Isaac Heffron House

The Isaac Heffron House is a two-story building located at 1509 Postoffice Street (Avenue E) in the East End Historic District of Galveston, Texas. The house was built by Isaac Heffron, a prominent Galveston contractor in the Victorian period and during the city's recovery from the 1900 Galveston Hurricane. Later, the house was the residence of T.J. Holbrook, a Texas state senator from 1922 to 1939.
Isaac Heffron.
Isaac Heffron was born in Cardiff, Wales in either 1853 or 1858. He immigrated to United States in 1860 and settled in Galveston, Texas. Beginning in 1881, he worked as a stevedore for the firm "Munn, Fry, and Company". He remained with the firm until 1885, by which point it had been renamed "Fry and Heffron". As Heffron's career developed, he completed increasingly large construction projects and received substantial contracts from the City of Galveston, including one for the construction of a railroad, including a trestle bridge, connecting Galveston to La Porte, Texas.
Galveston Sewer Company.
During the middle of the nineteenth century, Galveston suffered a public health crisis. The city lacked an organized waste management system. The worst problem was human waste.
In 1886, Heffron founded the Galveston Sewer Company and was awarded a contract from the City of Galveston to begin laying pipes for a system of surface water and waste drainage. For a fee, Heffron offered homeowners the ability to connect their private homes to the central cement pipes, which deposited runoff into the Galveston Bay. In the following years, he continued to expand the sewage system, initially focusing on the portion of town bound by 14th Street, Broadway, 27th Street, and the bay. By 1899, the system included eight miles of cement pipes and connected 430 properties. In 1892, during the midst of the project, the city awarded Heffron's company a 50-year franchise to install sewage pipes in the city.
Between 1896 and 1901, Heffron and city officials engaged in acrimonious negotiations regarding the future of the sewage system. A growing portion of the city's population believed that the public, rather than a private company, should maintain ownership. Heffron believed that his contract guaranteed that the city could only take control of the system through purchasing it. Some city leaders, including city attorney Waverley Smith, believed that the original agreement was unlawful and, therefore, the city had no obligations to the Galveston Sewer Company. The debate persisted for several years, complicated by the devastation brought by the 1900 Galveston Hurricane. Heffron shrewdly used newspaper publicity in effort to sway public opinion toward his perspective. Finally, in 1901, a court ordered Galveston Mayor Walter C. Jones to pay the full purchase price of $93,600.
1509 Postoffice.
In October 1881, Heffron acquired the property at 1509 Postoffice Street in Galveston from David Fahey. Some time prior to 1871, Josephine and William Casseady had built a one-story house on the lot. Heffron and his wife Clotilde resided in the house until 1890, when they demolished it and constructed a two-story house in the same footprint. They may have incorporated portions of the earlier building into the 1890 house.
Architectural description.
The 1890 Isaac Heffron House is a two-story, four-bay, urban Victorian house with turned columns, a two-story tri-partite bay window, and a central entrance. Compared to other noted architectural examples of the period in the East End district, the house has more restrained details. Its placement on a constrained urban lot between other houses limited Heffron's ability to employ other common Victorian elements, such as turrets and wrap-around porches.
The tall two-over-two windows of the first story are characteristic late nineteenth century features and they are indicative of the use of the porch as an extended living space in the subtropical climate. The rear, southern porch illustrated in the 1899 Sanborn Map is typical of north-facing houses that sought to capture incoming breezes from the Gulf of Mexico. While there is no evidence that Heffron hired an architect for the project, the lot bears signs of his personal influence as a contractor, most notably in the concrete balustrade at the front of the lot.
Heffron Residence.
The Heffron family lived in the house through the 1890s while Isaac's career continued to advance and his wealth increased. In 1899, he commissioned architect Charles W. Bulger to design a new house for the family at 511 17th Street. The family relocated in 1901. Heffron died in his office in 1928.
Thomas J. Holbrook.
After relocating to 17th Street, Heffron retained ownership of the house at 1509 Postoffice and used it as a rental property for several years before transferring the deed to Andrew C. Falligant, the husband of Heffron's daughter Clotilde. The Falligant family lived in the house until October 1913, when they sold it to Thomas J. Holbrook. Born 1878 in Salado, Texas, Holbrook worked as a credit manager for the firm Mistrot Bros. in Galveston between 1907 and 1919. After a two-year stay in Dallas, he returned to Galveston in 1921 and was elected state senator in 1922. Over the course of his tenure in office from 1922 to 1939, he was a leader in efforts to construct a 1930 causeway connecting Galveston Island to the mainland and to add a psychiatric hospital to the campus of the University of Texas Medical Branch. The house at 1509 Post Office was his Galveston home throughout his term.
Later Owners and Preservation Efforts.
In 1940, Holbrook sold the house to Edmund Cordray, a pharmacist who had operated his business at the corner of Postoffice and 15th Streets since 1918. Cordray used the house as a rental property until his death in 1965. The house had several different owners through the 1970s and 1980s. In 1990, new owners undertook a substantial rehabilitation project, which included the replacement of damaged historic porch spindles with materials salvaged from the nearby Joseph L. Darragh House during its 1992 demolition, the removal of paint from interior woodwork, and the replacement of damaged cypress siding with matching materials from architectural salvage sources. The current owners, who purchased the property in 2010, successfully applied to have the house listed as a Recorded Texas Historic Landmark in 2016.


The Broken Gate

The Broken Gate is a lost 1920 American silent drama film directed by Paul Scardon and starring Bessie Barriscale. It was distributed jointly by W. W. Hodkinson and Pathé Exchange.


Liverpool Maritime Mercantile City

The Liverpool Maritime Mercantile City is a UNESCO designated World Heritage Site in Liverpool, England. It comprises six locations in the city centre of Liverpool including the Pier Head, Albert Dock and William Brown Street, and includes many of the city's most famous landmarks.
UNESCO received the city council's nomination for the six sites in January 2003 and in September of that year sent ICOMOS representatives to carry out an evaluation on the eligibility for these areas to be given World Heritage Status. In March 2004 ICOMOS recommended that UNESCO inscribe the Liverpool Maritime Mercantile City as a World Heritage Site.
The area was inscribed during the 28th session of the World Heritage Committee in 2004 under cultural criteria ii, iii and iv. Its inclusion by UNESCO was attributed to the fact that it was 'the supreme example of a commercial port at a time of Britain's greatest global influence'.
In 2012, the site was inscribed on the List of World Heritage in Danger due to the proposed construction of Liverpool Waters project.
In July 2017, UNESCO warned that the city's status as a World Heritage Site was at risk of being rescinded in light of planning and development proposals, with English Heritage asserting that the proposed Liverpool Waters development would leave the setting of some of Liverpool's most significant historic buildings “severely compromised”, the archaeological remains of parts of the historic docks “at risk of destruction”, and “the city’s historic urban landscape ... permanently unbalanced”.
Locations.
The Liverpool Maritime Mercantile City comprises six separate locations throughout the centre of the city, each of which relates to a different component and time in the Liverpool's maritime history. The inscribed sites extend for approximately 4 km north-south along the city's waterfront and stretch approximately 1 km east-west. In total it covers an area of 136 hectares.
The Pier Head.
The Pier Head is the focal point of Liverpool's waterfront and is dominated by three of its most recognisable landmarks: The Liver Building, The Port of Liverpool Building and the Cunard Building. Collectively referred to as the Three Graces, they stand as a testament to the great wealth in the city during the late 19th and early 20th century when Liverpool was one of the most important ports in the world. Initially plans existed to add a 'fourth grace' to area, named "The Cloud" and designed by Will Alsop, however this fell through in 2004. Today, in what would have been its place, a new Museum of Liverpool opened on 19 July 2011. Behind the Port of Liverpool building is the art deco George's Dock Ventilation Tower, whose design is heavily influenced by Egyptian architectural styling. Also a part of the site is the old George's Dock wall, which dates from the late 18th century, as well as several memorials, including one built to honour the engineers who remained at their post as the RMS Titanic sank.
Listed Buildings
The Albert Dock.
The Albert Dock is a complex of dock buildings and warehouses located to the south of the Pier Head. Designed by Jesse Hartley and Philip Hardwick and opened in 1846, the Albert Dock warehouses were the first in the world to be entirely fireproof, due to their construction from only iron, brick and stone, with no structural wood. The dock was home to many advances in docking technology including being the first to have hydraulic cranes. During World War II the buildings suffered significant damage and general docking decline in the city after the end of the war saw them fall rapidly into disrepair. In the 1980s the area underwent massive regeneration after the creation of the Merseyside Development Corporation and the complex was reopened to the public in 1984, as part of the tall ships festival. Today they form a focal point for tourism in the city, being home to Tate Liverpool, Merseyside Maritime Museum and The Beatles Story. They also constitute the largest single collection of Grade I listed buildings anywhere in the UK.
Listed Buildings
The Stanley Dock Conservation Area.
The Stanley Dock Conservation area is located to the north of the Pier Head and includes huge swathes of Liverpool's docking heartland. Within the site are several docks including Stanley Dock, Collingwood Dock, Salisbury Dock and Clarence Graving Dock; parts of the Leeds Liverpool Canal and associated canal locks; and many smaller features such as bridges, bollards and capstans. Two of the Clarence Graving Docks are notable as the oldest docks still in use in the city today, dating back to 1830, although their full development wasn't completed until 1848. Amongst the buildings in the area are the Victoria Clock Tower and Stanley Dock Tobacco Warehouse, one of the largest brick buildings in the world.
Listed Buildings
Duke Street Conservation Area/ Ropewalks.
The "Ropewalks" site comprises the south western component of the Duke Street conservation area, as well as two warehouses on College Lane and Bluecoat Chambers on School lane. The location was one of the first areas in the city to develop when Liverpool was an emerging port, with Bluecoat Chambers being the oldest surviving building in Liverpool city centre, dating back to 1715. Its proximity to the Old Dock, the world's first enclosed wet dock, meant it was the location of the city's first property speculators who built both warehousing and residential premises along Duke St, Hannover St, and Bold St. The area soon developed a cosmopolitan feel being home to various types of people including sea captains, merchants, traders and artisans. Today the area is known as Ropewalks, a reference to the large number of roperies present in the area when Liverpool was one of the busiest ports in the world during the 18th and 19th centuries.
Listed Buildings
The 'Commercial Quarter'/Castle Street Conservation Area.
This part of the WHS is focused around what would have previously been medieval Liverpool and includes Castle Street dominated by Trials Hotel at one end and the Town Hall at the other linking Old Hall Street by Exchange Flags, Victoria Street, Water Street and Dale Street. Today a centre for commercial activity in the city, the area was included due to the nature of its street development over three centuries and the grandeur of its architecture and monuments.
Listed Buildings
The 'Cultural Quarter'/ William Brown Street Conservation Area.
The William Brown street area is the central point for many of Liverpool's civic buildings forming a so-called 'cultural quarter'. Amongst the buildings that are focal to this part of the WHS are St George's Hall, Lime Street station, the Walker Art Gallery, the World Museum Liverpool, the former Great North Western Hotel and the entrance the Queensway Tunnel.
Listed Buildings
Inscription.
Having received the nomination for the area in January 2003, the International Council on Monuments and Sites (ICOMOS) travelled to Liverpool in September of that year to carry out an evaluation on behalf of UNESCO. The ICOMOS evaluation analysed the city in relation to its nomination document, looking at four key areas: conservation, authenticity and integrity, comparative evaluation and outstanding universal value.
Upon completion of their evaluation, ICOMOS returned to UNESCO with the recommendation that the area be inscribed as a world heritage site. At the same time they made several recommendations regarding future preservation and development within the areas and their buffer zones. As a result, the Liverpool Maritime Mercantile City was inscribed as a world heritage site at the 28th session of the World Heritage Committee in 2004, under the cultural criteria ii, iii and iv:


List of Tangible Folk Cultural Properties of Japan (Ehime)

This list is of the Tangible Folk Cultural Properties of Japan in the Prefecture of Ehime.
National Tangible Folk Cultural Properties.
As of 1 July 2015, one property has been designated at a national level.
Prefectural Tangible Folk Cultural Properties.
As of 27 March 2015, eight properties have been designated at a prefectural level.
Municipal Tangible Folk Cultural Properties.
As of 1 May 2014, a further seventy properties have been designated at a municipal level.
Registered Tangible Folk Cultural Properties.
As of 1 July 2015, zero properties have been registered (as opposed to designated) at a national level.


Samuel Bayer videography


First Evangelical Church (Houston)

First Lutheran in Houston is a historic Lutheran church at 1311 Holman Street in Houston, Texas. It is part of the North American Lutheran Church (NALC). The current church building was constructed in 1927 and added to the National Register of Historic Places in 2006.


Rosalie Simbola

Rosalie Simbola Aguilar (c. 1898–1947) was a Pueblo-American potter from the Picurís tribe. She is known for her black-on-black pottery and for her creation circa 1931 of a technique in which contrasting carved heights were accentuated with glossy or dull coating. Simbola often collaborated with her husband, José Angela Aguilar, who would carve and paint her creations. By the 1930s her pottery was exhibited nationally along with contemporaries like Rose Gonzales, Maria Martinez, Juanita Pena and Tonita Roybal. Simbola's works are in the permanent collection of institutions including the Denver Museum of Natural History.
Simbola married José Angela Aguilar in 1922 and moved with him to his hometown of San Ildefonso Pueblo. There, she established herself as a prominent potter. A number of the couple's eleven children became potters and painters themselves, including José Vicente Aguilar, Alfred Aguilar, Florence Naranjo and Kathy Trujillo.


Dr. Dre production discography

The following list is a discography of production by Dr. Dre, an American hip hop record producer and recording artist from Compton, California. It includes a list of songs produced, co-produced and remixed by year, artist, album and title.
1985.
World Class Wreckin' Cru - "World Class"
1986.
World Class Wreckin' Cru - "Rapped in Romance"
1987.
C.I.A. - "My Posse"
N.W.A - "N.W.A and the Posse"
1988.
Bobby Jimmy and the Critters - "Milkshake / Overlapping Waist" 12"
Bobby Jimmy and the Critters - "NY/LY Rappers / Fone Freak" 12"
J. J. Fad - "Supersonic"
Eazy-E - "Eazy-Duz-It"
N.W.A - "Straight Outta Compton"
Various Artists - "Coming to America OST"
1989.
N.W.A - "Express Yourself" 12"
Michel'le - "Michel'le"
The D.O.C. - "No One Can Do It Better"
1990.
Above the Law - "Livin' Like Hustlers"
Various Artists - "The Return of Superfly (soundtrack)"
N.W.A - "100 Miles and Runnin"'
1996.
2Pac - "All Eyez on Me".
Disc 1:
Disc 2:
1998.
Kurupt - "Kuruption!".
Disc 1: The West Coast
2009.
Dr. Dre - "The Chronic & From the Vault".
DVD-Rom
Various Artists - "Death Row: The Ultimate Box Collection".
Disc 3:
2011.
Game - "Purp & Patron".
Disc 2:


Flora Finch

Flora Finch (17 June 1867 – 4 January 1940) was an English-born vaudevillian, stage and film actress who starred in over 300 silent films, including over 200 for the Vitagraph Studios film company. Unfortunately, the vast majority of her films from the silent era are currently classified as lost.
Early life and career.
Finch was born into a music hall and travelling theatrical family in London and was taken to the United States as a young child. She kept up the family tradition and worked in theatre and the vaudeville circuit right up until her 30s.
She had her first film roles at the American Mutoscope and Biograph Company starting in 1908. There she worked with Fatty Arbuckle, Mack Sennett (with whom she was reportedly involved romantically for a short time), Charlie Chaplin, and other leading performers and producers of the silent era.
Work with John Bunny and later career.
Starting in 1910 at Vitagraph, she was paired with John Bunny for the first of 160 very popular shorts produced between 1910 and 1915. Those shorts, known as "Bunnygraphs", "Bunnyfinches", and "Bunnyfinchgraphs", established Finch and Bunny as the first popular comedy team in films. The duo became a short-lived trio when Mabel Normand arrived at the studio.
After Bunny's death in 1915, Finch continued to make comedy shorts, but with less success. She started her own production company in 1916, and released a film with the company the following year, but was never able to regain her popularity. One of her best-known roles in the later silent years was Aunt Susan in Paul Leni's "The Cat and the Canary" (1927).
She found film work in the sound era, although predominantly in small supporting parts. "The Scarlet Letter" (1934) gave her one of her more substantial roles in sound films, and she had a cameo in one of Laurel and Hardy's best-known features, "Way Out West" (1937). Her last film was "The Women" (1939).
Death.
Finch died in 1940 at the Good Samaritan Hospital in Los Angeles from blood poisoning. She was taken to the hospital after a streptococcus infection followed an accidental cut to her arm. The infection spread beyond control and the actress lapsed into a coma from bronchial pneumonia. At the time of her death, she was working as a stock player at Metro-Goldwyn-Mayer studios.
Partial filmography.
Sourcing: American Film Institute catalogue:


John Flaxman

John Flaxman (6 July 1755 – 7 December 1826) was a British sculptor and draughtsman, and a leading figure in British and European Neoclassicism. Early in his career he worked as a modeller for Josiah Wedgwood's pottery. He spent several years in Rome, where he produced his first book illustrations. He was a prolific maker of funerary monuments.
Early life and education.
He was born in York. His father, also named John (1726–1803), was well known as a moulder and seller of plaster casts at the sign of the Golden Head, New Street, Covent Garden, London. His wife's maiden name was Lee, and they had two children, William and John. Within six months of John's birth the family returned to London. He was a sickly child, high-shouldered, with a head too large for his body. His mother died when he was nine, and his father remarried. He had little schooling, and was largely self-educated. He took delight in drawing and modelling from his father's stock-in-trade, and studied translations from classical literature in an effort to understand them.
His father's customers helped him with books, advice, and later with commissions. Particularly significant were the painter George Romney, and a cultivated clergyman, Anthony Stephen Mathew and his wife Mrs. Mathew, in whose house in Rathbone Place the young Flaxman used to meet the best "blue-stocking" society of the day and, among those his own age, the artists William Blake and Thomas Stothard, who became his closest friends. At the age of 12 he won the first prize of the Society of Arts for a medallion, and exhibited in the gallery of the Free Society of Artists; at 15 he won a second prize from the Society of Arts showed at the Royal Academy for the first time. In the same year, 1770, he entered the Academy as a student and won the silver medal. In the competition for the gold medal of the Academy in 1772, however, Flaxman was defeated, the prize being awarded by the president, Sir Joshua Reynolds, to a competitor named Engleheart. This episode seemed to help cure Flaxman of a tendency to conceit which led Thomas Wedgwood V to say of him in 1775, "It is but a few years since he was a most supreme coxcomb."
He continued to work diligently, both as a student and as an exhibitor at the Academy, with occasional attempts at painting. To the Academy he contributed a wax model of Neptune (1770); four portrait models in wax (1771); a terracotta bust, a wax figure of a child, an historical figure (1772); a figure of "Comedy"; and a relief of a Vestal (1773). During this period he received a commission from a friend of the Mathew family for a statue of Alexander the Great, but he was unable to obtain a regular income from private contracts.
Wedgwood.
From 1775 he was employed by the potter Josiah Wedgwood and his partner Bentley, for whom his father had also done some work, modelling reliefs for use on the company's jasperware and basaltware. The usual procedure was to model the reliefs in wax on slate or glass grounds before they cast for production. D'Hancarville's engravings of Sir William Hamilton's collection of ancient Greek vases were an important influence on his work.
His designs included the "Apotheosis of Homer" (1778), later used for a vase; "Hercules in the Garden of Hesperides" (1785); a large range of small bas-reliefs of which "The Dancing Hours" (1776–8) proved especially popular; library busts, portrait medallions, and a chess set.
Early sculptural work.
By 1780 Flaxman had also begun to earn money by sculpting grave monuments. His early memorials included those to Thomas Chatterton in the church of St Mary Redcliffe in Bristol (1780), Mrs Morley in Gloucester Cathedral (1784), and the Rev. Thomas and Mrs Margaret Ball in Chichester Cathedral (1785). During the rest of Flaxman's career memorial bas-reliefs of this type made up the bulk of his output, and are to be found in many churches throughout England. One example, the monument to George Steevens, originally in St Matthais Old Church, is now in the Fitzwilliam Museum, Cambridge. His best monumental work was admired for its pathos and simplicity, and for the combination of a truly Greek instinct for rhythmical design and composition with a spirit of domestic tenderness and innocence.
Marriage.
In 1782, aged 27, Flaxman married Anne Denman, who was to assist him throughout his career. She was well-educated, and a devoted companion. They set up house in Wardour Street, and usually spent their summer holidays as guests of the poet William Hayley, at Eartham in Sussex.
Italy.
In 1787, five years after their marriage, Flaxman and his wife set off for Rome, on a journey partly funded by Wedgwood. His activities in the city included supervising a group of modellers employed by Wedgwood, although he no longer made any work for the potter himself. His sketchbooks show that while there he studied not only Classical, but also Medieval and Renaissance art.
While in Rome he produced the first of the book illustrations for which he was to become famous, and which promoted his influence all over Europe, leading Goethe to describe him as "the idol of all dilettanti". His designs for the works of Homer (published in 1793) were commissioned by Georgiana Hare-Naylor; those for Dante (first published in London in 1807) by Thomas Hope; those for Aeschylus by Lady Spencer. All were engraved by Piroli. Flaxman created one hundred and eleven illustrations to Dante's Divine Comedy which served as an inspiration for such artists as Goya and Ingres, and were used as an academic source for 19th-century art students.
He had originally intended to stay in Italy for little more than two years, but was detained by a commission for a marble group of the "Fury of Athamas" for Frederick Hervey, Earl of Bristol and Bishop of Derry, which proved troublesome. By the time of his return to England in the summer of 1794, after an absence of seven years, he had also executed "Cephalus and Aurora", a group in marble based on a story in Ovid's "Metamorphoses". This was bought by Thomas Hope, who arrived in Rome in 1791, and is often said to have commissioned it. Hope was later to make it the centrepiece of a "Flaxman room" at his London home. It is now in the collection of the Lady Lever Art Gallery, Liverpool.
Return to England.
During their homeward journey, the Flaxmans travelled through central and northern Italy. On their return they took a house in Buckingham Street, Fitzroy Square. Buckingham Street has since been renamed Greenwell Street, W1; there is a plaque to Flaxman on the front wall of no.7 identifying this as the site of the house where Flaxman lived. Immediately after his return the sculptor published a protest against the scheme (already considered by the French Directory and carried out two years later by Napoleon) to set up a vast central museum of art at Paris to contain works looted from across Europe. Despite this, he later took take advantage of the Peace of Amiens to go to Paris to see the despoiled treasures collected there.
While still in Rome, Flaxman had sent home models for several sepulchral monuments, including one in relief for the poet William Collins in Chichester cathedral, and one in the round for Lord Mansfield in Westminster Abbey.
Later life.
In 1797 he was made an associate of the Royal Academy. He exhibited work at the Academy annually, occasionally showing a public monument in the round, like those of Pasquale Paoli (1798) or Captain Montague (1802) for Westminster Abbey, of Sir William Jones for University College, Oxford (1797–1801), of Nelson or Howe for St Paul's Cathedral, but more often memorials for churches, with symbolic Acts of Mercy or illustrations of biblical texts, usually in low relief. He made a large number of these smaller funerary monuments; his work was in great demand, and he did not charge particularly high prices. Occasionally he would vary his output with a classical piece like those he favoured in his earlier years.
Soon after his election as Associate of the Academy, he published a scheme for a grandiose monument to be erected on Greenwich Hill, in the form of a figure of Britannia high, in honour of British naval victories.
In 1800 he was elected a full Academician, and in 1810 the Academy appointed him to the specially created post of Professor of Sculpture. He was a thorough and judicious teacher, and his lectures were often reprinted. According to the "Encyclopædia Britannica" of 1911: "With many excellent observations, and with one singular merit—that of doing justice, as in those days justice was hardly ever done, to the sculpture of the medieval schools—these lectures lack point and felicity of expression, just as they are reported to have lacked fire in delivery, and are somewhat heavy reading." His most important sculptural works from the years following this appointment were the monument to Mrs Baring in Micheldever church, the richest of all his monuments in relief (1805–1811); that for the Cooke-Yarborough family at Campsall church, Yorkshire, those to Sir Joshua Reynolds for St Paul's (1807); to Captain Webbe for India (1810); to Captains Walker and Beckett for Leeds (1811); to Lord Cornwallis for Prince of Wales's Island (1812); and to Sir John Moore for Glasgow (1813).
He was commissioned to create the monument to Matthew Boulton (died 1809), by Boulton's son, which is on the north wall of the sanctuary of St. Mary's Church, Handsworth, Birmingham, where Boulton is buried. It includes a marble bust of Boulton, set in a circular opening above two putti, one holding an engraving of the Soho Manufactory.
Around this time there was much debate over the merits of the sculptures from the Parthenon in Athens, which had been brought to Britain by Lord Elgin, and were hence popularly known as the Elgin marbles. When Flaxman first saw them at Elgin's house in 1807, he advised against their restoration. Flaxman's statements in favour of their purchase by the government to a parliamentary commission carried considerable weight; the sculptures were eventually bought in 1816. His designs for the friezes of "Ancient Drama" and "Modern Drama", for the facade of the Theatre Royal, Covent Garden, made in 1809 and carved by John Charles Felix Rossi, provide an early example of the direct influence of the marbles on British sculpture.
In the years immediately following his Roman period he produced fewer outline designs for publication, except three for William Cowper's translations of the Latin poems of John Milton (1810). In 1817, however, he returned to the genre, publishing a set of designs to Hesiod, which were engraved by Blake. He also designed work for goldsmiths at around this time—a testimonial cup in honour of John Kemble, and the famous and beautiful (though quite un-Homeric) "Shield of Achilles" designed between 1810 and 1817 for Rundell, Bridge and Rundell. Other late works included a frieze of "Peace, Liberty and Plenty", for the Duke of Bedford's sculpture gallery at Woburn Abbey, and an heroic group of St Michael overthrowing Satan, for Lord Egremont's Petworth House (delivered after Flaxman's death.) He also wrote several articles on art and archaeology for Rees's "Cyclopædia" (1819–20).
In the last six years of his life, Flaxman designed decorations for the facades of Buckingham Palace. Some of his drawings for this commission are now held by the Royal Collection Trust.
In 1820 Flaxman's wife died. Her younger sister, Maria Denman, and his own sister, Maria Flaxman, continued to live with him, and he continued to work hard. In 1822 he delivered at the Academy a lecture in memory of his old friend, Canova, who had recently died; in 1823 he received a visit from Schlegel, who wrote an account of their meeting.
Flaxman died, aged 71, on 7 December 1826. His name is listed as one of the important lost graves on the Burdett Coutts Memorial in Old St. Pancras Churchyard.
The Chelsea telephone exchange that became 020 7352 was named after him, the digits 352 still corresponding to the old three letter dialling code FLA.
Studio practice.
Most of the carving of his works was carried out by assistants; Margaret Whinney thought that, as a result "the execution of some of his marbles is a little dull" but that "his plaster models, cast from his own designs in clay, frequently show more sensitive handling". Early in his career, Flaxman made his works in the form of small models which his assistants would scale up when making the finished marble versions. In many cases, notably with the monument to Lord Howe, this proved problematic, and for his later works he produced full-sized plaster versions for his employees to work from.
Critical reception.
Flaxman's complicated monuments in the round, such as the three in Westminster Abbey and the four in St Paul's Cathedral, are considered too "heavy"; but his simple monuments in relief are of finer quality. He thoroughly understood relief, and it gave better scope for his particular talents. His compositions are best studied in the casts from his studio sketches, of which a comprehensive collection is preserved in the Flaxman gallery at University College, London. The principal public collections are at University College, in the British Museum, and the Victoria and Albert Museum.


The Man from Bitter Roots

The Man from Bitter Roots is a lost 1916 silent American western film directed by Oscar Apfel and starring William Farnum. It was produced and released by the Fox Film Corporation.


Dirck Vellert

Dirck Vellert (1480, Amsterdam – 1547, Antwerp), was a Flemish Renaissance painter.
Biography.
According to the RKD he was a draughtsman, glass painter and engraver who made small devotional prints to put in albums. He was a member of the Antwerp Guild of St. Luke in 1511 and served as deacon in 1518 and 1526. He signed works "DV" and with a star.


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

This is intended to be a complete list of New York State Historic Markers in Nassau County, New York.


The Black Dragon (comic book)

The Black Dragon is a comic book series by Chris Claremont and John Bolton that was originally published by Epic Comics in the 1980s, and later published as a graphic novel by Titan Books.
Contents.
"The Black Dragon" is a mediaeval fantasy of magick and encroaching evil set in England shortly after the Norman Conquest.
Reception.
Jonathan Palmer reviewed "The Black Dragon" for "Arcane" magazine, rating it an 8 out of 10 overall. Palmer comments that "Ignore the corny appearance of Robin Hood and his band of merry men and let Claremont's voluminous text and Bolton's inspirational yet superbly controlled artwork transport you back to the time of legend."


Wejher coat of arms

Weiher - 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:


Campaign medal

A campaign medal is a military decoration which is awarded to a member of an armed force who serves in a designated military operation or performs duty in a geographical theater. Campaign medals are very similar to service medals but carry a higher status as the award usually involves deployment to a foreign region or service in a combat zone.
History.
Campaign medals were first invented to recognize general military service in war, in contrast to meritorious decorations which were only issued on a small scale for acts of heroism and bravery. The campaign were first issued by the British military with the medal awarded for the defeat of the Invincible Armada, with the 1815 Waterloo Medal being the first awarded to all men present and the 1847 Military General Service Medal being the first "modern" campaign medal.


List of Macross Plus albums

This is a list of albums for the anime OVA series "Macross Plus". The series has been described as needing "an extremely strong score to support the plot about the rise of a popular singing idol who turns out to be a computer generated Artificial Intelligence". This is none other than Sharon Apple, whose music itself is featured in the series. There are four albums: two soundtracks and two albums featuring the songs of Sharon Apple. All four albums were first released in Japan beginning in October 1994 up through November 1995. "Macross Plus Soundtrack" and "Macross Plus Soundtrack II" have also been released in the United States by AnimeTrax.
"Macross Plus" features the work of renowned Japanese musician and composer Yoko Kanno. While "Please Save My Earth" was the first anime series that she composed for, her work on "Macross Plus" has tended to overshadow the former. Kanno's "Macross Plus" compositions have been described as seeming "to be written in a far future or a distant galaxy," yet still retain their listener appeal. Kanno has stated that several of the songs such as "SANTI-U" and "Pulse" do not feature actual languages, but rather sound like them. She has also described "Macross Plus" executive director Shoji Kawamori as not being very detailed when it came to musical instruction.
Macross Plus Original Soundtrack.
Macross Plus Original Soundtrack is the first soundtrack for the OVA series and the sole soundtrack on which vocalist Mai Yamane makes an appearance. It features three vocal tracks. "After, in the Dark" which is sung by Yamane is the ending theme song for episodes 1 through 3. "Voices", which recurs throughout the series, is sung by Akino Arai, the singing voice for the character Myung Fang Lone; its main melody is based on "Sicilienne", featured in the "Pelléas et Mélisande" by Gabriel Fauré. It is the second ending theme song, appearing on episode 4, and is also the ending theme song for "", the theatrical version of "Macross Plus", which was released on August 27, 1995. "SANTI-U" by Gabriela Robin is one of Sharon Apple's songs. Members of the Israel Philharmonic Orchestra were also involved in the production, and part of the album was recorded in Tel Aviv. The album cover features a CG of one of Sharon Apple's logos.
Sharon Apple: The Cream P-U-F.
 is a mini album featuring four Sharon Apple songs. It was only released in Japan.
Macross Plus Original Soundtrack II.
Macross Plus Original Soundtrack II is the second soundtrack for the OVA series. "Idol Talk" by Akino Arai is the opening theme song for episode 2, while "Pulse" by Mongolian artist Wuyontana is the opening theme song for episode 4, marking her only solo appearance. She appears alongside Arai, Gabriela Robin, and Koko Komine as the Raiché Coutev Sisters, who perform A Sai Ën. The album cover features a CG of one of Sharon Apple's logos.
Macross Plus Original Soundtrack Plus - for fans only.
Macross Plus Original Soundtrack Plus - for fans only features instrumentals and alternate versions of vocals not featured in the first two original soundtracks. It also includes music from "", the theatrical version of "Macross Plus", which was released on August 27, 1995. The a cappella version of "Voices" by Akino Arai is the opening theme song for episode 1. Members of the Israel Philharmonic Orchestra and Czech Philharmonic Orchestra were involved in the production, with some of the recordings being done in Tel Aviv and Prague. Like "The Cream P-U-F", "for fans only" was only released in Japan.


