isadore Bernstein which ultimately failed to materialize; in 1919 she was again reported to be forming her own production studio. During these years she continued to act in films such as "Black Orchids" (1917), "The Romance of Tarzan" (1918), "The Girl from Nowhere" (1919) and "The Great Radium Mystery" (1919).
By the early 1920s, Madison's career had been steadily declining. Although she remained active with bit parts in several Universal shorts, she no longer possessed the star power necessary to inhabit lead roles. Many film historians point to her enormous output of work throughout the mid-1910s as a cause of exhaustion and exasperation for Madison.
She was rumored to have suffered a nervous breakdown in 1922, attempted a career-comeback in 1923, and by 1924 had permanently withdrawn from the film industry.
Personal life.
She was enthusiastic about cars and driving. Madison purchased a 1915 auto manufactured by the Haynes Automobile Company in December 1914. In her work for the Universal Gold Seal Company she occasionally drove a car.
Many accounts that go into detail about Madison's life don't note her November 1916 marriage to Don Peake of San Francisco, California. He was western sales manager of the Briscoe Motor Corporation. The two divorced in 1917.
Before her marriage, she resided with her sister, Helen, in a bungalow in Hollywood. Helen, nicknamed "Sunshine" for her bright disposition, was disabled and used a wheelchair. By 1916 she had been an invalid for eight years. Madison was especially devoted to her care.


Santosh

Santosh (), also spelled as Santhosh, is a Hindu masculine given name. The name means "Satisfaction" or "Contentment".
Notable people with the given name Santosh


Zohar (name)

Zohar () meaning "Splendor, radiance" can refer to:


Lenore Coffee

Lenore Jackson Coffee (1896 – 1984) was an American screenwriter, playwright, and novelist.
Biography.
Lenore was born in San Francisco in 1896, and was the daughter of Andrew Jackson Coffee Jr. and Ella Muffley.
Coffee attended Dominican College in San Rafael, California. Afterward, she began her career when she answered an ad requesting a screen story for the actress Clara Kimball Young and was awarded a one-year contract at $50 a week.
She was twice nominated for an Academy Award for Best Adapted Screenplay. The first time was for "Street of Chance" in 1929/30, adapted from the story by Oliver H. P. Garrett, in collaboration with Howard Estabrook; and the second was with Julius J. Epstein in 1938 for "Four Daughters", based on Fannie Hurst's short story "Sister Act."
Of the studio system, she is quoted as saying:
"They pick your brains, break your heart, ruin your digestion – and what do you get for it? Nothing but a lousy fortune."
Coffee wrote many stories related to experiences women faced during her time, yet they were not often met with commercial success. Coffee spent many years with Warner Bros., which she mentions in her autobiography as to being the only female writer. One hit that came out of that is the film "Four Daughters", which she co-wrote with Julius J. Epstein.
Outside of the film industry, she wrote a novel, "Another Time, Another Place", as well as a play, "Family Portrait".
Coffee was married to writer-director William J. Cowen.


Prince Paul production discography

The following list is a discography of production credited to Prince Paul, an American hip hop record producer and recording artist from Amityville, New York. It includes a list of songs produced, co-produced and remixed by year, artist, album and title.


List of years in Brazilian television

This is a list of years in Brazilian television.


The Craftsman (newspaper)

The Craftsman, also known as "The Country Journal or, The Craftsman" or "The Craftsman: Being a Critique on the Times", was a British newspaper which operated from 1726 to 1752. Established by Lord Bolingbroke and William Pulteney, it was edited by Nicholas Amhurst under the pseudonym "Caleb D'Anvers." It is known for publishing letters and essays from Lord Bolingbroke.


Festival of British Archaeology

The Festival of British Archaeology is a fortnight-long festival coordinated by the Council for British Archaeology (CBA). It is an annual UK-wide festival, during which events take place across England, Wales, Scotland and Northern Ireland.
History.
The festival began in 1990 as National Archaeology Day, for which 10 events were held. Initially it was linked in with European Heritage Days in September of each year. However, feedback from participants led to a decision by the Council for British Archaeology to separate from European Heritage Days and to move the event to July in order make the most of the fieldwork opportunities during the summer.
The festival increased to a weekend-long event in 2003 with 195 events, and in 2005 became a nine-day festival under the name National Archaeology Week. The Council for British Archaeology has now renamed National Archaeology Week as the Festival of Archaeology. Each year the festival will take place in July.
Since 2020 it is linked with the European Archaeology Days overseen by Inrap (French National Institute for Preventive Archaeological Research) under the aegis of the French Ministry of Culture
Aims.
The festival is centred on the Council for British Archaeology's aim of widening participation in archaeology by encouraging people to visit sites of archaeological and historical interest, such as museums, heritage sites, and resource centres.
Events.
Events are held locally and nationally by a wide variety of groups and societies. Events range from small local events to larger countywide events, and focus on different aspects of British Archaeology. The CBA coordinates the overall festival, but individual groups and societies are able to produce their own events locally and generate publicity for their events and groups. A number of other events run during the year to promote archaeology and history (see list below). In 2011 and 2013 the festival included the Day of Archaeology
Profile and media coverage.
The profile of the Festival of Archaeology has grown in recent years. The festival has received national media coverage in newspapers such as The Guardian and The Telegraph and featured on BBC1's The One Show in 2007. High-profile figures such as Barbara Follett, Phil Harding, and Julian Richards have been involved with the festival. In 2008 the children's magazine The Beano featured the Festival of Archaeology on their front cover.


Swift (comic)

Swift was a British weekly comics magazine published by in the UK as a junior companion to the "Eagle". It was founded by the Rev. Marcus Morris and launched by Hulton Press in 1954. After Hultons were sold to Odhams Press in 1959, "Swift" was merged into the "Eagle" in 1963.
Archival holdings.
The British Library holds copies of Swift from 20 March 1954 - 2 March 1963.


Adventure Girl

Adventure Girl is a 1934 American adventure documentary directed by Herman C. Raymaker, based on dialogue written by Ferrin Frazier, starring and narrated by Joan Lowell. The screenplay is based on the autobiography of Lowell, "The Cradle of the Deep", which later turned out to be a work of fiction.
Plot.
Joan Lowell travels by sea with her father, Nicholas Wagner, as the captain, and two additional crew, William Sawyer and Otto Siegler. During their voyage, their ship is damaged in a hurricane, her mast broken. Coming upon the wrecks of other ships, they find a mast that they can use to replace their broken one. As the two crewmembers begin salvaging the mast, Lowell and Wagner explore other wrecks, where Lowell comes upon an old map which supposedly leads to ruins in the jungle which contain a precious emerald.
After replacing the mast, they continue their journey, but need to find a water supply to replenish their drinking water, which was also lost during the hurricane. Lowell and Sawyer take a rowboat to the coast, where they meet a native who takes them to his village. Lowell realizes that this village is on the map she discovered, and convinces the local leader, Maya, to allow her and Sawyer to explore. When the party comes upon the lost city, Lowell begins to search for the emerald. When their guide, Manola, and Maya realize Lowell's intention, they take her prisoner with the intent to burn her alive. Sawyer rescues her from certain death, and the two escape back to their rowboat. As they are pursued by the native villagers in their canoes, Sawyer dumps gasoline into the waters behind them, and sets it on fire. This prevents the villagers from continuing their pursuit, and the two erstwhile treasure hunters return to their ship.
Production.
The screenplay was based on Lowell's novel, "Cradle of the Deep", which at the time of its publishing was advertised as an autobiography. It was chosen by the Book of the Month Club, and became a best-seller in 1929. However, shortly after becoming famous, the book was exposed as a work of fiction.
In 1935, Lowell sued Van Beuren Studios and Amedee J. Van Beuren for an accounting of the profits. Van Beuren promptly made a counter-claim for $300,000 damages allegedly sustained because of Lowell's "inexpert" performance in the picture.
Modern sources still cite this film as a documentary, however, at the time of its release, sources reviewed it as a work of fiction. The film was shot on location in Guatemala. In July 1934, it was reported that production had completed, with filming done in Central America. The film began previews in early August, with one of these previews occurring aboard the S.S. Columbia on August 1, 1934.
Shot in black and white, the climax of the film, the fire scene, was hand colored by Gustav Brock.
The film opened on August 17, 1934, at the Rialto Theater in New York City. Several marketing schemes were put in place to coincide with the film's opening, including a newspaper essay contest with the winner receiving a free trip to Haiti, fashion tie-ins featuring Joan Lowell, and theater lobbies decorated in jungle motifs.
Reception.
"Motion Picture Daily" gave the film a good review as outdoor adventure, singling out the sea photography, and the colorization sequence by Brock. "The Brooklyn Daily Eagle" gave the film a mostly negative review, mostly due to the amateur nature of the actors, but they did compliment the photography, calling it "excellent", but a wasted effort. "The Hollywood Reporter" felt that it was a good family adventure film. The "New York Daily News" complimented Brock's coloring of the fire scene, and praised the cinematography in general. the "New York Daily Mirror" also praised the photography, while the "New York World-Telegram" called the film "as amusing and exciting an hour as you can imagine in the cinema." "The Film Daily" called it an "Unusual adventure film with good exploitation values." They also Lowell's acting as well as the photography.


Church of Our Lady of Good Hope

The Church of Our Lady of Good Hope () is an historic Carpenter Gothic-style Roman Catholic church building located on a bluff overlooking the Mackenzie River in Fort Good Hope, Northwest Territories, Canada. Only in size, it was built between 1865 and 1885 as a mission of the Oblate Fathers. Father Émile Petitot, "renowned ethnologist, linguist and geographer of the Canadian northwest" was a resident of the mission from 1864 to 1878.
The building's simple exterior, with its wooden siding, steep pitched roof, lancet windows and lancet entranceway under a steepled bell tower, make it a rather plain example of Carpenter Gothic style architecture, which belies the extraordinary painted decoration of its interior.
The Church of Our Lady of Good Hope was designated a National Historic Site of Canada on June 6, 1977. The designation does not include the historic cemetery located to the left of the church building.