List of Pennsylvania state historical markers in Erie County

This is a list of the Pennsylvania state historical markers in Erie County.
This is intended to be a complete list of the official state historical markers placed in Erie 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 53 historical markers located in Erie County.


Gilli (Hebridean earl)

Gilli was an eleventh-century Hebridean chieftain whose career coincided with an era of Orcadian overlordship in the Kingdom of the Isles. According to mediaeval saga-tradition, Gilli was a brother-in-law of Sigurðr Hlǫðvisson, Earl of Orkney, having married the latter's sister Hvarflǫð. Traditionally regarded as one of the most powerful Orcadian earls, Sigurðr appears to have extended his authority into the Isles in the late tenth century. Gilli apparently acted as Sigurðr's viceroy or tributary earl in the region. The time frame of Gilli's apparent authority in the Isles is uncertain, and may date as early as the reign of Guðrøðr Haraldsson, King of the Isles, or as late as the period following the death of this man's eventual successor, Rǫgnvaldr Guðrøðarson, King of the Isles. Gilli's name is probably Gaelic in origin, and he seems to have seated himself on either Coll or Colonsay, islands in the Inner Hebrides. It is possible that Gilli is identical to Gilla Ciaráin mac Glún Iairn, an Uí Ímair dynast who was slain at the Battle of Clontarf in 1014. If not, another possibility is that he was the father of a certain Conamal/Conmáel who was killed in 980.
Earl in the Hebrides.
There is evidence to suggest that Sigurðr Hlǫðvisson, Earl of Orkney extended his authority from Orkney into the Isles in the late tenth- and early eleventh century. For instance, the thirteenth-century "Njáls saga"—the only source that specifically refers to Gilli—states that one of Sigurðr's followers, Kári Sǫlmundarson, extracted taxes from the northern Hebrides, then controlled by Gilli himself. Whether these taxes were due to Norwegian overlords of Sigurðr, as the saga states, is uncertain. The saga further declares that Sigurðr and his men defeated Guðrøðr Haraldsson, King of the Isles, after which they plundered the Isles. Also noted are additional assaults conducted by accomplices of Sigurðr throughout the Hebrides, Kintyre, Mann (against Guðrøðr), and Anglesey. The thirteenth-century "Orkneyinga saga" also reports Sigurðr's raids into the Isles, as does "Eyrbyggja saga", a thirteenth-century source which further notes his taxation of the kingdom. Contemporary Orcadian expansion may be perceptible in the evidence of the land-assessment system of ouncelands in the Hebrides and along the western coast of Scotland. If Sigurðr's authority indeed stretched over the Isles in the last decades of the tenth century, such an intrusion could account for the numbers of silver hoards dating to this time.
Various Irish annals also reveal that this was a period of strife in the Isles, as ' (literally "Danes") are recorded active in the region throughout 986 and 987. Although it is not impossible that the ' (perhaps merely meaning "pirates") refer to Sigurðr's forces, it is more likely that they are instead identical to the Vikings who are otherwise attested attacking England in the 990s. In fact, it seems that the ' were active in the region against opponents of Guðrøðr. This could indicate that either the kin of the recently deceased Amlaíb Cuarán, King of Northumbria and Dublin, or perhaps an Orcadian-aligned Islesman like Gilli himself, may have fallen target to an alliance between the ' and Guðrøðr. This could in turn reveal that the aforesaid claims of continuous Orcadian conquests in the Isles—otherwise unrecorded outwith saga-tradition—give a less than unbiased account of events. Whatever the case, Guðrøðr was slain in 989, after which the political cohesion of Kingdom of the Isles—perhaps shaken by Orcadian encroachment in the 980s—seems to have diminished.
The extent of Guðrøðr's authority in the Hebrides is unknown due to his apparent coexistence with Gilli, and to the uncertainty of Orcadian encroachment. Guðrøðr's successor is likewise uncertain. On one hand, he may have been succeeded by his son, Rǫgnvaldr. Although it is conceivable that either Gilli or Sigurðr capitalised on Guðrøðr's death, and extended their overlordship as far south as Mann, possible after-effects such as these are uncorroborated. Although it is possible that Gilli controlled the Hebrides whilst Guðrøðr ruled Mann, the title accorded to the latter on his death could indicate otherwise. If so, the chronology of Gilli's subordination to Sigurðr may actually date to the period after Rǫgnvaldr's death in 1004/1005.
According to "Njáls saga", Gilli was seated on ' or ', an island that appears to refer to Coll or perhaps Colonsay. The saga also states that Gilli was married to Sigurðr's sister, Hvarflǫð. This marital alliance appears to further evince the southward extension of Sigurðr's influence. This union, along with the record of apparent amiable dealings with Sigurðr's associates, suggests that Gilli and Sigurðr indeed enjoyed close relations. The earl's family was clearly not adverse to marrying into native dynasties, as Sigurðr's own mother was the daughter of an Irish king, whilst his wife was the daughter of a Scottish king. In fact, the aforesaid sources appear to indicate that Gilli operated in the Hebrides as a tributary earl to his brother-in-law. Certainly, "Eyrbyggja saga" states that Sigurðr left "menn" ("agents") in the Hebrides to collect tax from Mann, whilst "Orkneyinga saga" reveals that, at a later period in time, Sigurðr's son and successor, Þórfinnr Sigurðarson, Earl of Orkney, tasked a member of his own wife's family, Kálfr Árnason, to impose Orcadian authority in the Isles.
Clontarf, Gilla Ciaráin, and Conamal/Conmáel.
By the end of the first decade of the eleventh century, the principal ruler in Ireland was Brian Bóruma mac Cennétig, High King of Ireland. Brian's daughter, Sláine, was married to Sitriuc mac Amlaíb, King of Dublin, whilst the latter's mother, Gormlaith ingen Murchada was a former wife of Brian. In 1013, Sitriuc allied himself to Brian's enemies, and revolted against Brian's overlordship. Although Brian proceeded to lay siege to Dublin—the only Viking town that participated in the revolt against his supremacy—Sitriuc retained possession of the settlement, and Brian retired to Munster for Christmas.
According to "Njáls saga", Gilli and Sitriuc spent Yule with Sigurðr in Orkney, where Sitriuc convinced Sigurðr to ally himself against Brian on the condition that Sigurðr would gain Gormlaith in marriage. In April 1014, the opposing forces met and clashed at the remarkably bloody Battle of Clontarf. Although Brian's forces ultimately won the day, and Sigurðr himself was amongst the slain, Brian lost his life as well. As for Gilli, he appears in a chapter of "Njáls saga" that presents a series of supernatural events connected with the conflict. In one instance, a Caithnessman is said to have witnessed valkyrie-like apparitions singing songs for the slain, whilst a similar event is said to have occurred in the Faroe Islands. Priests in Iceland are stated to have encountered paranormal phenomena, whilst an Orcadian is said to have encountered the spectre of Sigurðr before disappearing off the face of the earth. Regarding Gilli, the saga asserts that he dreamt of a song that foretold the outcome of the battle and the fall of Brian and Sigurðr. There is reason to suspect that the aforesaid supernatural manifestations—arguably somewhat detached from the saga's general narrative—are actually interpolations of separate material. Elsewhere in the narrative, however, there are examples of paranormal phenomena intervening into human affairs. For example, the episode concerning Gilli's dream seems to directly parallel an earlier episode in which another man, the Icelander Flosi Þórðarson, is depicted dreaming of the burning of the saga's eponym, Njáll Þorgeirsson.
If the account of Gilli in the aftermath of Clontarf has been constructed for dramatic effect, the passage may not be evidence of his "floruit" beyond this point in history. In fact, it is possible that he is identical to Gilla Ciaráin mac Glún Iairn, a man who was amongst those slain at the battle. The "Annals of Ulster", which records the latter's fall, styles him "" ("heir-designate of the Foreigners"), revealing that Gilla Ciaráin was indeed a prominent man. Sitriuc is known to have had an elder brother named Glún Iairn, a man who had reigned as King of Dublin until his death in 989. If Gilla Ciaráin was a son of this king, his apparent tender age at the time of his father's death could account for Sitriuc's accession to the kingship. Furthermore, the aforesaid title accorded to Gilla Ciaráin appears to indicate that he was regarded as his uncle's royal heir. If Gilli and Gilla Ciaráin are indeed identical, his pre-eminent status in the Norse-Gaelic world would help to explain his marital alliance with Sigurðr.
Gilla Ciaráin's father bore a Gaelic name meaning "iron knee". It may or may not be a Gaelicisation of ', an identical-meaning Old Norse name. Gilla Ciaráin's own name is Gaelic, meaning "the servant of Saint Ciarán". Gaelic names beginning with the initial name-element '- first appear on record in last half of the tenth century. Such names were shortened to ' by Scandinavian settlers in Britain and Ireland. In fact, such a phenomenon may account for the name accorded to Gilli himself. Gilli's name suggests that he was at least partly of Gaelic descent, perhaps either Irish or Hebridean. Although various names are attributed to Gilli's wife in the numerous versions of "Njáls saga", the best version of this source gives '. This name appears to be an Old Norse form of "", a relatively rare Gaelic name.
There may be further evidence concerning familial relations. In 980, Máel Sechnaill mac Domnaill, High King of Ireland utterly defeated Amlaíb Cuarán's forces at the Battle of Tara. One of the casualties of this remarkable conflict was a man identified as "'" by the "Annals of Ulster", and "'" by the "Annals of Tigernach". It is possible that these annal-entries refer to a man named Conamal or Conmáel, who was in turn the son of a man named Gilli, and that either the father or the son bore the title "airrí Gall" ("royal deputy of the Foreigners"). If correct, it is conceivable that this father is identical to Gilli himself. Against this identification, however, is the fact that the aforesaid saga-tradition depicts Gilli active at about the time of the Battle of Clontarf. The considerable span of time between the death of Conamal/Conmáel and this conflict may well be evidence that a paternal relationship between Conamal/Conmáel and Gilli is unlikely. Whatever the case, the sources appear to be confused as to whether the patronym refers to a personal name or a title. One possibility is that this confusion could indicate that the sources refer to both the personal name ' and the epithet '.


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

This is a complete list of New York State Historic Markers in Queens County, New York.


Kimhi

Kimhi or Kimchi () is a surname. Notable people with the surname include:


List of The Nanny episodes

"The Nanny" is an American television sitcom that aired for six seasons on CBS from 1993 to 1999. Created and produced by Fran Drescher and Peter Marc Jacobson, the series starred Drescher as Fran Fine, a Queens native who is hired by widower Maxwell "Max" Sheffield (Charles Shaughnessy) to be the nanny of his three children Margaret (Nicholle Tom), Brighton (Benjamin Salisbury), and Grace (Madeline Zima). The series also starred Lauren Lane as C.C. Babcock, Max's business associate, and Daniel Davis as Niles, the family's butler.
Series overview.
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Massimo Scaglione

Massimo Scaglione (19 September 1931 – 8 October 2015) was an Italian television director, writer and politician.
Life and career.
Born in Garessio, Cuneo, Scaglione graduated in Modern Literature at the University of Turin. He was employed by RAI in 1955, and directed over 1,000 television programs, TV-movies, series and stage works. He wrote several essays on the history of the theater, directed a drama school, the "Centro di Formazione Teatro delle Dieci", and held theatre courses at the department of University of Turin. He was among the founders of the right wing party Lega Nord Piemont and was elected senator for two legislatures.
He was married to the dancer Loredana Furno.


Mowbray Herald Extraordinary

Mowbray Herald of Arms Extraordinary was an English officer of arms. From the time of King Richard II to that of Henry VI, Mowbray was the Duke of Norfolk's private herald. Since its revival in 1623 the title has always been given to a herald extraordinary. Though an officer of the crown, Mowbray Herald Extraordinary was not a member of the corporation of the College of Arms in London. Sir William le Neve appears to have been appointed to the office from 29 June 1624 until his appointment as York Herald the following year. The office was recreated in January 1695 for Robert Plot, who was made Registrar of the College of Heralds just two days later and was subsequently held by Joseph Edmondson.


St. Lawrence Hall

St. Lawrence Hall is a meeting hall in Toronto, Ontario, Canada, located at the corner of King Street East and Jarvis Street. It was created to be Toronto's public meeting hall home to public gatherings, concerts, and exhibitions. Its main feature was a thousand-seat amphitheatre. For decades the hall was the centre of Toronto's social life before larger venues took over much of this business. Today the hall continues as a venue for events including weddings, conferences, and art shows.
History.
The location was previously part of the Market Square area and had been the site of the first permanent market buildings as well as site of Joseph Bloor's Farmer's Arms Inn from 1824 to 1831. The Great Fire of Toronto in 1849 caused the northern portions of this building to be pulled down, leading to the building of the current St. Lawrence Market in 1850 a block south at what was then Palace Street, and today is known as Front Street. The vacated area at the corner of King and Jarvis was in the heart of the growing community. The new Renaissance Revival style building was designed by William Thomas.
It was here that prominent politicians such as John A. Macdonald and George Brown, Fathers of Confederation, addressed the people of Toronto. It was the main venue for musicians and other performers who came to the city. The lower levels were integrated into the market and were home to stores and businesses. A third storey section of the building was known as St. Patrick Hall, an important meeting place for the Irish Catholic Benevolent Union.
By the 1870s the growing city had a number of larger and more suitable performance venues and the Hall entered a long decline. It continued to serve a number of roles, including several years as the home of the National Ballet. The City of Toronto government fully restored the hall in 1967 to mark the Centennial of Confederation (and rebuilt the east wing which had completely collapsed). That same year it was designated as a National Historic Site. The first two Juno Awards ceremonies were presented here in 1970 and 1971.
A remote detonated explosion, standing in for the groundbreaking of Canada's Wonderland theme park in the York Region town of Maple, took place from the Hall.
The site is protected under Part IV of the Ontario Heritage Act since 2009. The City of Toronto also notes that the "Front Street right of way at 92 Front Street East is an Archaeologically Sensitive Area".
Architect and architecture.
William Thomas (c. 1799–26 December 1860) was an architect of both England and Canada. He immigrated to Toronto with his wife and 10 children from Leamington Spa, England due to the economic crisis in 1837. After his emigration to Toronto, his career as a city engineer and architect prospered. One of his well-recognized successful works in architecture after his settlement is St. Lawrence Hall.
Thomas’ work was undoubtedly influenced by 16th-century Italian Renaissance architecture, the central Roman temple that consists of the pediment, four engaged Corinthian columns, and the three arches underneath very closely resemble the work of an Italian Classist architect, Andrea Palladio. The symmetrical composition of building elements is also a defining characteristic of Renaissance architecture. The Renaissance Revival was a clear goal of William Thomas, but the Hall reinterpreted the Italination in a vernacular and contemporary manner. St. Lawrence Hall is designed in a Victorian composition with a French mansard roof due to abundant snowfall in Ontario. The ornamental cupola on top of the main hall is another feature of the Hall.


Cem Stamati

Cem Stamati (born January 21, 1981) is the bass guitar player of the Turkish band Sefarad. He was born in Istanbul and graduated in 1999 from the Jewish school in Istanbul, Ulus Özel Musevi Lisesi.


List of Indiana state historical markers in Marion County

This is a list, , of the Indiana state historical markers in Marion County.
This is intended to be a complete list of the official state historical markers placed in Marion 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 77 historical markers located in Marion County.


Stolac

Stolac () is a town and municipality located in Herzegovina-Neretva Canton of the Federation of Bosnia and Herzegovina, an entity of Bosnia and Herzegovina. It is located in the region of Herzegovina.
Stolac is situated in the area known as Herzegovina Humina on the tourist route crossing Herzegovina and linking the Bosnian mountainous hinterland with the coastal regions of Bosnia and Herzegovina, Dubrovnik, and Montenegro. The road, running from Sarajevo via Mostar, Stolac, Ljubinje, and Trebinje, enables one to reach Dubrovnik in less than 4 hours.
Thanks to the town's favorable natural environment - geological composition, contours, climate, hydrographic, and vegetation - Stolac and its area have been settled since ancient times. Its rich hunting-grounds along with other natural benefits attracted prehistoric man, and later the Illyrians, Romans, and Slavs, all of whom left a wealth of anthropological evidence.
In 2022 the new modern road consisting of 36 km that will connect the heart of Herzegovina with the sea, Stolac with Neum, will be completed. The road will help the development of tourism between Neum, Stolac, and Mostar.
History.
The area has been settled for at least 15,000 years, as evidenced by the markings in Badanj Cave, which experts have dated 12,000–16,000 BCE. Three kilometers west of Stolac is an impressive stećak necropolis dating back to the 15th and 16th centuries: Radimlja.
These stećak tombstones are carved with epitaphs, detailed portraits of the deceased, and motifs such as grapevines, hunting scenes, and wild animals. Five of the Radimlja tombstones are thought to mark the graves of members of the Hrabren Miloradović Valachian family.
Ali-paša Rizvanbegović (1783–1851), the semi-independent ruler (vizier) of Ottoman Herzegovina from 1833 to 1851, was born in the Begovina neighbourhood of Stolac.
Architecture.
Containing, in one small area, unique cultural and aesthetic values, Stolac's historic core is an example of a complex cultural-historical and natural environmental ensemble. It is an example of the organic connection between human and natural architectures, which also testifies to the fact that the beauty of the location was crucial in its building and planning - the guiding principle often present in the development of medieval towns.
Nine historical layers compose Stolac's architectural ensemble: pre-history, Illyrian-Roman period, the early Middle Ages, advanced and late Middle Ages, Ottoman period, Austro-Hungarian period, and the time of the first and second Yugoslavia. A multitude of various influences on the architecture of the town, in which contrasts and similarities are frequently evident as well as planning and full spontaneity, lend this town a complex image. Despite its unusual history and inclusion into four empires (Roman, Byzantine, Ottoman, and Austro-Hungarian), three kingdoms (Bosnian, Hungarian and Yugoslav), three world's monotheistic religions - Christianity (Orthodox Christianity and Catholicism), Islam, and Judaism, the historical core of Stolac is still a coherent and harmonious cultural-historical monument with individual properties grown together into one ensemble.
During the Yugoslav Wars, a number of monuments were demolished by Croat extremists as part of a campaign of ethnic cleansing, including the town's four mosques, dating from the 16th to 18th centuries, and the Orthodox Church of the Holy Assumption of Christ.
In 2003 the Commission to Preserve National Monuments of Bosnia and Herzegovina designated Stolac Old Town as a National Monument of Bosnia and Herzegovina. Article 3 of that decision provides that “only research and conservation work and rehabilitation and restoration works, shall be allowed to be carried out, including the works aimed at promoting the National Monument” and “no buildings or any temporary and permanent structures shall be allowed to be constructed and erected at the site of the national monument unless their sole purpose is to protect and promote the monument.”
"Way of the Cross".
During war-time HVO control, city authorities controlled by HDZ BiH decided to build 14 crosses marking the “Stations of the Cross” within Old Town Stolac. They started from the Old Town Fortress, ultimately constructing eight wooden crosses. In 2002, they replaced the first wooden cross with a four-meter high stone cross, despite objections from the Commission to Preserve National Monuments of Bosnia and Herzegovina, which in 2003 designated the whole old town as National Monument. The following year, city authorities started replacing the other wooden crosses with concrete crosses. The Federation Ministry for Spatial Planning ordered the removal of the concrete crosses and the halting of works. This decision has never been implemented.
The saga restarted in 2019 when the Catholic Church Parish Office of St. Elias the Prophet in Stolac decided to build an additional six crosses to complete the “Stations of Cross.” The Stolac Municipal Council greenlighted the project in November. Mayor Boskovic claims the six crosses fall in the second zone of the protected area and do not desecrate the monument and that the municipality has a positive opinion from the Herzegovina-Neretva Canton's Institute for Protection of National Monuments. The new construction commenced in early 2020 but was called off due to the COVID-19 pandemic. In February, the Federation Inspectorate ordered the removal of all 14 cross foundations. Stolac Municipality appealed the decision, and on 16 March the Federation Ministry for Spatial Planning annulled the Inspectorate's decision, stating that the first instance body had “wrongly established the factual situation.” Construction of the six new crosses resumed on 29 June 2020.
Notable people.
Alphabetic list. Turkish names by first name where surname not mentioned (Jezzar Pasha under J, Ali-paša Rizvanbegović under R).
Demographics.
Ethnic composition.
Following the Dayton peace treaty, the territory of the 1991 municipality of Stolac was divided between the municipality of Stolac in the Federation of Bosnia and Herzegovina and the new municipality of Berkovići in Republika Srpska, where most of the Bosnian Serbs from Stolac now reside.
Settlements of Stolac municipality, 1991.
Aladinići, Barane, Berkovići, Bitunja, Bjelojevići, Borojevići, Brštanik, Burmazi, Crnići-Greda, Crnići-Kula, Dabrica, Do, Hatelji, Hodovo, Hrgud, Komanje Brdo, Kozice, Kruševo, Ljubljenica, Ljuti Do, Meča, Orahovica, Ošanići, Pješivac-Greda, Pješivac-Kula, Poplat, Poprati, Predolje, Prenj, Rotimlja, Stolac, Strupići, Suzina, Šćepan Krst, Trijebanj, Trusina and Žegulja.
Climate.
Climate in this area has mild differences between highs and lows, and there is adequate rainfall year-round. The Köppen Climate Classification subtype for this climate is "" (Humid subtropical climate).