Looks and Smiles

Looks and Smiles is a 1981 British drama film directed by Ken Loach. It is based on the novel of the same name, written by Barry Hines. The film was entered into the 1981 Cannes Film Festival, where Loach won the Young Cinema Award.
The film was shot in black-and-white entirely on location in Sheffield. There is some Yorkshire dialect in the film, although not as much as in previous Loach-Hines collaborations such as "Kes" and "The Price of Coal". Despite this, the review in the New York Times complained that "a great deal of the dialogue remains unintelligible to the American ear."
Ken Loach considered the film a failure and turned to making documentaries for several years afterwards, saying that the film failed to "create the outrage in the audience that should have been there". He also considered it "the end of an era" as he avoided long camera shots in subsequent films. A 2016 Guardian article wrote, "Even the most devoted fan found 1981’s Looks & Smiles painfully miserable". In support of the film, it has been held up as one of Ken Loach's film that does not propagate one political view heavily, as opposed to "Fatherland" or "Land and Freedom"
Plot.
A disadvantaged young man tries to get by in Margaret Thatcher's England. Writing in his book "The Cinema of Ken Loach", Jacob Leigh comments: ""Looks and Smiles" reveals the depression people felt in the industrial North of England in the 1980s; but it is as depressing as Mick's life. ... Loach's characteristic attention to detail renders the film a period piece."


Malmuth

Malmuth is a Jewish surname meaning "teacher" in the Hebrew Language. It is a variant of the surname, Melamed, see the latter page for other variants. Malmuth is also an uncommon given name.
People with the surname include:


Wadia Movietone

Wadia Movietone was a noted Indian film production company and studio based in Mumbai, established in 1933 by Wadia brothers J. B. H. Wadia and Homi Wadia. It was most known for stunt, fantasy and mythological films, including "Hunterwali" (1935).
History.
Wadia brothers belong to a Parsi family, and their ancestors came from the shipbuilding Wadia family (Wadia Group), originally from Surat, which also built the British wartime ship HMS Trincomalee (1817). Their ancestors moved to Bombay in the 18th century.
It was co-established in 1933, by producer and screenwriter J. B. H. Wadia, his younger brother director Homi Wadia, film distributor Manchersha B. Billimoria, and brothers Burjor and Nadirsha Tata.
However, the Tata brothers left the partnership within three years. The company then continued production of film, documentaries and newsreels from its studios near Lowjee Castle, Mumbai, the Wadia family mansion, owned by their great-grandfather Lovji Nusserwanjee Wadia, a noted shipbuilder, who founded the Wadia Group in 1736. The company even had its logo as a ship, honouring their family legacy. They company made "Hunterwali" (1935) starring Fearless Nadia, Boman Shroff and John Cawas, which became a surprise hit and its first big success. Thereafter, they made several films based on the Arabian Nights.
However, by the end the 1930s, the genre of stunt, fantasy and mythology films which dominated the early films, was beginning to fail and the company ran into heavy losses, after they invested into ambitious projects which flopped. The last film made by the company was "Raj Nartaki" (1941) under the direction of Madhu Bose. Thereafter, the studio premises were up for sale; V. Shantaram bought the studio in 1942 and established Rajkamal Kalamandir on the premises. Homi Wadia, who worked as a director the company, went on to establish Basant Pictures in the same year, though initially as a film production house. Subsequently, he established a film studio under the same banner in 1947, which functioned till 1981.
Riyad Vinci Wadia, grandson of J.B.H. Wadia inherited the studio in 1990. He is most known for his film, "Bomgay" (1996) and a documentary on Nadia, "Fearless: The Hunterwali Story". He died in 2003.


Castell, Texas

Castell ( ) is a small unincorporated, riverside town in Llano County, Texas, United States. Its population was 104 at the 2010 census. Located in the heart of the Texas Hill Country, its northern border is formed by the Llano River. It was designated a Recorded Texas Historic Landmark in 1964, marker number 9440.
Founding.
Castell began in 1847 as a land grant in Comanche territory settled by German abolitionists and Free-Soilers. The unsettled land had formerly been part of the Fisher–Miller Land Grant.
It was part of a series of five immigrant settlements sponsored by a group of prominent Germans known as the Adelsverein, including Count Emil von Kriewitz, John O. Meusebach, Prince Carl of Solms-Braunfels, Hermann Spiess, Gustav Schleicher, Ferdinand Ludwig Herff, and Count Carl Frederick Christion of Castell-Castell (1801–1850). Count Castell was the vice president and business manager from the beginning of the Adelsverein until about the time of Castel's founding. The other communities were Schoenburg, Meerholz, Leiningen, and Bettina. The first two were unsuccessful from the start. Leiningen and Bettina had brief lives, with Bettina lasting only a year. Only Castell remains.
Describing conditions in Castell in the mid-19th century, a tour guide has written
Mormonism.
Castell briefly experienced an influx of about 20 Mormon pioneer families under the leadership of Lyman Wight. They had settled in Zodiac, Texas, in 1847, in Mormon Mill in 1851, and then settled in Castell briefly before moving south in 1854 to Bandera, Texas. Wight died on March 31, 1858, and his body was returned to Zodiac for burial. Due to the Mormon custom of sending out missionaries, the congregations of 19th-century North Carolina possibly took their name from the Mormons who lived briefly in Castell, Texas.
Modern era.
The community was originally on the north bank of the Llano River, but now is on the south bank in the western part of Llano County near the Mason County line.
Castell had a population of 72 people in 1972 and again in 2000. In 2007, a Castell promotional site claimed a population of only 23.
Castell is in the Central Time Zone and is assigned ZIP code 76831 and area code 325.
Castell has several small businesses, mainly centering on camping and hospitality as a result of the flyfishing and kayaking opportunities there.
Climate.
The climate in this area is characterized by hot, humid summers and generally mild to cool winters. According to the Köppen climate classification system, Castell has a humid subtropical climate, "Cfa" on climate maps.


Jeri Redcorn

Jereldine "Jeri" Redcorn (born November 23, 1939) is an Oklahoman artist who single-handedly revived traditional Caddo pottery.
Background.
Jereldine Redcorn was born on 23 November 1939 at the Indian Hospital in Albuquerque, New Mexico. Her father was Caddo, and her mother was Potawatomi. Redcorn grew up in Colony, Oklahoma, living with on her Caddo grandmother Francis Elliot's allotment lands. Her tribal name is Bah-ha Nutte, meaning "River Woman." She graduated from Colony High School, then earned a bachelor of science degree from Wayland Baptist University in Plainview, Texas and her master's degree from the Pennsylvania State University in University Park, Pennsylvania.
Revival.
In 1991, Redcorn and fellow members of the Caddo Cultural Club visited the Museum of the Red River in Idabel, Oklahoma. There they saw hundreds of precontact Caddo pots, which even the tribal elders were completely unfamiliar with. "That day we were so excited that we decided as a group, as a tribe, we would learn how to do it and make Caddo pottery once again," Redcorn said. Her brother taught her the basics of coiled pottery. With extreme difficulty, she learned burnishing and engraving techniques.
Artwork.
In 1991, Redcorn began experimenting and teaching herself how to make pottery using traditional Caddo methods, which involve coiling the clay and incising for decoration. She uses metal or bone tools to incise her pots with ancestral Caddo designs and hand fires them, instead of using a commercial kiln. To add color, she rubs red clay into the incised designs.
Collections.
Redcorn's pottery is found in several public collections, including the following:
In 2009, First Lady Michelle Obama displayed a pot by Jeri Redcorn, "Intertwining Scrolls", in the White House.
Personal life.
Redcorn was married to Charles Redcorn, an Osage Nation author. Together, they lived in Norman, Oklahoma until his death in 2017.


Brazil lunar sample displays

The Brazil lunar sample displays are two commemorative plaques consisting of small fragments of Moon specimen brought back with the Apollo 11 and Apollo 17 Moon missions and given in the 1970s to the people of the country of Brazil by United States President Richard Nixon as goodwill gifts.
Description.
Apollo 11.
The Brazil Apollo 11 lunar sample display commemorative podium plaque 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 Brazilian flag that went to the Moon and back.
The four "Moon rocks" weigh about 0.05 grams total and are encased in a clear plastic button the size of a coin which is mounted to a wooden board approximately one foot square on a small podium pedestal display. The small podium plaque display also has mounted on it a small Brazilian flag that had been taken to the Moon and back on Apollo 11, which lies directly below the "goodwill moon rocks". The small podium plaque display was given to the people of the country of Brazil as a gift by United States 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 Brazil 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 Brazilian 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 Brazilian 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 Brazil 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.
The Brazil Apollo 17 "goodwill Moon rock" plaque display was presented by United States President Richard Nixon to Brazilian President Emilio Medici Garrastazu of Bagé in 1972. Garrastazu donated the commemorate plaque display to the Taborda family, overseers of the Museum Dom Diogo de Souza in Bagé, which has held it ever since. Bartira Taborda, daughter of the founder of the museum, declared that the museum was greatly honored and took great pride in receiving such a huge donation to the museum. The Brazil Apollo 17 "goodwill Moon rock" plaque display has caused much excitement and pride for the city of Bage and the state of Rio Grande do Sul in Brazil.
The building in which the Brazil Apollo 17 lunar sample display is stored is a dilapidated nineteenth-century structure. The building is now closed because of its critical need for repairs. In 2000 the museum considered selling the Brazil Apollo 17 "goodwill Moon rock" plaque display, but there was much uproar and resistance to this idea by the residents of Bage. The main curator and overseer of the museum withdrew the idea to sell the Brazil Apollo 17 "goodwill Moon rock" plaque display and has considered other means to raise funds. The museum now considers itself a special honor guard over such a unique piece. The Brazil Apollo 17 "goodwill Moon rock" plaque display has been exhibited to the public on select occasions over the past 30 years and is kept in a secure vault.