Illuminati Films

Illuminati Films is an Indian motion picture production, based in Mumbai. The company was founded in 2009 by Bollywood actor Saif Ali Khan and producer Dinesh Vijan, with its first release "Love Aaj Kal" (2009) becoming a major commercial and critical success.
History.
The company's first release was marked by the romantic drama "Love Aaj Kal", which released in 2009. Directed by Imtiaz Ali, the film portrays the feeling of pure love which never changes over time, although the perspective of realizing one's soulmate has changed. It received highly positive reviews by critics and became the second highest-grossing film of the year. Following "Love Aaj Kal", Illuminati Films released its second project, "Agent Vinod", an action thriller directed by Sriram Raghavan. Upon release, the film opened to mixed reviews and under-performed at the box office. Homi Adajania's "Cocktail", which released on 13 July 2012, marked the production company's third project. The film received predominantly favorable reviews and was a box office success. As of September, 2014, it was announced that Khan and Vijan had decided to mutually part ways, their last co-production being Arif Ali's Lekar Hum Deewana Dil. Khan now remains as the sole producer of the production house.


Navketan Films

Navketan Films is a film production house based in Mumbai, India. Started in 1949 by actor-director and producer Dev Anand and his elder brother Chetan Anand, whose debut film, "Neecha Nagar", received the Palme d'Or (Best Film) award, at the first ever Cannes Film Festival in 1946. Younger brother Vijay Anand, also directed numerous films for the company, like "Guide" (1965), "Jewel Thief" (1967) and "Johny Mera Naam" (1970). Chetan and Vijay parted ways with company later and today Dev's son Suneil Anand is currently heading the production house.


2005 Brisbane bomb hoax

The 2005 Brisbane bomb hoax involved several bomb threats that were made to police in Brisbane, Australia on 14 and 15 November 2005. The threats resulted in the halting of public transport services throughout the city.
Threats.
On 14 November 2005, three calls were made to police warning of bombs on buses and trains in Brisbane. All bus and train services in the city were evacuated at 12:00 pm and again at 4:45 pm. The shutdowns caused major problems for the thousands of people who relied on the services.
At 7.32 am on 15 November, another call was made to police telling them to remain vigilant and "keep their eye on the ball." Each of the four calls had been made from different a payphone in suburban Brisbane.
Aftermath.
On the night of 15 November, Rodney Bruce Watson, a 46-year-old truck driver from Munruben, was arrested and charged with four counts of making bomb threats. Police reported that his fingerprints had been found on three of the four payphones used to make the bomb threats, although Watson's lawyer said Watson claimed he had not "been to a phone box in years."
Watson appeared in the Brisbane Magistrates Court on 16 November. He did not enter a plea and made an application for bail. The bail hearing was adjourned, pending a psychiatric report on Watson, and he was remanded in custody. Watson reportedly said to police that he had been "inspired by the recent arrests of terrorist suspects in southern states," and he subsequently had two applications for bail denied on the basis that there was a risk that he would reoffend.
On 7 March 2006, Watson pleaded guilty to four counts of making a bomb threat, and on 28 July was sentenced to three years in prison, to be suspended after 12 months, followed by a supervision period of three years. With time already served this meant Watson was released from prison in November 2006.


Buttons (film)

Buttons is a 1927 American silent drama film directed by George W. Hill and written by Marian Constance Blackton, Ralph Spence, and Hayden Talbot. The film stars Jackie Coogan, Lars Hanson, Gertrude Olmstead, Paul Hurst, and Roy D'Arcy. The film was released on December 24, 1927, by Metro-Goldwyn-Mayer.
It is one of the few Jackie Coogan films to be considered a lost film.


Conneely

Conneely from ("Mac Conghaile") or ("Ó Conghaile"), is an Irish family name. Frequent examples of the name can be found in the West of Ireland, particularly in the Connemara area of County Galway. A coastal village in County Galway is named Ballyconneely.
Overview.
The original Irish language Gaelic version of the surname is Mac Conghaile, though sometimes rendered Ó Conghaile (due to an 18–19th century shift from Mac to O'). According to an entry in "Irish Septs" (David Austin Larkin): Mac Conghaile -a Conmaicne Mara sept of Ballyconneely Townland, Parish and Bay, Roundstone, Connemara, Galway; Marshall of Uí Maine. The name Connemara comes from the tribe of Conmac, or Conmaicne, a warrior tribe which was sent to the area by the ancient Gaelic Kings of Connacht to ensure their hegemony. The branch of the tribe which went to the coastal area became known as Conmaicnemara, or 'the tribe of Cormac by the sea'. In medieval times Connemara was ruled by the O'Cadhlas and later by the 'ferocious' O'Flaherty's who built a series of castles along the coast. Conmaicne Mara is bordered on the west by Lough Corrib (Loch Oirbsen). The ancient territories along the Loch were Iar-Chonnacht, comprising Gnó Mor and Gnó Beag—with Conmaicne-Mara, now Conamara, on the west, and Uí Briúin Seóla on the east border, and towards the north-west, Dútha Seóigheach, the Joyce Country, between it and Loch Measca; and more to the north-east, Conmaicne Cúile Tola, the barony of Kilmaine, where the first great battle of Moytura was fought.
Two distinct Gaelic surnames Mac an Fhilidh and Mac Conghaile are sometimes translated as “Conneely” – in their earliest anglicised forms were almost indistinguishable. In the sixteenth century Fiants the former is found as MacAnellye and the latter as MacEnelly as well as MacNely and MacNeela. The modern form of Mac Conghaile is Conneely, which is essentially a Connacht name, every one of the 92 births registered in 1890 took place in Connacht, and 89 of these were in Co. Galway; and the birth indices for 1864 to 1866 show an almost identical preponderance of Co. Galway registrations. A century earlier it was numerous in south Mayo. Conneely represents an ancient west-Galway sept. Mac an Fhilidh is the name of an Ulster sept, numerically inferior to Mac Conghaile. The Four Masters describe Giollachriost Mac an Fhilidh, who died in 1509, as a learned poet. In "A chorographical description of West or H-Iar Connaught" (1684), Roderic O'Flaherty noted the name's connection to seals:"Seales.—The coasts of lar-Connaught and its islands abound with seals. The curious account given of these animals by Martin in his description of the western islands of Scotland...would, in most respects, answer for our western islands and coast; the only difference, perhaps, being, that with us seals are seldom slaughtered or used as food. See the affecting story of the domesticated seal, told by the ingenious author of 'Wild Sports of the West'. Many traditions, connecting these harmless animals with the marvellous, are related along our western shores. Among these there is one of a curious nature, viz., that at some distant period of time, several of the Clan Coneelys (Mac Conghaile), an old family of lar-Connaught, were, by 'Art magick,' metamorphosed into seals! In some places the story has its believers, who would no more kill a seal, or eat of a slaughtered one, than they would have a human Coneely. It is related as a fact, that this ridiculous story has caused several of the clan to change their name to Conolly."The principal location of both the O Cadhla and Mac Conneely families was the barony of Ballynahinch, Co. Galway, but the area comes under the control of the O'Flaherties. The Mac Conneely clan held the Errismore peninsula in Connemara running out to Slyne Head.
Ó Conaola (Ó Conghaola and sometimes also spelt ó Confhaola), are an entirely unrelated family from south Co. Galway -a toponymic, "Hound of Gowla", of the Uí bhFhiachrach Aidne.
Often confused with:
Possible early bearers of the surname include Muriertagh McInylley of Galway, "Inquisittio of the duties and rights of St. Nicholas his churche", A.D. 1609., a glower mentioned in the "Nomina Juratorum".


Eminem production discography

The American rapper Eminem has produced various songs recorded by various artists, including himself.
Full production list.
TomMacDonald - Dear Slim


Portrait of Gina

Portrait of Gina, or Viva Italia is a 1958 documentary film by Orson Welles. It was funded by ABC TV. Around 30 minutes long, it follows a similar style to "The Fountain of Youth" (1958) and "F for Fake" (1973).
It was intended to be the pilot for a television series called "Around the World with Orson Welles", which is also the name of a series Welles made in 1955 for British commercial television. The film is about Italy (Welles's third wife, Paola Mori was of Italian nationality) where the film maker lived and worked intermittently for about 20 years (roughly 1947-1969). The picture discusses both negative and positive aspects of Italian culture. Actress Gina Lollobrigida, who is interviewed at the end of the film, has refused to allow the public release of the film, reportedly because she was displeased by its portrayal of her as an ambitious young actress. Vittorio De Sica, Rozzano Brazzi, Anna Gruber and Welles' wife, Paola Mori, are also briefly interviewed, and the film moves along at a rapid speed: it is cut 'quick on the eye' in the style of Welles's film-making.
When Welles submitted the film to ABC, they complained that they only received one reel of unorthodox material which they deemed unshowable, and it was never broadcast. Two years earlier, Welles had made another TV program, on Alexandre Dumas, père. It too was rejected as being incompetent, while a further programme made in 1956, "The Fountain of Youth", was originally rejected on similar grounds (although it ended up getting a late-night screening in 1958, resulting in a Peabody Award).
In the late 1950s, Welles left the only copy of "Viva Italia" in his hotel room at the Hôtel Ritz in Paris. The film cans were unmarked, and ended up in the hotel's lost-and-found department and were eventually moved to a storage facility. The film was thought to be permanently lost until it was discovered in 1986. It was at that point that it was finally given a public showing at the Venice Film Festival, which is where Lollobrigida saw it and took legal recourse to have it banned, which it remains to this day. Between the Italian film festival screening and the completion of Lollobrigida's legal proceedings, the film did have one broadcast on German television (with German subtitles), and so despite the Lollobrigida ban, bootleg recordings of this broadcast circulate to this day.
Reception.
After it screened at the Venice Film Festival, film critic Nigel Andrews called the film "an inspired piece of editing charlatanry as a Welles growling out questions from a New York studio pretends to be interviewing Vittorio de Sica and others in sunny Italy. The piece is filmed with whirlwind wit, revolving atlases and snatches of the Harry Lime theme."