Solomon Smulewitz

Solomon Smulewitz (1868–1943, also Shloyme Smulewitz, Solomon Small) was a Russian-born (later American) Jewish singer, badkhn, recording artist, and primarily composer for the Yiddish theatre. He was born on April 13, 1868 in Pinsk, White Russia (now Belarus)
His father was a cantor; Solomon sang in his chorus from the age of 5. When his father died seven years later Solomon went into the tailoring trade while still singing in cantorial choirs in exchange for his meals. He left to join the chorus of a traveling theater troupe and was very successful in girls' roles. After being left behind in an inn as a "mashkn" (pledge that the others would come back and pay their bill) he went back to the cantor in Pinsk but was thrown out. He became a street singer.
He wrote his first song at the age of 12: "The desolate orphan," an autobiographical plaint. Having learned Russian he sang and played the fiddle from town to town, finally settling in Minsk, where he became a successful badchen, also writing songs for other local wedding singers. He wrote for Shomer's play productions in Warsaw. He published his first book in 1891.
In America he toured singing his own songs, which eventually totalled around 500 (in a letter to the press he claimed 300 written to his own melodies and 200 set to melodies by others). The most famous were "A brivele der mamen," "Dos talesl," "Al tashlicheinu," "Khave," and "Dos blumenkrentzele" - these and others have through the years often been considered folksongs.
From 1905 to 1909 he issued a yearly collection of his lyrics called "Der teater zinger." In 1916 he published "Poeziye un lider." His 500-page autobiography was never published. His song "Khave" was so popular the famous Russian singer Feodor Chaliapin included it in his repertoire. He was a prolific recording artist.
Smulewitz had a strong and piercing tenor voice which suited early recording capabilities well; after 1920 both his manner of singing and style of composition went out of fashion. Smulewitz fell on hard times and to make a living continuously toured the United States and Canada from Halifax to Calgary and Winnipeg, often with his daughter Dorothy, without much success. He died impoverished on January 1, 1943 in New York.


New Zealand Exhibition

The New Zealand Exhibition held in Dunedin, New Zealand, in 1865 was a world's fair visited by 31250 people.
It was the first world's fair held in New Zealand.
It opened on 12 January and ran until 6 May 1865.
Organisation.
Following the Bazaar and Industrial Exhibition of 1862, held in Dunedin, a group of gentlemen formed a committee for the promotion of a similar exhibition to be held on a larger scale in Dunedin in 1865. An application was made in February 1863 to the Governor requesting the formation of a Royal Commission, which was granted in May. The Provincial Government provided the sum of £4,000 for the aid of general purposes and another £4,000 to build a suitable building.John Hyde Harris was president of the executive, James Hector was commissioner and juror, Alfred Eccles the secretary and Thomas Forrester building superintendent.
Architecture.
A low-level site on King Street was secured and a contract was let to Messrs. George Cornwell and Edward Horsman on November 11, 1863 for £10,250 to erect the Main Building. There was a large two-story stone Italianate building with clock tower and a series of annexes all designed by Mason and Clayton,
with a central courtyard derived from Fowler's design of Covent Garden market.
It was not completely finished when the fair opened.
International Participation.
From the America came exhibits from Canada and the United States. From Europe came exhibits from Austria, Belgium, France, Germany, Great Britain, and the Netherlands. The sole Asian exhibiting nation was that of India. From Oceania, the colonies of New Zealand were well represented as were New South Wales, Queensland, South Australia, Tasmania, and Victoria. Altogether there came 1,598 exhibits from about 700 exhibitors.
Legacy.
Exhibits from the exhibition provided the opening collection of the colonial museum, and added to the collection at the Otago Museum, and the main building was converted into a new hospital for Dunedin. The old annex at the rear of the building was torn down in the mid-1890s, and a fire in the tower in 1897 almost destroyed the entire building. The old exhibition hospital finally was torn down in 1933.
After the exhibition, the collections were put into store and the art works were included in formation of Otago Society of Arts in 1876.


Anne Lynch Botta

Anne Charlotte Lynch Botta (November 11, 1815 – March 23, 1891) was an American poet, writer, teacher and socialite whose home was the central gathering place of the literary elite of her era.
Biography.
Early life.
She was born Anne Charlotte Lynch in Bennington, Vermont. Her father was Patrick Lynch (died 1819), of Dublin, Ireland, who took part in the United Irishmen Rebellion of 1798. For this, he was imprisoned and then banished from Ireland. He came to the United States at the age of 18, eventually making his way to Bennington where he set up a dry-goods business, and where he met his future wife, Charlotte Gray (1789-1873), daughter of Revolutionary War veteran Lt. Col. Ebenezer Gray (1743-1795). Patrick Lynch and Charlotte Gray married in 1812. Along with their daughter Anne, they had a son, Thomas Rawson Lynch (1813-1845).
Lynch's father died in 1819, shipwrecked off the coast of Puerto Principe, in the West Indies. After the death of her father, the family moved to Hartford, Connecticut, where Anne and her brother were sent to the best schools. When she was sixteen she was sent to the Albany Female Academy, where she graduated with high honors in 1834 and stayed there as a teacher for a few years.
Literary society.
She moved to Providence, Rhode Island with her mother in 1838, where she continued to teach. In 1841, she compiled and edited "The Rhode Island Book", a collection of poems and verse from the best regional writers of the time, including two poems of her own. She also began to invite these writers to her home for her evening receptions. It was said in 1843, that "the very best literary society of Providence could be found in the parlor of Miss Lynch".
In 1845, Lynch met the famed actress Fanny Kemble, who became very attached to her and introduced her to a wider circle of literary friends". In the same year she moved to Manhattan with her mother. She began teaching English composition at the Brooklyn Academy for Young Ladies; she continued her writing and was published in periodicals such as the "New-York Mirror", "The Gift", the "Diadem", "Home Journal", and the "Democratic Review". In New York, she also continued her literary receptions which she held every Saturday evening. It was at one of these receptions that she introduced the unknown Edgar Allan Poe to the literary society of New York. In 1848, her book "Poems" by Anne C. Lynch, was published by George P. Putnam. Edgar Allan Poe said of her: "She is chivalric, self-sacrificing, equal to any fate, capable even of martyrdom, in whatever should seem to her a holy cause. She has a hobby, and this is, the idea of duty."
Anne Lynch lived in Washington DC from 1850 to 1853, while serving as the personal secretary to Senator Henry Clay.
Marriage.
Lynch traveled to Europe in 1853, where she met Vincenzo Botta, an Italian professor of philosophy in Turin. They married in 1855. Mrs. Botta told an intimate friend of her marriage, "it satisfied her judgement, pleased her fancy, and, above all, filled her heart".
Evening receptions.
For many years she was a well-known and popular leader in society. She hosted intellectual gatherings at her home on West 37th Street. Unlike other salons, which had more to do with seeing and being seen by the high society of New York, her receptions provided a creative space in which artists could meet and collaborate. It was said of her salons that no one was either neglected or treated like a celebrity, and every one went away feeling stimulated, refreshed, and happy. At Mrs. Botta's receptions every Saturday night, attendees would find the most well-known writers, actors and artists, such as Poe, Margaret Fuller, Ralph Waldo Emerson, Amos Bronson Alcott, Louisa May Alcott,
Horace Greeley, Richard Henry Stoddard, Andrew Carnegie, Mary Mapes Dodge, Julia Ward Howe, Charles Butler, Fitz-Greene Halleck, Delia Bacon, Grace Greenwood, Bayard Taylor, William Cullen Bryant, Helen Hunt Jackson, actress Fanny Kemble, Daniel Webster, and many more. Her friend Kate Sanborn started her literary lecturing career at these receptions. Said a Boston writer: "It was not so much what Mrs. Botta did for literature with her own pen, as what she helped others to do, that will make her name a part of the literary history of the country."
Later life.
In 1860, Mrs. Botta published the "Handbook of Universal Literature", which contained concise accounts of authors and their work. She wrote: "This work was begun many years ago, as a literary exercise, to meet the personal requirements of the writer." This book was used as a text book in many educational institutions.
She was also a sculptor of portrait busts. Her sculpture of Charles Butler, done in marble, was donated to New York University. She said: "Beauty in art, in my opinion, does not consist in simply copying nature, but in retaining the true features of the subject, and breathing on them a breath of spiritual life, which should bring them up to their ideal form."
An example of her poetry which showed her interest in literature:
Anne Charlotte Botta died of pneumonia at age 75. She is buried at the Woodlawn Cemetery in New York.
Mrs. Botta refused to write an autobiography, so after her death, her husband collected correspondence, poems, and biographical information and had a book published, in 1893, called the "Memoirs of Anne C. L. Botta: Written by Her Friends". A quote by her friend, Mrs. L Runkle: "Life was the material with which she wrought."
One of her noteworthy legacies is a quinquennial prize of $1,000 she founded at the Académie Française for the best essay on "The Condition of Woman." She also promoted the establishment of Barnard College.


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

This is an incomplete list of New York State Historic Markers in Suffolk County, New York. There are approximately 110 historic markers in the county.


List of Indiana state historical markers in Parke County

This is a list of the Indiana state historical markers in Parke County.
This is intended to be a complete list of the official state historical markers placed in Parke 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 13 historical markers located in Parke County.


List of Indiana state historical markers in DeKalb County

This is a list of the Indiana state historical markers in DeKalb County.
This is intended to be a complete list of the official state historical markers placed in DeKalb 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 2 historical markers located in DeKalb County.