Ordnance Gazetteer of Scotland


List of Pennsylvania state historical markers in Cameron County

This is a list of the Pennsylvania state historical markers in Cameron County.
This is intended to be a complete list of the official state historical markers placed in Cameron 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 7 historical markers located in Cameron County.


Edinburgh Herald and Post

The Edinburgh Herald & Post was a weekly Scottish freesheet that delivered to households in Edinburgh, Midlothian and Musselburgh. It consisted mainly of advertising and promotional pieces, with news items sourced from sister publication "Edinburgh Evening News". It had a circulation of 138,000 and was owned by The Scotsman Publications, which also owned "The Scotsman" and "Edinburgh Evening News". It was delivered Thursday/Friday mostly by teenagers.


List of Pennsylvania state historical markers in Luzerne County

This is a list of the Pennsylvania state historical markers in Luzerne County.
This is intended to be a complete list of the official state historical markers placed in Luzerne 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 64 historical markers located in Luzerne County.


Rajshri Productions

Rajshri Productions Pvt. Ltd. is a film production and distribution company based in Mumbai, India, established in 1962, which is primarily involved in producing Hindi films. The most successful films produced by the company include "Dosti" (1964), Ankhiyon Ke Jharokhon Se (1978), "Nadiya Ke Paar" (1982), "Saaransh" (1984), "Maine Pyar Kiya" (1989) and "Hum Aapke Hain Kaun" (1994). Recent projects include "Piya Albela", a TV serial on Zee TV, created by Sooraj Barjatya.
History.
Rajshri Productions, the film production division of Rajshri, was established in 1962. Its first release "Aarti" met with critical acclaimed and was screened at international film festivals. This was followed by "Dosti", a non-star-cast film which became a box office success, and received the National Award for the Best Hindi Film of the Year (1964) and six Filmfare Awards.
Rajshri Productions made several more successful and critically acclaimed movies between the 1960s and 1980s including "Uphaar", "Geet Gaata Chal", "Ankhiyon Ke Jharokhon Se", "Chitchor", "Dulhan Wahi Jo Piya Man Bhaye" and "Saaransh". At the end of the 1980s, when the film industry experienced a slump due to the advent of home video, Rajshri was on the verge of closing down. However, the company had a hit with a musical teenage romance, "Maine Pyar Kiya", directed in-house by Sooraj R. Barjatya, which saved the company from closure. It became one of Indian cinema's biggest grossers, and won six Filmfare Awards including Best Film and the Most Sensational Debut of the Year for 24-year-old Salman Khan.
Salman Khan followed up the success of "Maine Pyar Kiya" with Rajshri blockbusters "Hum Aapke Hain Koun" and "". "Hum Aapke Hain Koun" remains one of the highest grossing releases in the history of Indian cinema, and won the National Award for the most popular film providing wholesome entertainment, as well as eight Filmfare Awards and six Screen Awards, including Best Film, Best Actress and Best Director.
Digital.
In November 2006, Rajshri Productions launched a broadband entertainment portal, Rajshri.com, offering streaming and downloads of various forms of content including movies, music videos, concerts, and documentaries. The digital content is from its own production house and others.
Offices.
Rajshri Productions have offices in various Indian cities such as Mumbai, Rajkot, Hubli, Kolkata, Patna, Cuttack, Siliguri, Kathiar, Bhusawal, Nagpur, Raipur, Indore, Jaipur, Delhi, Kanpur, Allahabad, Varanasi, Gorakhpur, Jalandhar, Vijayawada, Bengaluru, Chennai, Ernakulam and various others.


Lonesome Ghosts

Lonesome Ghosts is a 1937 Disney animated cartoon, released through RKO Radio Pictures on December 24, 1937, three days after "Snow White and the Seven Dwarfs" (1937). It was directed by Burt Gillett and animated by Izzy Klein, Ed Love, Milt Kahl, Marvin Woodward, Bob Wickersham, Clyde Geronimi, Dick Huemer, Dick Williams, Art Babbitt and Rex Cox. The short features Mickey Mouse, Donald Duck and Goofy as members of The Ajax Ghost Exterminators. It was the 98th short in the "Mickey Mouse" film series to be released, and the ninth for that year.
This short marked the first use of one of Goofy's catchphrases, "Somethin' wrong here!".
Plot.
The Ajax Ghost Exterminators - Mickey, Donald and Goofy - are hired by telephone to drive out four ghosts from a haunted house that has long been abandoned. Unbeknownst to them, however, they were called by the ghosts themselves, who are bored because nobody has visited the house since they had been haunting for a long time (either because none of the locals were scared or they had scared them all away, as one ghost puts it: "Guess we're too good!"). They wish to play tricks on the living, and do so through a series of inventive, annoying pranks.
The exterminators arrive and knock on the front door, which falls down. When they announce themselves, there is nobody to receive them. Mickey decides they should get to work anyway. When entering, the door lifts up and throws them inside before putting itself back in place, making a rat trap fall shut on Goofy's nose. After hearing the ghosts' laughter, the three split up to hunt the ghosts individually.
The exterminators are toyed with at every turn; a ghost knocks Mickey on the head and puts its fingers in both barrels of his shotgun when he tries to shoot it and it explodes. Mickey is driven upstairs and tries to open a door that the ghost disappears into, which falls down and the ghosts (forming a marching band) come out of the fallen door and go into another. Mickey opens the door, which causes water to poor out of it while the ghosts surf across it on surfboards. The last one comes out on a motorboat that goes in a circle around Mickey until it and the water disappear altogether. Donald, meanwhile, is whacked in the rear with a wooden board and is scared away by the sounds of banging chains and dishes. He punches the ghost, but it resurfaces and blows water in his face. Goofy runs into a bedroom at the sound of a ghost banging a wooden spoon on a pan. He soon becomes tangled in a dresser after seeing a ghost in a mirror instead of his own reflection and stabs his own rear with a pin, mistaking his blue pants for a ghost and is shoved down into the basement.
In the end, the three exterminators crash into some molasses and flour, making them look like ghosts and consequently, they scare the actual ghosts out of the house in a panic. The ghost hunters stand victorious, having driven the spirits out of the house, although not exactly certain how. Donald smugly assumes the ghosts fled in capitulation to their superior tactics, calling them sissies and laughing.
Home media.
The short was released on December 4, 2001 on "".
Additional releases include:


United States restitution to the Soviet Union

The United States restitution to the Soviet Union of the cultural treasures looted by Nazi Germany during World War II was part of the massive efforts of the Allies in returning cultural property to the countries of origin. While the Soviet Union embarked on the "compensatory restitution" by removing cultural artifacts from the museums and Nazi caches, US authorities in Germany returned more than half a million displaced cultural treasures and more than a quarter of a million books to the USSR, located in the US occupation zone. However the information about this was suppressed in the Soviet Union. It is still little known in modern Russia even at parliamentary level: in discussions of the laws about displaced cultural treasures a number of politicians stated that nothing was returned from Germany, and furthermore, state that the Nazi loot eventually went to America.
References.


2006 WWE brand extension draft

The 2006 World Wrestling Entertainment (WWE) brand extension draft, also known as the 2006 ECW draft, was the fourth WWE draft that took place at the Tacoma Dome in Tacoma, Washington, on May 29. The draft aired on WWE's flagship program "Raw". The draft featured ECW representative Paul Heyman receiving two total draft picks from the existing SmackDown! and Raw rosters for the newly created ECW brand.
Background.
After World Wrestling Entertainment, Inc. bought all the assets of Extreme Championship Wrestling (ECW) in 2003, the company began releasing DVDs promoting the original ECW. Soon afterwards, the company promoted two reunion shows for ECW alumni entitled, One Night Stand in 2005 and in 2006. On May 25, 2006, WWE announced the launch of a new brand, ECW, a revival of original promotion. The new brand would later debut its television show on the Sci Fi Channel on June 13, 2006.
Aftermath.
Fifteen days after the draft "ECW" would hold its premiere episode on June 13, 2006. Although not drafted, Tazz later defected from SmackDown! to ECW, Big Show from Raw to ECW, and Randy Orton from SmackDown! to Raw. In August 2006, after a few appearances, Kurt Angle requested and was granted his release from his WWE contract.
On February 2, 2010, WWE Chairman Vince McMahon announced that "ECW" would air its final episode on February 16, 2010. The ECW brand was disbanded after the final show, with every ECW wrestler becoming a free agent, eligible to join either the Raw or SmackDown brands. The original brand extension would end in August 2011.


Forrestal (surname)

Forrestal or Forristal (Irish: Ó Fuireastal) is an ancient Irish surname from the southeast of Ireland, and still exists today primarily in the counties of Kilkenny, Wexford and Waterford.
Alternate spellings.
The name has been spelled in many different forms, all of which are related to the same family including; Forristal, Forrestal, Forristal, Forestal, Forrestall, Foristal, and in medieval times, Forstall (a name still used in present-day Louisiana). Forestell is a variation found in Canada. Americanizations of the name have included shortened versions to Forrest, Forest, and Forsal. Also, in Gaelic Irish as Ó Fuireastal (pronounced Furristhawl), Mac Fuireastal, Mac Coillte, Ó Coillte, and Mac An Choill.
History and ancestry.
The Forristals were rooted in Glenmore parish, County Kilkenny, where they held several castles, some of which were located at Forristalstown, Carrickcloney and Mullenahone.
The family is listed in the medieval records of Kilkenny, Wexford, and Waterford. They are shown aligning themselves through marriage with the Catholic nobility of Ireland through marriage alliances with the FitzGeralds, Aylwards, Cantwells, O'Bolgers, Butlers of Ormond and O'Kennedys, which through these marriages they share common ancestors and bloodlines. Many of the modern day Forrestals descend from these noble unions.
The family motto, "In corda inimicorum regis", is likely taken from the Latin Vulgate's rendering of Psalm 45:5, and means "in the hearts of the king's enemies." In modern translation, the full verse is: "Let your sharp arrows pierce the hearts of the king’s enemies; let the nations fall beneath your feet" (New International Version).