Aharon (given name)

Aharon אַהֲרֹן is masculine given name alternate spelling, commonly in Israel, of "Aaron", prominent biblical figure in the Old Testament, "Of the Mountains", or "Mountaineer". There are other variants including "Ahron" and "Aron". Aharon is also occasionally a patronymic surname, usually with the hyphenated prefix "Ben-". People with the given name Aharon include:


Ruth of the Rockies

Ruth of the Rockies is a 1920 American Western film serial directed by George Marshall. Two of the 15 episodes survive in the UCLA Film and Television Archive.
Plot.
As described in a film magazine, in New York City breezy Bab Murphy (Roland) comes into possession of a trunk with the insignia of the Inner Circle, a gang of crooks, who have their headquarters in Dusty Bend along the Mexican border but also operate in New York. The gang trails the trunk to ownership by Bab and, for it and a jade ring that is mysteriously sent to her, a series of adventures begin as she heads for the Bend.
Members of the gang throw the trunk off a train into the California desert where it is picked up by two accomplices in an automobile, only to have an aviator who flies low enough to overpower them and intercept the trunk by taking their place at the wheel. This birdman of mystery will later save Bab from the enforced marriage to a member of the gang, and by the third episode saves her from being imprisoned on the narrow balcony of a high tower.


Alva Lundin

Alva Lundin (née Lindbohm; Born May 11, 1889, died February 1972) was a Swedish title card and credit designer and artist. Lundin began writing title cards when title cards first came to Sweden in 1919, several years after using title cards became common practice in the Hollywood film industry. Lundin has been regarded as a leader in the writing of title cards.
Early life and education.
Born in Kvillinge, Östergötland in 1889, Lundin moved to Stockholm after the death of her father. From 1904 to 1906, Lundin attended the female section of Tekniska Skolan, later renamed the University College of Arts, Crafts, and Design, where she studied a variety of drawing and design techniques. This was during a time when attending art school as a woman in Sweden was an accepted but uncommon occurrence. Following her studies, Lundin worked as an illustrator and calligrapher at AB Hasse W. Tullberg. It is likely here that she would have met Sven Lundin, whom she married in 1915. After their marriage, the couple started their own business called Lundins Ritbyrå (Lundin's Drawing Company). Sven worked as the administrator while Alva worked as the artist.
Career.
The transition to the use of title cards has been regarded as what ultimately elevated films from the status of primitivity, contributing what Katherine Nagels called "key visuotextual elements". Lundin's career as a title card writer (1919-1960) has been identified as beginning with the film "Sir Arne's Treasure" ("Herr Arnes pengar") in 1919 with Svensk Filmindustri. Her success in that role lead to her continuance with Svensk Filmindustri with increased responsibilities in the making of the 1920 film "Erotikon". Lundin's title cards followed the popularly used sequence for title cards of the time, and yet her work has been regarded as prolific, and she herself as the "Nestor of Swedish film calligraphers". The effectiveness of Lundin's title cards have been regarded as contributing significantly to the viewers understanding, while simultaneously enhancing the humour of the film. In 1924, "Filmnyheter" proclaimed Lundin to be "the only [Swedish] film title specialist", a remarkable title to hold as a woman during a period when her presence in the industry was an anomaly. Women artists in Sweden who were able to support themselves with their art were generally illustrators for children's books.
In 1927 Lundin began signing her cards AL. Over her forty-year career, Lundin was credited as the title designer for 16 films, and contributed to nearly 500 films overall.


Leszczyc coat of arms

Leszczyc (Bróg, Brożek, Brożyna, Laska, Laski, Wyszowie), herb szlachecki - is a Polish coat of arms. It was used by several szlachta families in the times of the Polish–Lithuanian Commonwealth.
Notable bearers.
Notable bearers of this coat of arms include:


The Ghost of Peter Sellers

The Ghost of Peter Sellers is a 2018 feature documentary film, directed by Peter Medak and produced by Paul Iacovou. A cautionary tale about filmmaking, it recounts the sequence of how Peter Sellers, one of the biggest comedy actors at the time, in 1973 was attached to a pirate-themed comedy film for Columbia Pictures entitled "Ghost in the Noonday Sun." He lost confidence in the film immediately and tried to sabotage it, first firing the producers before turning on his friend (and the film's young director), Peter Medak. Despite an illustrious career and the passing of 43 years since the unraveling of the production, Medak is still reeling from the disastrous experience and carrying the wounds inflicted by Sellers and the film's failure. "The Ghost of Peter Sellers" received its premiere at the 2018 Venice Film Festival as part of the Giornate Degli Autori section, and was premiered in the United States at the 2018 Telluride Film Festival.
"The Ghost of Peter Sellers" received widespread critical acclaim from film critics, who praised Medak's willingness to revisit a dark period both professionally and personally. The wider film community has taken the film under its wings as a rare insight into how a film production unravels. The documentary spent 2019 traveling to film festivals around the world, picking up numerous awards, such as Best Documentary at The Beverly Hills Film Festival in April 2019.
Plot.
In September 1973, Peter Sellers was signed to star in a 17th-century pirate comedy, to be filmed in Cyprus for Columbia Pictures. What followed was a game of cat and mouse between Sellers, Director Peter Medak, cast, crew, and movie executives as Sellers repeatedly attempted to shut down the film. Sellers was in a personal and professional void at the start of filming; his recent failed relationship with Liza Minnelli and a number of poorly received films had spun him into a dark period, giving rise to a roller coaster of incidents during production, from sabotage to mutiny, from agonizing shooting schedules in cold temperatures to Spike Milligan’s frantic on-set rewrites. The film was somehow completed, but Columbia Pictures never released it to theaters.
The 2018 film illustrates the insanity of the 1973 production while illuminating a rising young director. Medak had made three well-received films in five years, including "The Ruling Class" in 1972 with Peter O’ Toole (nominated both for the Palme d'Or and an Academy Award). The 1973 failed effort with Sellers put a significant damper on Medak's career.
Although four decades had passed, Medak still felt the wounds from Sellers' actions, and "The Ghost of Peter Sellers" became his opportunity to tell the story of what happened on that film and release the weight associated with its failure. The film also documents the inner workings of the movie business, the lunacy of production when it unravels, and how the bankability of an actor can be the catalyst for a project but also its nemesis. It is a comic-tragic feature documentary about what it takes to be a film director and survive one's biggest disaster.
Reception.
On review aggregator website Rotten Tomatoes, the film holds an approval rating of 95%. Film Critic Todd McCarthy, writing in "The Hollywood Reporter" praised the film for its detail, calling it a "can't-take-your-eyes-off-it documentary". IMDB Editor Keith Simanton included the documentary in his 'Top 25 Films of 2018': "Not since "Lost in La Mancha" (by Terry Gilliam) have I seen anything so heartbreaking as this behind-the-scenes expose...'Ghost' ups the ante over 'La Mancha' however, by having the man at the center of the matter, Medak, directing, narrating, exorcising the guilt over a truly insane shoot, and laying to rest his animosity towards a troubled genius 45 years after the fact".
Critic Leonard Maltin, in his review of the Telluride Film Festival, asked "Why would a man who has worked successfully in film and television all these years (with some great ones like "The Ruling Class" to his credit) choose to revisit the greatest nightmare of his career? "Ghost" created a wound in Medak that has never healed. In spite of all the trouble Sellers caused, Medak still loves and admires him and wanted to tell this story. This fascinating feature documentary deserves a home like TCM to reach its target audience".
Forbes Contributor Jim Amos called The Ghost of Peter Sellers "as captivating as any Hollywood blockbuster - there have been many documentaries which have provided a microscope into ill-fated productions, including "", "Lost in La Mancha", and the "Fitzcarraldo" documentary, "Burden of Dreams". But "The Ghost of Peter Sellers" is one of the precious few which is told in the first person." Entertainment website 'The Playlist' cited Medak's documentary: "Emotionally and psychologically, “The Ghost Of Peter Sellers,” is an A-grade film".


Fannie Nampeyo

Fannie Nampeyo (1900–1987) (also known as Fannie Lesou Polacca and Fannie Nampeyo Polacca) was a modern and contemporary fine arts potter, who carried on the traditions of her famous mother, Nampeyo of Hano, the grand matriarch of modern Hopi pottery.
Biography.
Early life.
Fannie Nampeyo Polacca was the youngest of Nampeyo of Hano's three daughters. She was born in the Hopi-Tewa Corn Clan home atop First Mesa, on the Hopi Reservation in Arizona. Fannie was initially given the name Popongua or Popong-Mana (meaning "Picking Piñons") by the older women of her father Lesou's family, and either missionaries or health-care workers later gave her the name "Fannie."
The highest level of education Fannie Nampeyo completed was third grade. In the early 1920s she married her cousin, Vinton Polacca, going against tradition of marrying outside the Corn Clan. Shortly thereafter pottery making became an important part of Fannie’s life. The couple moved to Sand Hills where Vinton worked a cattle ranch. There she began taking pottery seriously. From 1934-1937 they lived and worked as ranchers but left ranching so Vinton could work in government schools. The couple took their family to Keams Canyon, where all their children eventually completed high school. While in Keams Canyon, Polacca had a profitable tamale business. During this time, Fannie Nampeyo increasingly worked with her mother Nampeyo, whose eyesight was diminishing due to trachoma. Fannie helped her mother with pottery painting and decorating, and also assisted her father with polishing. Early works created by Fannie and her mother were signed simply "Nampeyo" by Fannie, since Nampeyo could not read or write, but later they began signing pieces made together as "Nampeyo Fannie". Pieces made by Fannie alone were signed "Fannie Nampeyo" and might include a corn symbol drawn in.
Pottery.
Fannie was a prolific potter from 1920–1987 and earned a reputation as an outstanding potter during her lifetime. Her styles included black and red on yellow and black on yellow in the form of jars, cups and saucers. She also made miniatures and bird effigy bowls. Among her favorite designs were clouds, rain, feathers, stars and migrations motifs. In addition to making pottery she also made quilts.
Fannie's pottery won a first place blue ribbon in the "Hopi Show" at the Museum of Northern Arizona in July 1961, and her works have been included in collects by the University of Oklahoma's Fred Jones Jr. Museum of Art and The Cleveland Museum of Art.
Later years.
Nampeyo became matriarch of the Hopi-Tewa Corn Clan, as her mother Nampeyo had been before her. "Nampeyo" is actually the ceremonial title used by the matriarch of the Hopi-Tewa Corn Clan. Fannie and her husband Vinton were among the first families at First Mesa to join The Church of Jesus Christ of Latter-day Saints. Fannie had 13 children, although five died shortly after birth. The other seven (Thomas Polacca, Elva Nampeyo, Tonita, Iris Youvella, Leah, Harold and Elsworth) all excelled at pottery making, which they learned from their mother, and several have become known in their own right among collectors of Native American pottery. Fannie Nampeyo Polacca died in 1987.


Gijsbert van Veen

Gijsbrecht or Gijsbert van Veen (1558–1630) was a Dutch Renaissance painter and engraver, the brother of Otto van Veen. Born in Leiden (County of Holland), he travelled through Italy as a young man and settled in Brussels (Duchy of Brabant), where he died.
Van Veen's engraving entitled "Præstigiator" (1588), showing an Indian medicine man in the midst of a ritual dance, was based on an earlier watercolor painting by John White. The image is one of a series that portrayed the lives of the Algonquian-speaking Indians in the Outer Banks region of present-day North Carolina.
In 1603 Van Veen was paid 150 "livres" from state funds for carrying out secret missions for the Archdukes Albert and Isabella. In the same year he was awarded 373 "livres" 15 "sols" in part payment of 873 "livres" 15 "sols" due for portraits of Albert, Isabella, and the late Philip II of Spain, painted at the Archdukes' behest as a gift for Charles Philippe de Croÿ, Marquis d’Havré.
In 1604 he was paid another 803 "livres" and 10 "sols" for portraits of the king and queen of Spain, again gifts for the Marquis of Havré, and for portraits of Albert and Isabella that had been sent to the King of England the previous year.


Cultural history of Taiwan

The cultural history of Taiwan can be traced back to prehistoric Stone Age. Later the development of written languages made it easier to maintain traditions of the Taiwanese culture.
The recorded history of Taiwanese culture mainly stemmed from traditional Chinese culture, despite the influences from other foreign powers. Although the culture of modern Taiwan is significantly affected by Japanese and American cultures, the values and traditions of the Taiwanese people are heavily based on Confucianist Han cultures.
Prehistoric cultures.
The cultures in Taiwan's New Stone Age (began ca. 5000 BCE) were all left by Austronesian people. However, there may be other settlers prior to the arrival of the Austronesian people.
In addition, the plains aborigines influenced the beliefs, music, and names, of places in Taiwan. These aboriginal tribes include Ketagalan, Kavalan, Taokas, and Babuza peoples. However, over the course of three centuries of Han Chinese migrations to Taiwan, the distinctive cultures gradually disappeared, creating an integrated cultural blend.
The 1620s saw a major turning point in Taiwan's cultural history due to the introduction of the Sinckan Manuscripts. The written language was brought to Taiwan by Dutch missionaries. The prehistory of Taiwan was brought to an end as a result.
European colonial culture.
As a result of Taiwan's strategic position, many foreign powers were interested in establishing settlements in Taiwan. Taiwan was first introduced to European nations in approximately the mid-sixteenth century by Portuguese explorers, who called the island "Ilha Formosa," which means "Beautiful Island, and the neighboring islands "Pescadores," which means "Fishermen."
The Dutch East India Company invaded the Pescadores in 1622. After several battles with Ming forces, the Dutch agreed to retreat to the island of Taiwan, which was not part of the Ming territories. In 1624, the Dutch established a trading post in present-day Tainan City and built its political center at Fort Zeelandia. Due to the shortage of labor, the Dutch recruited Han migrants. As a result, the previous tribal society drastically changed.
The Dutch were not the only European settlers in Taiwan. In 1626, the Spaniards established settlements in northern Taiwan. Fort San Salvador was built in present-day Keelung. Later, they expanded their territory to present-day Yilan and Tamsui, and built Fort Santo Domingo, which still exists today. Spanish missionaries converted many aborigines to Catholicism. However, the Dutch attacked Spanish settlements in northern Taiwan in 1642, drove out the Spaniards, and occupied their territories.


Mercurius Politicus

Mercurius Politicus was a magazine that was published weekly from June 1650 until the English Restoration in May 1660. Under the editorship of Marchamont Nedham, it supported the republican governments. From 1655 until 1659 it had a monopoly on news publication.
History.
"Mercurius Politicus" was Marchmont Nedham's most significant enterprise, which he used as a platform for the Commonwealth regime. (Nedham received a government payment of £50 in May 1650, probably to start this venture.) This third Nedham weekly began in June 1650, on a light note: "Why should not the Commonwealth have a Fool as well as the King had?" — but soon settled into a more serious vein as a voice of the republican movement of the day. He rested the case for the Commonwealth on arguments similar to those of Hobbes: that "the Sword is, and ever hath been, the Foundation of all Titles to Government", and that it was hardly likely that the Commonwealth's adversaries would ever succeed in their designs. "Politicus" continued for the next decade, the term of the Commonwealth era, under alternative titles like the "Public Intelligence" or "Public Intelligencer". In 1655 the Lord Protector Oliver Cromwell rewarded Nedham with an official post, so that Nedham was then perceived as a spokesman for the regime.


List of Pennsylvania state historical markers in Potter County

This is a list of the Pennsylvania state historical markers in Potter County.
This is intended to be a complete list of the official state historical markers placed in Potter County, Pennsylvania by the Pennsylvania Historical and Museum Commission (PHMC). The locations of the historical markers, as well as the latitude and longitude coordinates as provided by the PHMC's database, are included below when available. There are 11 historical markers located in Potter County.


Ida May Park

Ida May Park (December 28, 1879 – June 13, 1954) was an American screenwriter and film director of the silent era, in the early 20th century. She wrote for more than 50 films between 1914 and 1930, and directed 14 films between 1917 and 1920. She was born and died in Los Angeles, California. She was married to film director and producer Joseph De Grasse, with whom she was regularly teamed at Universal.
Early career.
Park got her start in the entertainment industry as a stage actress when she was 15 years old. During her time in the theatre she met her future husband, Joseph De Grasse, also an actor. When Pathé hired De Grasse in 1909, Park was hired as a writer. Together they were hired by Universal.
Work at Universal.
The first screenplay that she wrote was titled "A Gypsy Romance" which was developed into a short scenario by director Wallace Reid. Reid also directed the next scenario that she wrote, "The Man Within". Park then started to work with De Grasse who directed the next several pieces that she wrote. The two worked on multiple shorts and scenarios together over several years. Their first joint project was the short "Her Bounty" (1914), and their first feature-length film was "Father and The Boys" (1915). Most of the titles that the two worked on together were for Universal's Bluebird label. Park made her solo directorial debut in 1917 when she directed "The Flashlight" starring Universal's top dramatic actress Dorothy Phillips; after this picture, she and DeGrasse took turns directing Bluebird projects featuring Phillips. She went on to direct 13 more films, many of which were deemed "women's features".
Park and De Grasse continued at Universal Studios until 1919 when they left for unknown reasons.
Later career.
After leaving Universal, Park directed "The Butterfly Man" (1920), starring Lew Cody, followed by two independent feature-length films co-directed with her husband, "Bonnie May" and "The Midlanders" (both 1920). These were the latter of Park's directorial credits. De Grasse continued to direct for a few more years, and Park continued to write for the screen. She wrote an additional two films before she left the industry altogether. The last feature film that she wrote was "The Playthings of Hollywood" (1931) for Willis Kent Productions.
Ida May Park died in Los Angeles on June 13, 1954, at age 74.


Central and Western Heritage Trail

The Central and Western Heritage Trail is a Heritage Trail in Hong Kong, that was designed by the Antiquities and Monuments Office of the Leisure and Cultural Services Department.
It covers the Central and Western District of Hong Kong and consists of 3 parts:
The Western District and the Peak Route.
Western District comprises three small districts namely Sai Ying Pun, Shek Tong Tsui and Kennedy Town.


Furiant

A furiant is a rapid and fiery Bohemian dance in alternating 2/4 and 3/4 time, with frequently shifting accents; or, in "art music", in 3/4 time "with strong accents forming pairs of beats".
The stylised form of the dance was often used by Czech composers such as Antonín Dvořák in the eighth dance from his "Slavonic Dances"; in his 6th Symphony; in his Terzetto for Two Violins and Viola, third movement; and by Bedřich Smetana in "The Bartered Bride" and in his second volume for piano of Czech Dances ("České tance 2"), published in 1879 (Op. 21). It was also used by Brahms in the middle section of the second movement of his Sextet No. 2 in G Major.
The use of the furiant by central European composers closely parallels their use of the dumka, a dance which often precedes the furiant.
References.
Vrkočová, Ludmila: "Slovníček základních hudebních pojmů". 2005.


The Bushwhackers (film)

The Bushwhackers is a 1925 Australian silent film directed by Raymond Longford loosely based on Alfred Tennyson's 1864 poem "Enoch Arden". It is considered a lost film.
Plot.
Bill Lawson (Eddie O'Reilly), a wharf labourer, loses his job and decides to go out bush to find work to support his wife Elsa (Stella Southern) and daughter Betty. He befriends a well-born Englishman, Kenneth Hillyard (Rawdon Blandford) after rescuing him from two thugs and the two decide to go prospecting together. They have a variety of adventures before stumbling upon a gold deposit. Then while walking along the cliffs one day Bill slips and falls into the river below. Kenneth looks for him but can't find the body and Bill is believed to be dead. Kenneth returns to the city to share the gold with Elsa and Betty. When Kenneth inherits money from an English relative, he proposes to Elsa.
Years later a bush character appears, 'Mad Joe', who is Bill – it turns out Bill survived the fall but lost his memory. He later regains his memory after a hospital operation and tracks down his wife. But once he sees how happy she is with Kenneth, he returns to the bush.
Production.
Actor Rawdon Blandford wrote a song especially for the film. He later described this and other Australian films he made as "not great efforts" and criticised the quality of Australian directors.
Co-star Eddie O'Reilly was a sometime boxer.
Australasian Films bought the film outright from Longford and Lyell for its production cost.
Reception.
The critic from "The Bulletin" said
The photographer has done justice to^the excellence of Australian scenery for his purposes, but in other respects the picture is only saved from complete failure by the comedy touches. The story... wallows along under a large top hamper of irrelevances. There is a host of uninteresting characters to confuse the audience, and mawkish sub-titles crop up every few feet, with a wordy explanation of almost every movement... amateurish and disappointing.
The critic from the "Sydney Morning Herald" said that the film's merits:
Lie mainly in its beauty of scenery and photography. There is no plot, as the word is commonly understood. The story simply meanders onward, without complication and without any very definite aim, so that it might be cut off almost anywhere without seeming incomplete... This narrative is embellished with a profusion of irrelevant detail... Characters appear In bewilding profusion, and in a moment or two are gone for ever. Through the midst flows a torrent of wordy subtleties, fully half of which could be eliminated with advantage to the picture... Those who appear before the camera make little pretence of acting, beyond a little buffoonery. Yet, all its weaknesses admitted, the film still retains the interest given it by pleasant comedy touches, and by clearly photographed studies of the harbour, the Blue Mountains, and the rolling f¡elds.


List of Indiana state historical markers in Starke County

This is a list of the Indiana state historical markers in Starke County.
This is intended to be a detailed table of the official state historical marker placed in Starke County, Indiana, United States by the Indiana Historical Bureau. The location of the historical marker and its latitude and longitude coordinates are included below when available, along with its name, year of placement, and topics as recorded by the Historical Bureau. There is 1 historical marker located in Starke County.


Gonzales County Courthouse

The Gonzales County Courthouse is located in Gonzales, capital of the county of the same name in the U.S. state of Texas. It was designated a Recorded Texas Historic Landmark in 1966 and was added to the National Register of Historic Places in 1972.
It is the fourth building to serve as the county courthouse. The first burned on ith eclectic details, was built with red brick and a white limestone trim. The brick came from St. Louis, Missouri, while the limestone was cut from a nearby quarry owned by Firmin Maurin, who in 1895 was hired as superintendent for construction of the courthouse. The contract was let on June 26, 1894, and the courthouse was completed on April 8, 1896. The structure cost $64,450. The building was extensively repaired in 1958 including receiving a new roof, and received historic restoration in 1997.


List of Recorded Texas Historic Landmarks (Cameron-Duval)

The following is a partial list of Recorded Texas Historic Landmarks (RTHLs) arranged by county as designated by the Texas Historical Commission and local county historical commissions in Texas. This page includes RTHLs in these counties: Cameron, Camp, Carson, Cass, Castro, Chambers, Cherokee, Childress, Clay, Cochran, Coke, Coleman, Collin, Collingsworth, Colorado, Comal, Comanche, Concho, Cooke, Coryell, Cottle, Crane, Crockett, Crosby, Culberson, Dallam, Dallas, Dawson, DeWitt, Deaf Smith, Delta, Denton, Dickens, Dimmit, Donley, and Duval.
KEY
Landmarks with multiple historic designations are colored according to their highest designation within the following hierarchy.
Collingsworth County.
There are currently no Recorded Texas Historic Landmarks listed within the county.


Kirk Knight production discography

The following list is a discography of production by Kirk Knight, an American record producer and rapper who is a member of the hip hop collective Pro Era. It includes a list of songs produced, co-produced and remixed by year, artist, album and title.
References.
Notes
Citations


Western Algerian Arabic

Western Algerian Arabic (also known as Northwestern Algerian Arabic, Oranese Arabic or Oranian Arabic; in ) is a dialectal continuum of Hilalian Arabic, mainly spoken in Oran, Algeria.
It the western regional dialect of Algerian Arabic, belongs to the Maghrebi Arabic family, and marked by a Berber and Spanish substrates. As well it shares a rich vocabulary common with as the Maltese and the Tunisian Arabic. It has become known outside of Algeria, notably thanks to the Algerian folk music Raï since the 1980s.


List of Indiana state historical markers in Johnson County

This is a list of the Indiana state historical markers in Johnson County.
This is intended to be a complete list of the official state historical markers placed in Johnson 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 2 historical markers located in Johnson County.


Tridip Suhrud

Tridip Suhrud (born 19 December 1965) is an Indian writer, political scientist, cultural historian and translator from Gujarat, India.
Life.
Suhrud was born in 1965 in Anand, Gujarat. He completed a Master of Arts in Economics and Political Science and earned a Ph.D under Ashis Nandy for his thesis "Narrations of a Nation: Explorations Through Intellectual Biographies", a socio-historical work on 19th century Gujarati literature in the context of autobiographies written by Narmad, Manilal Dwivedi and Govardhanram Tripathi.
He served as a coordinator at the Behavioural Science Centre, St. Xavier's College, Ahmedabad (1989–1992); as a visiting fellow at the Committee for Cultural Choices and Global Futures, CSDS, Delhi (1993–1994); as a faculty member at the National Institute of Design, Ahmedabad (1994–2001); and as a professor at DAIICT, Gandhinagar (2001–2012). After working for five years with Sabarmati Ashram as a director, he resigned in August 2017.
In 2017, he was appointed as professor and director of CEPT Archives.And in 2019 he was appointed as the provost for CEPT University. He is a member of the Gandhi Heritage Sites Mission of the Government of India.
Works.
He translated several works from English into Gujarati, including Ashis Nandy's "The Intimate Enemy: Loss and Recovery of Self Under Colonialism" as "Antarang Ari", G. N. Devy's "After Amnesia: Tradition and Change in Indian Literary Criticism" as "Smrutibhranshna Pagle Pagle" and Chandulal Bhagubhai Dalal's biography of Harilal Gandhi as "Harilal Gandhi: A Life" (2007).
He translated two major works of Gujarati literature into English; Suresh Joshi's experimental novel "Chhinnapatra" (as "Crumpled letter") and Govardhanram Tripathi's epic novel "Saraswatichandra". He also translated the biography of Mahatma Gandhi in four volumes written by Narayan Desai into English from Gujarati.
He translated Mahatma Gandhi's "Hind Swaraj" into Hindi.
Awards.
He received the Katha Award in 1999. He received Sahitya Akademi's Translation Prize in 2009 for his translated work, "Harilal Gandhi: A Life".


Sherborne Mercury

The Sherborne Mercury is a defunct regional newspaper, published in Sherborne, Dorset, United Kingdom. It began publication in 1737, predating the national "Times".
It was a hugely influential newspaper, particularly as its news coverage and distribution went well beyond that of the boundaries of Dorset.
Before any newspaper was published in Cornwall, the "Sherborne Mercury" had many subscribers and distribution throughout Cornwall, as far west as Penzance, It covered many Cornish news items, and was read by key businessmen and members of the professional class in the County. Archive copies are available in the Cornish Studies Centre in Redruth.
It was published by Robert Goadby (1720/21–1778), a printer and bookseller.
It commenced publishing in 1737, and it eventually became the "Sherborne & Yeovil Mercury". It was sometimes known as the "Western Flying Post".
Robert Goadby died in Oborne, Dorset, where his body is buried in the local churchyard.
Selected content from the newspaper.
Goadby later inserted the following in his newspaper:
"This is to inform all...in the counties of Wilts, Dorset, Somerset, Devonshire and Cornwall, that the proprietor is ever willing to oblige every single person; but that it is impossible to contrive the circuit of the news carriers, as to take in every house or place; but if the inhabitants of any such parishes were this paper is not at present carried, would be so kind as to send a messenger to any place where it is brought in its usual circuit, for as many papers as are wanted in the parish, the proprietor will allow the person who comes for them a halfpenny on each paper he takes, besides a further allowance upon all the pamphlets, book &c. which he can sell in the said parishes."
Sherbornes.
The hawkers, news boys and news carriers were known as Sherbornes. This name was also applied to hawkers and carriers of other regional and local newspapers in the West Country.
Articles of record.
Archive copies of this local paper can be found in the County Archives offices of: Wiltshire, Dorset, Devon and Cornwall, testament to its historical importance as a newspaper of record in the West Country. It remains a popular source for genealogists and local historians.


Ghumura dance

Ghumura dance is a folk dance of Kalahandi district of the Indian state Odisha. It is classified as folk dance as the dress code of Ghumura resembles more like a tribal dance, but there are arguments about mudra and dance forms of Ghumura bearing more resemblance with other classical dance forms of India.
Origin and history.
Mythology.
Beside historical evidence, the origin of Ghumura dance has taken into consideration of public views and myths. Based on myth, poet Shivam Bhasin Panda wrote "Ghumura Janma Bidhan" in 1954. Nandini Bhasin and Gaganeswar have also described a myth regarding origin of Ghumura, in which they described that Chandra Dhwaja has originally established the dance and later it was taken over a demon — Karttabirya Asura.
As per "Chandi Purana" Durga, the eternal deity of Shakti, asked all the Gods and Goddesses of heaven to lend their weapons, as instruments and conveyances to kill a demon king Mahisasur. One of the war-musical instruments collected was the Ghumura instrument that was formed by combination of a portion of Dambaru, a musical instrument of Lord Siva, and Veena of goddess Saraswati.
As per "Mahabharata", Ghumura was used by Gods and Goddesses as a musical instrument during war. According to Sarala Mahabharata, during Satya Juga-Jenabali-Patana was the capital of the king Gogingh Daitya, grandson of Mahisasura. Many people accept that Mahisasura Jenabali-Patana of that age is the Junagarh of today. However, in the Madhya Parba of Mahabharat, Ghumura has been mentioned with description about killing of Gosingh Daitya. Sarala Dasa has also described it as the Rana-Badya (war music) of Mahisasura.
A few experts believed Ghumura was a war music (Rana-Badya) of Ravana, demon king of Lanka, and Lanka-garh. Goddess Lankeswari, the favorite goddess of Ravana, is worshiped in the region. According to them after Lanka was destroyed by Hanuman and after Ravana was killed, Goddess Lankeswari left Lanka and came to settle in Jenabali-Patana (now it is Junagarh, Kalahandi) where she is worshiped.
There are myths about the origin of Nishan and Tala. After building Chandrachuda Bindhani out of iron found from Bindhya Giri and covering its top with a skin of dead Bouta cow, it was inaugurated with Panchakshar-Mantra. Its parents Gaurab Gandharb and Urbasi called it Nishan. Likewise the Tala was created by a Saint-Kasyapa Risi. Nishan and Tala are considered as symbols of Radha-Krishna.
Archaeological aspects.
Archaeological evidence proves that there are some cave painting from pre-historic period discovered from Gudahandi of Kalahandi and Yogi Matha of Nuapada district that looks like Ghumura, Damru and other attractive things. These rock art sites belongs to more than 8000 B.C. and from such painting the antiquity of musical instrument Ghumura and Damru can be imagined. It is also proved that during mythological age, Kalahandi had prosperous and developed civilization. The origin of Ghumura goes back to ancient times.
There is a beautiful waterfall in the river valley of Indravati, which was initially recognized by Chindak Nagas of Chakrakot. Many believe that Ghumura dance originated from this river valley and gradually spread into the areas between Indravati and Mahanadi, indicating this dance form belongs to the 10th century A.D. On the other hand, analysts opine that 'Banka-Paika' of Kalampur had carried Lankeswari deity with a grand procession of Ghumura music to Junagarh in 1008 A.D. when the Naga dynasty shifted their old capital from Jugasaipatna to Junagarh. The terracotta and stone objects found from medieval site in Nehena, 3 km from Khariar, resembles Ghumura object dated to the 9th and 10th centuries. In the 12th century A.D. Ghumura dance was already popular, which is evident from a scene of one person playing the instrument Ghumura in a stone-hole of Nritya Mandir of Konark Sun Temple. Bhimeswar temple in Bhubaneswar shows another scene of Ghumura dance reconfirming that origin of Ghumura dance was in the 10th century A.D.
Dr Mahendra Kumar Mishra, a noted folklorist and ethnomusicologist of Kalahandi, has researched extensively on ethnography of Ghumra dance of kalahandi, which can be accessed in the website www.scribd.com. Dr Mishra has widely discussed on structure, function and socio-cultural context of Ghumra dance of Kalahandi adjoining Bastar and Chhatishgarh and part of Odisha in his well-researched book "Kalahandira Lokasanskruti" (1996) published by Freidns Publishers, Cuttack.
Transformation of war music into folk music and dance.
In mythological ages Ghumura was a favorite music instrument of Gods and Demons during war, which was followed in subsequent time as the heroic war music by successive kings and soldiers of Odisha, especially in Kalahandi. Many kings in the region such as Eastern Ganga dynasty had well-organized soldiers with Ghumura as their primary war music. During that period, the Ghumura song hadn't been composed nor sung.
Only its music and dance were being used during wartime to make the soldiers excited with the spirit of fighting. Later on the song was integrated with the music and dance of Ghumura, since it was regarded as the only medium of exercise for body building and entertainment during leisure time of Paikas or soldiers. During British rule, the Paikas were often inactive and used to get sufficient leisure time, for which the Ghumura was developed by them as a primary means of entertainment.
Afterwards poets and writers in general of Odisha and in particular of Kalahandi took initiatives to compose songs of Ghumura while writing about Devi bandana (hymns or prayer to deities), glory of dynasties and mythological studies. In this way Chanda-Chaupadis of poet Upendra Bhanja, Dinakrushna, Abhimanyu Samanta Singar, etc. gradually entered into Ghumura, which made it much more enchanting. As a result, common people living in the rural areas of Kalahandi became very attracted by this music, song and dance of Ghumura and formed many Ghumura groups to develop and spread. In this respect, the royal families of Bhawanipatna, Jayapatna, Madanpur Rampur, Khariar etc. also highly encouraged and helped these groups of village folk.
During religious and cultural festivals like 'Dasahara' many of these groups used to gather together on the altars of deities, e.g., Manikeswari of Bhawanipatna, Lankeswari of Jungarh, Raktambari of Khariar, Dakeshwari of Madanpur Rampur, Budha Raja of Ampani etc. However, for the distinctive recognition of the Ghumura group reform and development was made in the manner and nature of dress, painting, dance, music and song. While performing, the Ghumura dancers and singers of each group used to ask very complicated question related to socio-economic and political problems to their competent opposite group through the medium of the songs. This gave birth to the contemporary form of Ghumura-Ladhei or Badi-Ghumura in Kalahandi, which is very meaningful, attractive and enchanting.
Etymological meaning.
Ghumura is an earthen pitcher and the imagination of the preparation of such pitcher into a musical instrument is a polygenetic development. 'Ghumura' is derived from 'Ghum+u+Ra'. 'Ghum' means bowl like pitcher made of soil or clay and having a thin face with big belly. 'U' means 'Lord Siva' and 'Ra' mean 'Raba' or 'Dhowni' (vibrating sound). Earthen clay pot is locally known as 'Ghumuri', which was largely used by females to reserve water for home use. The male version of 'Ghumuri' is 'Ghumura'. Since Ghumura is a male dance form and it is found in almost all parts of the human culture that equipment and appliances invented for human use have been the foundation to the invention of musical instruments, the derivation of name of Ghumura from 'Ghumuri' signifies such claim.
Ghumura in folk tradition.
Though Ghumura has been included in folk culture, it is a widespread dance in the Kalahandi region. It is in unknown if in its early period whether it was a caste-based dance or not. By the time when Ghumura entered into the sphere of folk dance, above from the level of tribal dance, it was extensively performed by almost all castes and communities. Perhaps, Ghumura was a caste-based dance of a particular caste in its beginning and later on extended to different castes and communities. It was then widely accepted as a mass dance from folk dance.
Development and spread.
Ghumura dance has had the opportunity to represent the nation in international events in Delhi, Moscow, and other places.


List of Pennsylvania state historical markers in Centre County

This is a list of the Pennsylvania state historical markers in Centre County.
This is intended to be a complete list of the official state historical markers placed in Centre County, Pennsylvania by the Pennsylvania Historical and Museum Commission (PHMC). The locations of the historical markers, as well as the latitude and longitude coordinates as provided by the PHMC's database, are included below when available. There are 29 historical markers located in Centre County.


Mensch

 (, "mentsh", from Middle High German mensch, from Old High German mennisco; akin to Old English man human being, man) means "a person of integrity and honor."
According to Leo Rosten, a is "someone to admire and emulate, someone of noble character. The key to being 'a real mensch' is nothing less than character, rectitude, dignity, a sense of what is right, responsible, decorous." The term is used as a high compliment, implying the rarity and value of that individual's qualities.
Overview.
In Yiddish, "mentsh" roughly means "a good person." The word has migrated as a loanword into American English, where a "mensch" is a particularly good person, similar to a "stand-up guy", a person with the qualities one would hope for in a friend or trusted colleague. "Mentshlekhkeyt" (; ) refers to the properties which make a person a "mensch."
During the Age of Enlightenment, in Germany the term ', in the philosophical sense of "compassion," was used in Humanism to describe what characterizes a "better human being." The concept goes back to Cicero's "humanitas", which was literally translated as ' in German, from which the Yiddish word "mentsh" derives.
The word "Mensch" and the underlying concept have had an impact on popular culture. For example, the "Mensch on a Bench" is a Hanukkah-themed book and doll set. A life-size version of the doll has been adopted by as their mascot. According to pitcher Gabe Cramer, "The Mensch is a great way to have fun in the dugout while reminding us of why we're here and who we're representing."


List of Indiana state historical markers in Steuben County

This is a list of the Indiana state historical markers in Steuben County.
This is intended to be a complete list of the official state historical markers placed in Steuben County, Indiana, United States, by the Indiana Historical Bureau. The locations of these 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 2 historical markers located in Steuben County.


The Dude in Me

The Dude In Me () is a 2019 South Korean fantasy comedy film directed by Kang Hyo-jin, starring Jung Jin-young, Park Sung-woong and Ra Mi-ran. The film was released on January 9, 2019.
Plot.
In an unfortunate accident Dong-hyun slips from the roof of a building and falls on top of Pan-soo. Later in the hospital, the two wake up in each other’s bodies.
Release.
A press conference for the film was held on December 26, 2018. The film was released to the local cinemas on January 9, 2019.
The film is set to be released internationally in the Japan, Taiwan, Indonesia and Vietnam.
Reception.
Box office.
In the first weekend of its release, "The Dude In Me" ranked second at the South Korean box office and sold 564,568 tickets at 1,041 screens. During the first five days since the release the film has sold a total of 770,000 tickets.
On the eighth day since the release movie surpassed 1 million ticket sales. At the end of 12 days since the movie premier, "The Dude In Me" had attracted a total of 1.6 million viewers passing the break-even point of 1.5 million.


On His Heid-Ake

On His Heid-Ake, also referred to as The Headache and My Heid Did Yak Yesternicht, is a brief poem in Scots by William Dunbar (born 1459 or 1460) composed at an unknown date.
The poem describes Dunbar's experience of a severe headache which he refers to as a "magryme". The symptoms described, such as pain, depression and photophobia are consistent with the modern diagnosis of migraine.
The work consists of three short stanzas and is preserved in the Reidpeth Manuscript of the seventeenth century, now held by Cambridge University Library.
Summary.
William Dunbar was a poet employed at the court of King James IV of Scotland.
His poetry often adopted the traditional themes of court poets, such as religious subjects, satire and the marking of great events.
However On His Heid-Ake deals with the commonplace details of his private life.
The poem might be interpreted as an apology to his patron for failing to make progress in the composition of poetry.
The Poem.
Dunbar declares that he has recently suffered a headache which has prevented him from composing poetry. He compares the pain to being pierced by an arrow and adds that he finds it difficult to look at sources of light.
He records that his attempts at writing were thwarted by his discomfort.
He is unable to take pleasure in entertainments while affected by the migraine.


Miss Suwanna of Siam

Miss Suwanna of Siam (; ), was a 1923 romance film written and directed by Henry MacRae, set in Thailand (then Siam) and starring Thai actors. It was one of the first feature films to be made in Thailand, and was the first Hollywood co-production in Thailand.
Nothing of the film exists today except for some promotional materials and other ephemera held at the Thailand National Film Archive.
Plot.
The film is a romance about a young woman named Suwanna who is the object of affection for many men. In her search for true love, she has many adventures and mishaps, including overcoming her father's disapproval, before finally finding her soulmate.
Premiere.
"Suwanna of Siam" was an 8-reel silent film. It premiered on June 22, 1923 at the Nakhon Si Thammarat Theatre, and then opened the next day at the Phatthanakon Cinematograph, the Hong Kong Cinema Hall and the Victoria Theater.
A newspaper account of the opening reads:
Production.
Production started in 1922, but before he could begin filming, MacRae had to first ask permission of the Siamese Royal Court.
"Today Mr Henry A. MacRae came to see me. I assured him of two things: first, traveling; second, finding a place for film processing and screening. Above these, he has to take care of himself. For our benefit, he has to give a copy of the film to the State Railway in return...", an excerpt from the writings of Prince Kampaengpet reads, in reaction to a visit by MacRae, who wanted to "take picture[s] of Bangkok and the Beauties of Siam, including the King and the Palace Buildings."
"I felt that His Majesty, King Rama VI, would be interested in moving pictures," McRae wrote in "The Film Year Book" (1924). "And after considerable maneuvering I finally secured an audience which resulted in securing the entire [Royal Entertainment] Company's assistance together with the free use of the King's 52 automobiles, His Majesty's 600 race horses, the free use of the navy, the Royal Palaces, the railways, the rice mills, thousands of miles of rice fields, coconut groves, klongs and Elephants, and white elephants at that."
Ultimately, according to Thai film scholar Chalida Uabumrungjit, the Siamese government "allowed the making of this film in order to show the world the positive image of Siam at the time. Therefore, many incidents in the film featured the modern elements in Thai society such as travelling by express train or mail plane."
Controversy and disappearance.
When MacRae finished the film, he did give a copy to the Royal State Railway, per his agreement with Prince Kumbaengbejr. The railway agency had a public relations division that oversaw film production as a means to promote tourism in the kingdom (which is much the same way the modern-day Tourism Authority of Thailand operates in its promotional activities regarding film productions and the Bangkok International Film Festival). MacRae also turned over a copy to King Vajiravudh. It was shown in Bangkok for three days, but soon after it was lost.
Film historians have searched, but the negatives of the film have not been found anywhere, nor is there evidence the film was even shown in the United States upon MacRae's return.
One reason it may have been lost is due to a controversial scene in the film, in which MacRae filmed an execution of a prisoner, which led to criticism in the local media.
"I would like to blame the local officer who did not save the honor of the country by forbidding them to do so. The execution will represent the barbarism of Siam," a columnist said in the newspaper, "Sambhand Thai".
The movie was subject to censorship, and it is believed that the execution scenes were cut.
Legacy.
While research and discussion about "Miss Suwanna" has long been the province of film historians and scholars, the subject of the film received mainstream attention as a major plot point in the 2006 Thai comedy, "Nong Teng Nakleng-pukaotong" (literally, "Nong and Teng, the Golden Mount Gangsters"). The story involves a likay performer (portrayed by Pongsak Pongsuwan) in 1923 Siam who finds his family's troupe being evicted from his theater to make way for a new phenomenon being brought to Siam by foreigners – film. Together with his friend (Choosak Eamsuk), Nong seeks to disrupt the production of "Miss Suwanna", which he sees as a corruptive influence on traditional culture.
Alternate titles.
Despite the Royal Thai General System of Transcription for transliteration of Thai into English, the title of "Miss Suwanna of Siam" is stated many different ways. The title character's name has been alternately stated as "Suwann", "Suwan", "Suwarn", "Suvarn", "Suwarna" or "Suvarna". The Thai title is "Nang Sao Suwan", "Nong Sao Suwan" or "Nangsao Suwan", with alternate English titles, "The Gold of Siam" or "Kingdom of Heaven".


Markland

Markland is the name given to one of three lands on North America's Atlantic shore discovered by Leif Eriksson around 1000 AD. It was located south of Helluland and north of Vinland.
Although it was never recorded to be settled by Norsemen, there were probably a number of later expeditions from Greenland to gather timber. A 1347 Icelandic document records that a ship went off course and ended up in Iceland in the process of returning from Markland, without further specifying where Markland was.
Location.
Markland has been suggested to have been part of the Labrador coast in Canada, as Labrador lies in the heavily forested taiga region of the Northern Hemisphere north of the location of Vinland on the island of Newfoundland. The area of Cape Porcupine has been suggested as a possible candidate for the site. The climate and the vegetation in this region may have changed significantly since the sagas were conceived, owing to the Medieval Warm Period and Little Ice Age.
The particular part of the Labrador coast is difficult to pinpoint, as Helluland has been placed everywhere from Baffin Island to the northern Labrador coast beyond Groswater Bay to the southern Labrador Coast.
Sagas.
The "Saga of the Greenlanders" tells that Leif Eriksson set out in 1002 or 1003 to follow the route that was first described by Bjarni Herjólfsson. The first land that Eriksson went to was covered with flat rocks (Old Norse: "hella") and so he called it "Helluland" ("Land of the Flat Stones)". Next, Eriksson came to a land that was flat and wooded, with white sandy beaches, which he called "Markland" ("Forest Land"). Eriksson's crew cut down trees and took them to Greenland because Greenland has only one small forest and normally relies on driftwood or imports for lumber. The "Saga of the Greenlanders" also tells of 160 men and women who settled in Markland for winter protection led by Thorfinn Karlsefni ("Þorfinnr Karlsefni Þórðarson"), c. 1010.
The "Saga of Erik the Red" indicates that Markland is south of Helluland, north of Vinland off "Kjalarnes", northwest of an island called Bjarney, and with a country that Karlsefni thinks may be Hvítramannaland somewhere opposite its coast.


Schvartze


Polish Hill (Kansas City, Kansas)

Polish Hill is a neighborhood in Kansas City, Kansas, located southwest of Strawberry Hill, that was historically occupied by mixed Slavic and Eastern European immigrants.
History.
Polish Hill was mainly founded by immigrants from Poland in the late 1800s and early 1900s. They were mainly from Podkarpackie Voivodeship and migrants from the small township of Pulaskifield, Missouri who were also of Polish ancestry. The hill also had a small influx of Slovak immigrants, being so close to Podkarpackie. Together the Poles founded St. Joseph's Polish Catholic Parish at Vermont Avenue and Mill Street, on what became known as "Polish Hill". The community of people there was very large so the founding's of churches such as St. Benedict's and St. Casimir were founded by other Polish people to attend Mass. Sts. Cyril and Methodius was founded by the Slovak people and was also attended by more Poles. Many Eastern European immigrants in the area worked in local meatpacking plants.
The Slavic community slowly started drifting apart. St. Benedict, St. Joseph, Sts. Cyril and Methodius and St. Casimir all co-joined to create All Saints Catholic Parish in the former church of St. Joseph.
For over thirty years, the residents of Polish Hill have celebrated Polski Day with a parade and food festival during the first week of May each year to commemorate the signing of the Polish Constitution on May 3, 1791. Today, the community is mainly Hispanic, but continues the Polski Day tradition, resulting in Cinco de Mayo celebrations featuring kielbasa and sauerkraut.
Notable residents include World Series-winning St. Louis Cardinals pitcher Ray Sadecki, who attended St. Joseph's Polish Roman Catholic School, and whose grandparents ran a grocery store in Polish Hill. Sadecki once served as Grand Marshall for the neighborhood's Polski Day celebration.
Location.
Polish Hill is located north of Interstate 70 and west of 7th Street, centered at Vermont Avenue and Mill Street.


Maradik

Maradik () is a village in Serbia. It is situated in the Autonomous Province of Vojvodina, in the region of Syrmia (Syrmia District), in Inđija municipality. Maradik is located about 10 km west of Inđija. The village has a 60% Serb ethnic majority and its total population in 2011 was 2,095.
Name.
In Serbian, the village is known as "Maradik" or Марадик, in Croatian as "Maradik", and in Hungarian as "Maradék".