Nina Witoszek

Nina Witoszek (born 15 July 1954) is a Polish-born Norwegian cultural historian, writer, public intellectual and a Research Professor at the University of Oslo's Centre for Development and the Environment.
Life.
Academic career.
Witoszek studied at the University of Wrocław, Oxford University, University of Stockholm and holds a Doctor of Philosophy (PhD) degree in comparative literature.
She held fellowships at the Swedish Collegium of the Advanced Studies in the Social Sciences in Uppsala (1993), Robinson College, Cambridge (1995) and Mansfield College, Oxford (2001) and visiting professorship at Stanford University (2010). She has taught at Stanford Woods Institute for the Environment, University College, Galway (1995–1997) and European University Institute (1997–1999).
In 2005 she received the Fritt Ord Award for articulating and communicating central and eastern European experiences in Norwegian public debate.
Witoszek is known for her work on the Ecosophy of Arne Næss and modern Scandinavian cultural identities. She serves as a director of the Arne Næss Chair in Global Justice and the Environment at the University of Oslo.
Since 2019 she is a member of the Concilium Civitas – The Association of Polish Scientists Abroad.
Private life.
Witoszek was born in Poland and grew up in Kraków; as a student she was part of a dissident group, and in 1983 she fled to Norway. In the 1990s she moved to Ireland and co-authored with partner Pat Sheeran, under the pseudonym Nina FitzPatrick, a number of novels, short stories and, under their own names, a study of Irish traditions of death. After Sheeran's death in 2001 she returned to Norway.
Since 2015 Witoszek serves as a deputy representative of the Green Party at the Oslo City Council.


National Monuments of Mexico

The National Monuments of Mexico refers to the buildings and monuments that are protected heritage of the nation, and are declared as such in the "Registro Público de Monumentos y Zonas Arqueológicos e Históricos" maintained by the Instituto Nacional de Antropología e Historia and the "Registro Público de Monumentos y Zonas Artísticos" maintained by the Instituto Nacional de Bellas Artes y Literatura.
Archeological monuments and zones.
"Archaeological" refers to paleontological and pre-Hispanic structures, zones, remnants, etc.
Historical monuments.
"Historical" refers to post-Conquest 16th- to 19th-century structures, zones, documents, etc.
Due to their importance in Mexico's art history, all works by José María Velasco Gómez, Dr. Atl, José Clemente Orozco and Diego Rivera were declared historical monuments.
Artistic monuments.
"Artistic" refers to properties that are of significant aesthetic value. The valuation of aesthetic value is left to the "Comisión Nacional de Zonas y Monumentos Artísticos" (National Commission of Artistic Zones and Monuments). This commission is composed of the Director of INBAL, a representative of the Secretaría de Desarrollo Urbano y Ecología, a representative of UNAM, and three individuals affiliated with the arts picked by the Director.
Some works from artists such as Frida Kahlo, David Alfaro Siqueiros and Remedios Varo have been deemed artistic monuments.


Heritage Farmstead Museum

Heritage Farmstead Museum (also known as the Ammie Wilson House) is a historic farm museum at 1900 West 15th Street in Plano, Texas.
The late-Victorian farm-house was built in 1891 on a 365-acre farm belonging to Mary Alice Farrell and her husband Hunter Farrell, a landowner and businessman whose family had moved to Texas from Virginia. The Farrells divorced in 1929 and eventually their daughter Ammie took over management of the farm and became an award-winning livestock breeder before her death in 1972. The farm was added to the National Register of Historic Places in 1978. In 1986 the farm opened as a living museum utilizing the remaining 4.5 acres surrounding the home. The museum is accredited by the American Alliance of Museums.


Tamra Davis videography


Woman in a Dressing Gown

Woman in a Dressing Gown is a 1957 British drama film directed by J. Lee Thompson and starring Yvonne Mitchell, Anthony Quayle, Sylvia Syms, and Carole Lesley. The film won four awards at the 7th Berlin International Film Festival including "Best Foreign Film". Mitchell won the Silver Bear for Best Actress.
The film also won the 1958 Golden Globe Award for Best English-Language Foreign Film.
The screenplay was written by Ted Willis and the cinematographer was Gilbert Taylor. The producer was Frank Godwin.
The film concerns a man who is having an extramarital affair and considers divorce, and his wife's reaction to the affair. Scenes compare and contrast the relationship with the wife and relationship with the lover. These are not only very different in content, but very different in film style, shots with his lover being in extreme close up and/or unusually framed shots. Shots of the wife are mainly in wide angle, encompassing he chaotic mess of her house.
The film is considered an example of British social realism, and a prototypical version of Kitchen sink realism. Modern criticism has noted that it was more progressive in the field of gender politics than the British New Wave.
Plot.
The Prestons are an apparently happy household made up of wife Amy (Yvonne Mitchell), husband Jim (Anthony Quayle) and teenage son Brian (Andrew Ray), living in a cramped flat on a London housing estate. On a Sunday morning she lovingly prepares his cooked breakfast but he announces he has to work.
However, tensions soon become clear. Though she has a breezy, loving character, Amy is a disorganised housewife. She finds it difficult to concentrate enough to tidy or cook properly. Jim is having an affair with a colleague, Georgie (Sylvia Syms), who threatens to break it off unless Jim divorces his wife and leaves his family. He promises that he will do so, and eventually demands a divorce. Amy is shocked and distraught, but vows to improve herself. She borrows ten shillings from her son (who is in his first job) and pawns her engagement ring for three pounds. She then gets her hair done and buys a half bottle of whisky for Jim. She has phoned Jim at work and told him to bring Georgie home. Her plan is foiled when heavy rain starts and ruins her new hair. She gets home looking worse than ever. She pulls her best dress out of storage but rips it putting it on. Her neighbour arrives and they start drinking the whisky. Amy gets drunk and ruins the table.
Brian finds her drunk and becomes angry with his father when he brings Georgie to the house. Jim slaps Brian and he leaves.
After a confrontation she orders Jim and Georgie out of the flat. Jim leaves, but has second thoughts, he tells Georgie it won't work and returns to his wife who is lovingly packing his case. She vows to get rid of her dressing gown.
Production.
The film was based on a 1956 "ITV Television Playhouse" play written by Ted Willis.
Reception.
Box Office.
The film was one of the most popular at the British box office in 1957. J Lee Thompson later said the film lost money but was well received by critics.
Critical.
"Variety" said it "had good b.o. possibilities."
"The New York Times" said "Paddy Chayefsky would love it."
Jean-Luc Godard wrote "One really has to rack one’s brains to find anything to say about a British film. One wonders why. But that’s the way it is. And there isn’t even an exception to prove the rule. Especially not Woman in a Dressing-gown anyhow, in spite of its acting prize? at the recent Berlin Festival. That just goes to show that the Germans have no idea either... From beginning to end the film is an incredible debauch of camera movements as complex as they are silly and meaningless."
On the film's rerelease on in 2012, Peter Bradshaw, in a five star review for "The Guardian" wrote that the films "proto-kitchen-sink drama goes all the way where "Brief Encounter" loitered hesitantly...and unlike David Lean's film, this one shows people saying the relevant things out loud. An unmissable rerelease." While Melanie Williams for the BFI Screenonline noted "an important reminder that postwar British realism did not begin with the New Wave, and that the 1950s were not devoid of socially engaged cinema, as is sometimes suggested. Indeed, in the field of gender politics, one could argue that this film is considerably more progressive than the New Wave that superseded it, in its focus on the travails of a middle-aged housewife rather than those of a virile young man."
Play.
Willis later adapted the script into a stage play that was very successful.


Order of Merit (Jamaica)

The Order of Merit is part of the Jamaican honours system, and it is the fourth-highest honour awarded by the nation of Jamaica. The Order of Merit is conferred upon Jamaicans or distinguished citizens of other countries who have achieved international distinction in the field of science, the arts, literature or any other endeavour. The award can be held by no more than 15 living persons. It is not given to more than two people in any one year.
Members and Honorary Members of the order are entitled to wear the insignia of the order as a decoration and to be styled "The Honourable". In addition, they can append the post-nominal letters OM to their names, or OM (Hon.) in the case of Honorary Members. The order's motto is "He that does the truth comes into the light."
The Order of Merit was originally one that was awarded to foreign heads of state, but this function was taken over by the Order of Excellence in 2003.
Recipients.
Source:


Inebu-hedj

Inebu-hedj ("White Walls", also Inbu-Hedj, "White fortress") was one of 42 nomes (administrative division) in Ancient Egypt.
Geography.
Northern Ancient Egypt was known as "mḥw", which means "north". Inebu-hedj was one of the 20 nomes in Lower Egypt and it was designated as district number 1, the primary district.
The "Niwt" (main city) was "Menefer" or Memphis (part of modern Mit Rahina). Saqqara was among the other cities of the region.
History.
Every nome was ruled by a nomarch (provincial governor) who answered directly to the king.
Every "niwt" had a "Hut netjer" (temple) dedicated to the chief deity as well as a "Heqa hut" (nomarch's residence).
The main deity of the district was Horus. Apis, Hathor, Isis, Nefertem, Ptah, Seker, and Sekhmet were among others worshiped as major deities in the nome.
 the area is part of the Cairo Governorate.


Women They Talk About

Women They Talk About is a 1928 American comedy drama film directed by Lloyd Bacon and starring Irene Rich and Audrey Ferris. It was a part-talkie Vitaphone film with talking, music, and sound effects sequences and produced and distributed by Warner Bros. It is considered to be a lost film.
Box office.
According to Warner Bros records the film earned $366,000 domestically and $68,000 foreign.


Conroy

Conroy is an Irish surname.
Overview.
Conroy is an Irish surname of multiple origins. In some cases it is the form used by descendants of the Ó Maolchonaire bardic family of what is now East Galway and South Roscommon. In west County Galway, most bearers of the name are probably descended from the Mac Conraoi family of Delbhna Tír Dhá Locha. This latter Irish family name was often anglicised into King due to the phonological similarity with the word rí. The Ó Cingeadh/Ó Cionga bardic family from east of Loch Ree also had their name corrupted into King, but for English phonological reasons.
Bearers of the surname.
Conroy as a given name may refer to: