Yevadu

Yevadu () is a 2014 Indian Telugu-language action thriller film directed by Vamshi Paidipally from a screenplay he co-wrote with Vakkantham Vamsi. The film stars Ram Charan, Shruti Haasan and Amy Jackson, while Sai Kumar, Rahul Dev, Jayasudha, and Brahmanandam play supporting roles. It also featured Allu Arjun and Kajal Aggarwal in cameo roles. The film was produced by Dil Raju under the banner Sri Venkateswara Creations. Devi Sri Prasad composed the film's music, while Marthand K. Venkatesh was the film's editor.
"Yevadu"s story was partially inspired by John Woo's 1997 film, "Face/Off", and revolves around two strangers, Satya and Charan. It was made on a budget of 35 crore, and was officially launched on 9 December 2011. Principal photography began on 27 April 2012 and lasted until 22 July 2013. The majority of the film was shot in Visakhapatnam and Hyderabad, mostly in Ramoji Film City, while two songs were shot in Switzerland and Bangkok.
After postponing the release, for multiple times, the film released during the season of the Makar Sankranti festival on 12 January 2014, and received decent feedback from critics. It grossed more than 60 crore and collected a distributor share of 47 crore, becoming one of the highest grossing Telugu films of 2014.
Plot.
Satya and Deepthi are lovers living in Visakhapatnam. A dreaded don, Veeru Bhai, lusts for Deepthi. When Deepthi's parents are killed, she and Satya escape. They board a bus on route to Hyderabad, but the bus is stopped unexpectedly and boarded by three men: Veeru's henchman Deva, Veeru's brother Ajay, and a corrupt police inspector, Shravan. They kill Deepthi in front of Satya, and he suffers an almost-fatal stab wound. Before the three leave, they set fire to the bus, leaving Satya to his death after stabbing him. However, Dr. Shailaja saves Satya by giving him a new face and skin. Ten months later, Satya wakes up from his coma.
Under the pseudonym of Ram, Satya returns to Visakhapatnam where he meets a model named Shruti, whom Veeru likes. Befriending Shruti, he takes advantage of his new unknown face, and lures Deva to a half-constructed apartment (or unconstructed building), where Satya kills Deva. A photo of Deva is discovered by ACP, which has been marked with a "1". Satya then files a report on Deepthi with the police, stating that she has been missing for ten days. Since Inspector knows that Deepthi was killed ten months earlier, he becomes suspicious of Satya in his new persona, and follows him to a mall, where Satya kills him. During the investigation on Inspector's death, Satya presents himself to ACP as an eyewitness. When asked to provide a description of the killer, Satya describes his former face. Satya then manipulates Ajay to fall in love with Shruti and gets the two of them to pose in compromising positions for some pictures, under the pretense that they will be used as a promotion to assist Shruti in getting an opportunity to audition for the female lead in a film. Instead, Satya sends copies of the pictures to Veeru, to turn him against both Ajay and Shruti. Satya then convinces Ajay that the only way to save Shruti from Veeru's ire is to kill Veeru, which would also allow Ajay to gain his brother's position. However, Veeru's henchmen kill Ajay, but Veeru is himself killed by Satya, who reveals his true identity. He apologises to Shruti for using her, but Shruti thanks him for saving her life and Ram leaves.
Having his vengeance fulfilled, Satya decides to depart from Visakhapatnam to start a new life. On the way, a stranger attacks Satya, but is killed. Suspecting that the attack might have something to do with his new face, Satya visits Dr. Shailaja. When they meet, Shailaja confesses that she has given Satya the face of her deceased son, Charan; she then goes on to explain the circumstances surrounding Charan's death. Charan was a happy-go-lucky rich graduate who hung out with his friends and girlfriend, Manju. One of his friends, Shashank, questions the local don, Dharma, regarding his illegal acquisition of lands by exploiting the slum people. Threatened, Dharma kills Shashank, after which Charan begins to raise support among the local population to revolt against Dharma. Again threatened, Dharma approaches another one of Charan's friends, Sharath, promising to establish his political career if he kills Charan. Charan and Sharath go to Visakhapatnam to attend a wedding. On their return, they board the same bus as Satya and Deepthi. When the bus was stopped, Sharath pulls a knife on Charan and the two engage in a fight. Veeru's men simultaneously enter the bus. Deepthi is killed inside the bus while Charan and Sharath's struggle has led them outside the bus, a huge fight ensues. After Charan kills Dharma's henchman, Murugan, Charan tells his inability to kill Sharath as he was his friend. Charan is then stabbed from behind by Dharma, but to Dharma's surprise is still confident. Charan then receives the final and fatal stab from Sharath and dies. Charan's body is sent to Shailaja, who after observing Satya's urge to live decides to transplant her son's face onto Satya, rather than simple plastic surgery. Before Shailaja could inform Satya about Charan, Satya had left the hospital.
Leaving Shailaja, Satya visits the slum, under the guise of Charan. After meeting the locals, he decides to avenge Charan's death. First, he meets Sharath in a political meeting and, using the shock of Charan seemingly being alive, makes him kill Dharma. Satya makes the slum people follow Sharath to Dharma's house. Sharath stabs Dharma, who in turn kills Sharath. Dharma then tells Satya that even if he dies, he is going to take Satya along with him. He takes a sword and tries to kill Satya, but Satya dodges and Dharma accidentally stabs the corrupt Central Minister. Satya pushes both off the roof. The Minister dies after the fall. However, the mob, which has followed Satya, finally kills Dharma. Afterwards, Manju is shown living in a distant land, mourning Charan's death. The film ends with Satya meeting her.
Production.
Development.
Dil Raju wanted to produce a technically driven film and selected a script written by Vamsi Paidipally. Raju announced the project officially in early October 2011, as well as announcing that Ram Charan would star as the film's protagonist. The project would be produced under the banner Sri Venkateswara Creations, with the details, including its cast and crew, announced shortly thereafter. Before sharing the script with Charan, Paidipally worked on it for nearly two months, choosing the action genre after having directed family dramas like "Brindavanam" (2010). Devi Sri Prasad was confirmed as the film's music director in early November 2011, marking his first collaboration with both Paidipally and Charan. The music sittings were held at Goa.
The film's production was officially launched on 9 December 2011, in Hyderabad; the film's title was announced as "Yevadu" and a first look poster was unveiled on the same day. Paidipally based his screenplay from a story written by Vakkantham Vamsi. Anand Sai was the film's art director and completed his work by September 2013. Abburi Ravi contributed to the dialogues. C. Ram Prasad was the film's cinematographer, while Marthand K. Venkatesh was the film's editor.
Casting.
Ram Charan was signed as the protagonist in the film in October 2011. Allu Arjun was cast for a crucial cameo appearance along with Kajal, in a role which would bring a twist in the film; the producers wanted an energetic and spirited actor in the part. Samantha Ruth Prabhu was selected to play the female lead to be paired with Charan, and was expected to join the production in October 2012. For the other pairing with Charan, in his alter-ego role, Amy Jackson was selected to play the role of Shruti. This marked her debut in Telugu cinema, and she participated in various workshops to prepare herself for the role before joining the shoot. Jackson revealed that she was afraid to be seen as a glamorous young woman aiming to be an actress; she worked hard to get her diction right and called the workshop an orientation programme to get her used to the Telugu language. For her role, she practised yoga, functional training, and went for jogs in and around Bandra bandstand in Mumbai, before rejoining the film's sets in Hyderabad.
Kajal Aggarwal was signed for a cameo appearance and was paired with Arjun. Her inclusion was in doubt due to scheduling conflicts, but she eventually accepted the role, calling it a short and sweet one. Shweta Bhardwaj was approached to perform an item number in early May 2012, which she confirmed the news at the time, but added that although she was approached, she was not officially cast in the film. Scarlett Mellish Wilson was selected for an item number, which was supposed to be her first in Telugu; However the film, "Cameraman Gangatho Rambabu", was released earlier, making it her debut.
Samantha walked out of the project in mid-November 2012 due to creative differences. She was subsequently replaced by Shruti Haasan, who was reportedly paid a remuneration of 6 million, but her participation was delayed due to scheduling problems. Sai Kumar was signed as the main antagonist. Lyricist Sirivennela Sitaramasastri's second son, Raja, was signed for a supporting role. Arjun's character in the film was reported to be severely injured in a fight and was to be presented as Charan after repeated plastic surgeries to his face. His character's name was revealed as Sathya, and it was speculated that he would be a police officer in the film. Murali Sharma was selected for a supporting role. Shashank and Prabhas Sreenu were seen in cameo roles.
Filming.
Principal photography began on 27 April 2012. Ram Charan was involved in two projects simultaneously, "Yevadu" and "Zanjeer" (2013). After completing initial filming on "Zanjeer", Charan joined the cast and crew of Yevadu on 8 May 2012, to shoot the item number, as well as scenes featuring him, Amy Jackson, and others. After this first phase of production, Charan was scheduled to go back to Bangkok to complete the filming schedule of "Zanjeer", before rejoining the "Yevadu" production on 7 August 2012. Filming continued in Hyderabad until mid-September 2012 after which production moved to Visakhapatnam on 14 September 2012. By early October 2012, 40 percent of the film was completed, consisting mostly of the first half. Shruti Haasan joined the film's sets on 24 January 2013.
After a short break, filming recommenced on 5 March 2013, and by the end of the month, 90 percent of the film's speaking sequences were completed. Several action sequences were shot at Ramoji Film City in mid April 2013, under the supervision of Peter Hein. By then, the portions containing Arjun and Aggarwal were almost complete. The film's team left for Switzerland on 20 May 2013, to film a song sequence. Charan and Haasan were on location in Zurich, Switzerland to film one of the songs, which was completed by 27 May 2013.
Primary filming recommenced on 29 May 2013, in Hyderabad, with Amy Jackson rejoining the production. The filming was expected to be wrapped up by 20 June 2013. In mid-June 2013, a song featuring Charan was shot at Keesara Stretch, Ramoji Film City. Later, a song choreographed by Shekhar, and featuring Charan and Haasan was shot at Annapurna 7 Acres Studio. Meanwhile, a song featuring Charan and Jackson was shot in Bangkok. The song Freedom which was choreographed by Johnny, was shot in early July 2013 at Ramoji Film City.
Principal photography came to an end on 22 July 2013 after the completion of Haasan's scenes. However, in mid-August 2013, some parts of the film were reportedly re-shot and new scenes were added, in an effort to speed up the pace of the film, after the completion of censor formalities.
Themes and influences.
Despite the film's writer, Vamsi, denying it in early June 2013, many critics believed the film was heavily inspired from John Woo's 1997 action film, "Face/Off", as well as bearing similarities to the Telugu films "Chhatrapati" (2005) and "Vikramarkudu" (2006), both directed by S. S. Rajamouli. While critic Sangeetha Devi Dundoo called the film a combination of "Face/Off" and "Vikramarkudu", another critic, Karthik Pasupulate, wrote, "This movie this isn't a rip off of "Face/Off". We don't have filmmakers who have the required creativity and technical know how to make half decent adaptation of that 1997 action thriller. The director just borrows the central idea to dish out another silly revenge drama."
Music.
Devi Sri Prasad composed the film's soundtrack, which consists of six songs. Ramajogayya Sastry penned the lyrics for two songs, while Sirivennela Sitaramasastri, Chandrabose, Krishna Chaitanya and Sri Mani each wrote the lyrics for one song. Aditya Music acquired the audio rights. The release of the soundtrack was postponed multiple times, due to the delay in the film's release. Later, the audio was officially launched at Shilpakala Vedika in Hyderabad on 27 September 2013 where the star crew of the film attended the launch with Chiranjeevi as the main guest.
The audio received positive reviews. "The Times of India" gave a review stating "Devi Sri Prasad has come up with an album that is high on beat and low on melody, but plays to the galleries unabashedly, blending multiple genres. Though there isn't one stand-out song, the album has an overriding happy vibe about it. It isn't a record that you will cherish for long, but might just swing along while it lasts" and rated the album 3/5. Oneindia Entertainment gave a review stating "Devi Sri Prasad has composed some of the youthful and fresh tunes for the soundtracks. Having meaningful lyrics, some of the songs are very melodious and trendy. Devi Sri Prasad has used western instruments as well as rustic beats for them. A couple of songs offer a chance to Ram Charan Teja to show his dancing skills. Like his previous music albums, the composer has played it safe and all his songs are decent and appealing."
Track listing
Release.
The film was initially slated for a 14 July 2013 release, which was Charan's first wedding anniversary. After few delays, the film's release date was announced as 31 July 2013 to coincide with the fourth anniversary of Ram Charan's 2009 film "Magadheera". After several delays, the film was rescheduled to open the same day as Pawan Kalyan's "Attarintiki Daredi", but was postponed again to 21 August 2013. The Central Board of Film Certification gave the film an 'A' certificate because of its violent action sequences. However, due to protests in Seemandhra over the Telangana State formation, the release of both the films were delayed. Raju scheduled the release on either Diwali or Christmas 2013, again postponing the release from 10 October to avoid another release conflict with "Attarintiki Daredi". Due to piracy issues, "Attarintiki Daredi" released on 27 September 2013 which forced "Yevadu" to enter the theatres as a December release.
Dil Raju confirmed that the film's original and Malayalam dubbed version would release simultaneously on 19 December 2013. Regarding the film's release, Dil Raju said "I'm planning to release the film on Dec 19 if the Telangana bill is not passed. I haven't decided on postponing the film, but if the bill is passed and it is likely create some agitation, then I plan to release the film during Sankranti next year in January". The makers announced that the movie would release on 10 January 2014, however during the theatrical trailer launch, the makers announed the new release date as 12 January 2014 a Sankranthi release clashing with "", "Veeram" and "Jilla" at the worldwide box office. Sathyam Cinemas distributed the film in Chennai, where it released in 16 screens. A special paid premier show was held on 11 January 2014 at 9:00 PM and the money made from the premier show was donated to the construction of Lord Venkateswara Swamy temple in Mallepally.
Bhadrakali Prasad acquired the film's Tamil dubbing rights under his banner Bhadrakali Films. The Tamil dubbed version was titled "Magadheera" after the 2009 Telugu film of the same name. The film's dubbing activities commenced in July 2015.
Marketing.
The film's posters were designed by Anil and Bhanu of AB Core Design. The first-look poster was unveiled on 24 March 2013, featuring Charan with a rugged look. The first-look teaser of 36 seconds was unveiled on 27 March 2013. The theatrical trailer was launched on 27 September, along with the film's soundtrack, and received a positive response from the audience. The promos for the songs "Nee Jathaga Nenundali", "Oye Oye" and "Pimple Dimple" were released on 10, 25 and 31 October 2013, respectively. The 16 second promo for the song "Freedom" was unveiled on 31 December 2013, which received positive reviews.
Dil Raju started the film's promotional activities 12 days before the film's release, and planned an advertisement campaign on television, newspapers, magazines, and movie portals. Charan released the second trailer of 85 seconds on 3 January 2014, at the Sandhya 70MM theatre in RTC X Roads. Hindustan Unilever became associated with the film by paying 10 million for co-branding activity in terms of hoardings, television, radio, and print. MediaCorp did the marketing tie-ups for the film. The film's official app was launched on 5 January 2014. While promoting the film, Shruti Haasan was admitted to the Apollo Hospital in Hyderabad, and underwent treatment for suspected food poisoning. The promo of the song "Cheliya Cheliya" was unveiled on 7 January 2014.
The film's crew visited Tirumala Temple on 17 January 2014, and made obeisance to Venkateswara, before interacting with the audience at Group Theatres. A press meet addressing the audience was held at Vijayawada on the next day, with Vamsi, Dil Raju, Sai Kumar, Shashank, L. B. Sriram, Raja and others in attendance. The promo of the song "Ayyo Paapam" was unveiled on 13 March 2014.
Controversy.
The All India Film Employees Confederation mandated that all regional film productions employ at least 70 per cent local stuntmen. When the Chennai stunt masters, FEFSI Vijayan and Stunt Silva, failed to comply with this mandate, Andhra Pradesh stuntmen obstructed the film's production.
K. Nagendra Prasad, a former councillor of Yemmiganur in Kurnool district, lodged a complaint with the police regarding a poster, alleging that it featured an image of a half-nude Amy Jackson. Suits were filed, naming Ram Charan, Amy Jackson, Dil Raju, the film's presenter Anitha, co-producer Sirish, the photographer, and the owner of the Raghavendra theatre which screened the film, citing section 292 of the IPC, as well as section 3 of the Indecent Representation of Women (Prohibition) Act of 1986. Vamsi defended that Jackson's still used in the poster was from a song sequence which had no obscenity in it and called the charges baseless. Justice K. G. Shankar of the High Court stayed the criminal cases on 28 July 2014.
Just before the release of "Race Gurram" (2014), stills of Shruti Haasan from the song "Pimple Dimple", taken from obscene angles, were leaked on the internet. Shruti received huge criticism for the photos, while some called it a cheap publicity stunt. Regarding them, she said that those stills were neither pre-approved by the production house or her and were shot during a song shoot and called the leakage a breach of trust. She filed a FIR in Hyderabad. CID began investigation in May 2014. They questioned administrators of the websites which uploaded the photos, and the photographers who reportedly supplied the photos to them. However, it was uncertain whether uploading the photographs, since they were taken in a public place, could be termed as illegal, and sought a legal opinion on how to go about the investigation.
Home media.
The film's television rights were acquired by Star Maa for an undisclosed price. The film registered a TRP rating of 10.14 during its television premiere. The television rights of the dubbed Malayalam version, "Bhaiyya My Brother", were sold to Mazhavil Manorama for 6.5 million, which was the highest price ever paid for a Telugu film dubbed in Malayalam. The Indian DVD and Blu-ray were marketed by Aditya Videos, and were released in June 2014. "Yevadu" was also dubbed in Hindi and released in 2015 by Goldmines Telefilms. The television rights for the Hindi version were sold to Sony Max.
Reception.
Critical response.
According to "International Business Times India", the film received "decent feedback" from critics.
Y. Sunita Chowdary of "The Hindu" felt that the film was made only for the mass audience. She criticised the film's revenge sequences, calling them "non-stop and prolonged" but praised Devi Sri Prasad's music and C. Ram Prasad's cinematography. Sridhar Vivan of "Bangalore Mirror" gave the film 3 out of 5 stars and wrote, "For those watching "Yevadu", the first half ends quite shockingly as the director tries to wrap up the movie in the first leg itself. It is a treat for Cherry's fans and for others, it's strictly average stuff". He felt that the violence, lack of comedy and a predictable turn of events affected the film's narration.
IndiaGlitz rated the film 3 out of 5 and wrote, ""Yevadu" has not one but two revenge stories. The first revenge story has not much going for it — perhaps the director deemed it fit not to take it seriously. Followed by this no-brainer, there comes the film's actual story, giving us respite and much-needed entertainment in good measure". "Sify" also rated the film 3 out of 5 and wrote, ""Yevadu" provides novelty in the beginning episodes promising a different commercial film but ends up as a regular revenge drama. Has many clichéd moments but it is also a film that works to some extent. A masala fare".
Karthik Pasupulate of "The Times of India" was yet another to rate the film 3 out of 5, but he criticised its blatant similarities to "Face/Off". He added that the action choreography was "undecipherable" and called Sai Kumar's character as "one of the most over the top villain characters ever" adding that he would certainly "break the outer limit of human hearing threshold". Shekhar of "Oneindia Entertainment" rated the film 3 out of 5 as well, stating, ""Yevadu" is a good action entertainer with all commercial ingredients. Ram Charan Teja is the showman in the film. If you are looking for entertainment without any message, it is good treat for you this Sankrathi".
Box office.
India.
The film became the biggest opener for Ram Charan by collecting 86.5 million on its first day, making the film with the fourth highest opening day grosses of all time, surpassing '. While the film's trade witnessed a drop on its second day, earning 40 million, it improved on its third day, earning 45 million, bringing its three-day total to 173.8 million, overtaking the totals of ' and "Ramayya Vasthavayya" (2013). The film collected a distributor share of 200 million in four days at AP Box office. The film collected 278.5 million in six days, surpassing the first week share of "Seethamma Vakitlo Sirimalle Chettu", and was expected to surpass its first week worldwide share of 335 million. The film also established a first week record in Nellore, and the east and west areas of Andhra Pradesh and Karnataka, by collecting 16.3 million, 26.7 million, 22.2 million and 40.6 million, respectively. However, it missed a first week record in Ceded and Visakhapatnam by a small margin. It also took the second spot in the list of the top 10 films with highest first week shares from AP.
The film collected 337.5 million in 9 days, and more than 60 million from other areas, including Karnataka, the rest of India, and overseas territories, enabling it to cross the 400 million mark at the worldwide Box office, becoming Ram Charan's fourth film to cross that mark. The film grossed 350.5 million in 11 days. The film collected 363.2 million by the end of its second week at the AP Box office and 440 million worldwide. The film collected 376 million in 16 days at AP Box office, and was expected to reach the 500 million mark worldwide. The film completed a 25-day run in early February 2014, collecting more than 380 million at the AP Box office. The film collected 393.4 million at the AP Box office and 471 million worldwide during its lifetime, and was declared as one of the Ram Charan's biggest hits.
Overseas.
According to Taran Adarsh, the film collected 14.6 million in its opening weekend in the United States. In its first five days in the US, the film collected 22 million. By the end of its second week, the film's performance was disappointing; and it only collected a total of $330,000 as of 20 January 2014, while "1: Nenokkadine" collected $1 million during that same span of time. Overseas, the film grossed a total of 17 million during its lifetime.


Belgian heraldry

Belgian Heraldry is the form of coats of arms and other heraldic bearings and insignia used in the Kingdom of Belgium and the Belgian colonial empire but also in the historical territories that make up modern-day Belgium. Today, coats of arms in Belgium are regulated and granted by different bodies depending on the nature, status, and location of the armiger.
Characteristics.
The characteristic of Belgian heraldry are similar to varying degrees to those of its neighbouring countries' (France, Netherlands, Germany).
Helms.
In Belgium, barred helms are most commonly used, and are not reserved for the nobility like in some jurisdictions. They most often have gold bars, as well as a gold collar and trim. They are often lined and attached to the escutcheon with a shield strap.
Mottos.
A distinct characteristic that isn't found in anglo-saxon heraldry is that the motto, motto scroll and letters thereon are blazoned.
Terminology.
Like English and some other countries' heraldry, achievements of arms are usually blazoned in a specialized jargon.
Civic heraldry.
Municipal heraldry.
Municipal heraldry is regulated through the competent council of the community in question, which are the Council of Heraldry and Vexillology for the French Community and the Flemish Heraldic Council for the Flemish Community.
Royal heraldry.
The coats of arms of the Belgian royal family is currently regulated by a Royal Decree published on 19 July 2019 and signed on the same day, by King Philippe. This decree also reinstated the Saxonian escutcheon in all the royal versions of the family's coat of arms. The reinstatement of the shield of Saxe-Coburg-Gotha into the royal arms occurred shortly after the visit of King Philippe and Queen Mathilde to the ancestral Friedenstein Castle. The king also added translations of the motto into the three official languages of Belgium, to reflect his wish "to be the King of the whole Kingdom and of all Belgians". The latest royal decree therefore reverses previous changes made to the Royal versions of the coat arms which removed the armorial bearings of Saxony during the First World War.
Individuals and families.
Like civic arms, arms of non-noble individuals and families (in the form of family associations) are regulated by the competent council of the community in question. These are the Council of Heraldry and Vexillology for the French Community and the Flemish Heraldic Council for the Flemish Community. Today, both councils grant a helm with torse and mantling as well as a motto as additaments of the shield. The additaments reserved for the nobility, such as crowned helmets (i.e. crest coronets) and rank crowns (coronets), supporters, banners and battle cries, mantles and pavilions, are prohibited.
Before that, the Genealogical and Heraldic Office of Belgium recorded the arms of persons and families.
Nobility.
Arms of the Belgian nobility are regulated by the Council of Nobility.


Polish-American organized crime

Polish-American organized crime has existed in the United States throughout the 20th and 21st centuries. Although not as well known as Italian, Irish, Russian or Jewish mafias, the Polish mob has a presence in many urban Polish American communities.
Prohibition-era.
During Prohibition, many Polish-American criminal gangs took advantage of the opportunity to make money through the illegal sale of alcohol. In Chicago, Joseph Saltis and Jake Guzik allied themselves with Al Capone's Chicago Outfit. However, fighting Capone was the North Side Gang, which, while mostly Irish-American, had a large Polish presence as well, with Hymie Weiss (Wojciechowski) having Polish heritage. Fred Goetz was involved in carrying out the St. Valentine's Day Massacre.
In New Jersey, the organization led by Mickey Cusick, was the prominent boss of bootlegging in Southern Jersey.
The infamous gangster Meyer Lansky, one of the leaders of the National Crime Syndicate and associate of Lucky Luciano, was actually a Polish Jew.
Joseph Filkowski led a mostly Polish bootlegging ring in Cleveland, Ohio, along with gangster Joseph Stazek. In Pittsburgh, Paul Jarwarski was also a prominent figure, carrying out the first armored car robbery.
In Buffalo, New York John "Korney" Kwiatkowski led a gang called the "Korney Gang" that was involved in multiple murders and robberies.
Philadelphia and New York Polish Mobs.
The Philadelphia Polish Mob, known as the Kielbasa Posse, are a Polish American organized crime group operating from the Port Richmond area in Philadelphia. Named after the Polish word for sausage, the gang is made up of Polish immigrants living in Port Richmond, Kensington, North Philadelphia, Northeast Philly, Bucks County, and South Jersey, as well as second-generation Polish Americans.
The gang moved into territory occupied by Irish, Russian, and Italian Mafia outfits, namely the trafficking and dealing of Ecstasy, and are said to have moved into bookmaking and loansharking operations as well. They would meet several times a week at a local Polish bar having a tough and fearsome reputation, they have been known to attack innocent people within their neighborhood. Many residents in the Port Richmond area of Philadelphia can tell of multiple accounts where these so-called gang members have caused trouble. They do not have a good relationship with the K&A Gang who controls most of Northeast Philly, because the Northeast is predominantly Irish. According to local residents, they are not well known and the older Polish residents of the neighborhood choose to ignore the existence of the gang.
In March 2006, the United States Attorney's Office in New York City published a press release covering the indictment of twenty-one members of the so-called Greenpoint Crew, an infamous Polish criminal organization operating out of the heavily Polish neighborhood of Greenpoint, Brooklyn. Led by Ostap Kapelioujnyj and Krzysztof Sprysak, Kuzmazerilli the gang ran its operations of gunrunning, armed robbery, drug trafficking, extortion, car theft, credit card fraud and fencing (reportedly including a stolen 18th century Stradivarius violin) mostly in New York City, as well as having connections back in Poland and Eastern Europe. The gang was not above resorting to violence to achieve their aims, as one video used as evidence shows Kapelioujnyj discussing his threatening to kill a debtor with a golf club after already taking two computers, a camera, and an iPod.


American Cookery

American Cookery, by Amelia Simmons, is the first known cookbook written by an American, published in Hartford, Connecticut in 1796. Until then, the cookbooks printed and used in the Thirteen Colonies were British. Its full title is: "American Cookery, or the art of dressing viands, fish, poultry, and vegetables, and the best modes of making pastes, puffs, pies, tarts, puddings, custards, and preserves, and all kinds of cakes, from the imperial plum to plain cake: Adapted to this country, and all grades of life."
Simmons' "American Cookery" used terms known to Americans, and ingredients that were readily available to American cooks.
It was the first cookbook to include New England specialties such as Indian pudding, johnnycake, and what is now called pumpkin pie. The cookbook was the first to suggest serving cranberry with turkey, and the first to use the Hudson River Valley Dutch word cookey.
It introduced the use of pearlash, a precursor of baking soda, as a chemical leavener, starting a revolution in the making of American cakes.
The book was quite popular and was printed, reprinted and pirated for 30 years after its first appearance. Only four copies of the first edition are known to exist. It is considered by the Library of Congress to be one of the “Books That Shaped America.”
About the author.
The only biographical information known about the author is from the cover and title pages of her cookbook that list her as "Amelia Simmons, An American Orphan"; all else is by inference. "American Cookery" is her only known published work. The preface reads:
This indicates that she probably lacked formal education. Based on other quotes from her preface, she was most likely a domestic laborer. She wrote of "those females who have parents, or brothers, or riches," and how female orphans may be "reduced to the necessity of going into families in the line of domestics."
Culinary historian Karen Hess says that because "...the first edition is from Hartford, historians have always assumed that she was a New Englander." This assumption is bolstered by the inclusion of southern New England specialties such as Indian pudding and johnnycakes. However, many of the later editions were published from a cluster around the Hudson River Valley (e.g. - Albany, Salem, Troy, Poughkeepsie, New York). Also, several Dutch words appeared in her work (for example, slaw and cookey), words that would have more likely come from that region, rather than New England. So a case can be made that Simmons more likely came from the Hudson Valley region.
Karen Hess also referred to Miss Simmons as a "good plain cook", noting the generous use and variety of herbs and the use of wine in her recipes. Simmons also showed the use of English "extraordinarily fine roasting techniques" in her recipes.
Publication history.
There were 13 known editions of this book published between 1796 and 1831. "American Cookery" has also been reprinted in several editions and formats in the 20th Century, including Oxford University Press in 1958 and Dover reprints beginning in 1984.
First Edition: Hartford, CT, 1796.
The first edition was published in 1796 by Hudson & Goodwin of Hartford, CT. The words "For the Author" on the title page likely indicate that Simmons paid the printing costs herself.
The book was issued without hard covers: the title page also served as the front cover; the last page (page 48) was blank.
Second Edition: Albany, NY, 1796.
The second edition was also published in 1796, but by Charles R. and George Webster of Albany, NY. The second edition (also issued without hard covers) consists of 64 pages.
Other editions.
In 1808, Lucy Emerson plagiarized Simmons's book (from the Troy, NY 1808 edition) by renaming part of the title and copying verbatim most of the rest of it. She changed the words "American Cookery" to "The New-England Cookery", but the title is otherwise almost the same. Published in Montpelier, VT in 1808.
In 1957, Mary Tolford Wilson wrote "The First American Cookbook," an essay that served as the introduction to the facsimile of the first edition of "American Cookery" (Harttford, 1796). This edition was originally published by Oxford University Press in 1958, and then reissued by Dover Publications in 1984.
In 1982, Gail Weesner edited and annotated a typographically reset edition with an introduction and an extensive number of individual annotations for recipes in which usage or content needed clarification. The type is easier to read, since the old-fashioned long cursive-like form of the letter "s" (called a long s) that looks like an "ƒ" has been rendered as a modern typographical short "s". Published by Rowan Tree Press (1982).
In 1996, culinary historian Karen Hess encouraged the publishing of the facsimile edition of the "American Cookery"'s second edition (Albany, 1796) by Applewood Books, and wrote the introduction and historical notes for it. This was the Bicentennial edition of "American Cookery", published in 1996.
Importance.
Use of American products.
"American Cookery" is the first known cook book that brings together English cooking methods with American products. More specifically, it contains the first known printed recipes with the substitution of American maize (cornmeal) for English oats in otherwise English recipes. The recipe for Johnny Cake is believed to be the first printed version made with cornmeal. Both corn and oats are cereal grains. It also contains the first known printed recipe for turkey (which is native to North and Central America) with cranberries.
Wilson writes: "This facsimile of the first American-written cookbook published in the United States is not only a first in cookbook literature, but an historic document. It reveals the rich variety of food Colonial Americans enjoyed, their tastes, cooking and eating habits, even their colorful language. Author Amelia Simmons worked as a domestic in Colonial America and gathered her cookery expertize from first-hand experience." By 1831, "American Cookery" had long been superseded by other American editions of English cookbooks, but Wilson goes on to say "But Amelia Simmons still holds her place as the mother of American cookery books. And no later work, however completely it may reflect the mores of this country, has quite the freshness of this first glimpse caught in the small mirror held up by an American Orphan."
Karen Hess writes: "Indeed, English cookbooks had long been in documented use by the Colonists, going back at least to "The English Hus-wife" of 1615 by Gervase Markham. ... Not one of them included specifically American recipes, although by that time a few native American products had become adopted in English cookery, beginning with turkey and so called French beans, but gradually also both sweet and white potatoes, even chocolate, vanilla, and tomatoes, and so came to be called for in English cookbooks well before the end of the eighteenth century. But we find not one cookbook written by an American, for Americans, that is, until 1796, when "American Cookery" appeared in Hartford, and later the same year, in Albany." Hess goes on to say: "So, again, what makes "American Cookery" so very American? It is precisely the bringing together of certain native American products and English culinary traditions. So English that entire chapters were "borrowed" from The Frugal Housewife by Susannah Carter, which appeared in American editions in 1772 and 1792, and yet so very American in her use of those elements."
Jan Longone writes for the Historic American Cookbook Project: "...the revolutionary and original aspects of her work lie in its recognition and use of truly American produce. There are five recipes using corn meal (corn is indigenous to America): three for Indian Pudding, one for Johnny or Hoe Cake and one for Indian Slapjacks."
Introduction of new leavening.
Secondly, and probably most importantly, "American Cookery" is the first known printed American call for the use of a chemical leavening agent that was the precursor to modern baking powder, used to cause dough to rise in baking. At that time, it was known as potash, pearl ash, pearlash, or alkali.
Jan Longone continues by saying "Perhaps the most far-reaching innovation was the introduction of pearlash, a well-known staple in the colonial American household, as a chemical leavening in doughs. This practice eventually led to the compounding of modern baking powders." She ends with: "Thus, twenty years after the political upheaval of the American Revolution of 1776, a second revolution - a culinary revolution - occurred with the publication of a cookbook by an American for Americans."


First Protestant Church

First Protestant Church is a historic church at 296 South Seguin Street in New Braunfels, Texas.
It was built in 1875 and added to the National Register of Historic Places in 1971.


American Laboratory Theatre

The American Laboratory Theatre was an American drama school and theatrical company located in New York City that existed during the 1920s and 1930s. It was a publicly subsidized, student-subscription organization that held fund-raising campaigns to support itself.
History.
The school itself was known as the Theatre Arts Institute. It was founded in 1923 by former Moscow Art Theatre members Richard Boleslavsky and Maria Ouspenskaya and stressed Stanislavski's system as its teaching method. Students were taught to be uninhibited, with exercises such as acting as a fish under water, a melting ice cream cone, or (for women) the mother of a sick child praying to the Madonna. Both actors and directors were trained, and Boleslavsky and Ouspenskaya became known as the leading promulgators of Stanislavski's ideas in America.
Some five hundred students were trained at the school during its years of existence. These included Lee Strasberg, Harold Clurman, and Stella Adler, all of whom would go on to exert a great influence on American acting. Future critic Francis Fergusson was also a student. Lenore LaFount started an acting career after her time at the school, but would soon marry George W. Romney and later become First Lady of Michigan and a political candidate in her own right (and the mother of businessman and politician Mitt Romney).
The school gave theatrical productions from 1925 to 1930. Relatively small in size, it aimed for a high-brow audience. Its productions included well-known works by William Shakespeare, Henrik Ibsen, and Anton Chekhov, but also included well-regarded instantiations of modern and avant-garde works such as Jean-Jacques Bernard's "Martine" and Arthur Schnitzler's "The Bridal Veil". Talent scouts for radio and film attended the school's performances.
In 1929, Maria Germanova succeeded Boleslavsky as director of the theatre; she was also from the Moscow Art Theatre. The Lab, as it was sometimes known, disbanded in 1933, but was an important and influential link between Stanislavski's Moscow company and the even more influential Group Theatre of New York that followed it during the 1930s.


The Polka King

The Polka King is an American biographical comedy film directed by Maya Forbes and written by Forbes and Wallace Wolodarsky. The film is about real-life Polish-American polka band leader Jan Lewan, who was imprisoned in 2004 for running a Ponzi scheme. The film stars Jack Black as Lewan, as well as Jenny Slate, Jason Schwartzman, and Jacki Weaver. It premiered at the 2017 Sundance Film Festival on January 22, 2017. It was released on Netflix on January 12, 2018.
"The Polka King" is based on a 2009 documentary about Lewan, "The Man Who Would Be Polka King", directed by Joshua Brown and John Mikulak.
Plot.
The film opens at a performance of Jan Lewan's (Black) polka band in Pennsylvania. Near the close of the show, he brings his wife Marla (Slate) onstage. A former beauty queen, Marla models amber jewelry they sell at their souvenir store. After the concert, Jan recounts to a happy concertgoer how he and Marla met, and how he has worked every terrible job imaginable, from dishwasher to janitor, to achieve the American dream.
The clarinetist in his band, Mickey (Schwartzman), visits Jan at his gift shop to quit the band. He takes him to a pizza restaurant nearby, urging him to stay, promising more money. Mickey feels that Jan has enlarged the band to an unsustainable size, and reveals that other members are thinking of quitting, especially after a rumor that Jan had hired a dancing bear to accompany the shows. He admits the bear is now part of the act, but insists that better times are ahead. He then picks up a pizza, going out to deliver it.
An elderly couple visits Jan and asks about investing in his band. He explains that they are guaranteed a 12% annual return on their investment. The state Securities and Exchange Commission office discovers Jan is taking on investors and sends investigator Ron Edwards (Smoove) to meet with him. He informs Jan that he has not registered properly, it is illegal for him to accept investments. He gives Jan three days to return his investors' money and close down.
With hundreds of thousands of dollars already invested, Jan can't meet the SEC deadline. He buys lottery tickets and asks to do more work at the pizza joint. When the elderly couple returns, asking to invest more money with him, Jan changes the corporate name on his forms and takes their money. He tells Edwards that he has officially closed down his first investment scheme, omitting the fact that he has started another.
The film follows Jan as he continues to expand his enterprises. Jan starts a travel company offering European tours. He sells a package that climaxes with a private audience with the Pope. In Rome, he begs Mickey to help him bribe Vatican officials to secure the Papal audience. Realizing he lied to all the tour goers, Mickey threatens to expose Jan, but Jan explains that his philosophy is to simply say his goals out loud until they become true. He encourages Mickey to do the same, and Mickey explains that he has dreamt of creating a stage name for himself. Jan kneels with him in the hotel lobby and dubs him "Mickey Pizzazz".
Thinking that business will increase if Marla wins another beauty pageant, Jan bribes the judges in order to crown her Mrs. Pennsylvania. The ensuing controversy in the press causes some investors to want to withdraw their money or complain to the SEC. A second investigation reveals that Jan's Ponzi scheme has expanded into the millions of dollars. As he is arrested, Jan is exhilarated that God has finally let the truth be known.
Jan is sentenced to five years in prison. His cellmate slashes his throat, and Jan is glad, because he is treated better by everyone after surviving the attack. Marla divorces Jan and he has lost everything. He is released from prison and returns to leading his polka band.
Production.
Principal photography on the film began in mid-July 2016 in Pawtucket, Rhode Island, and later it also took place in Woonsocket and Cranston. The movie has been released on Netflix streaming.
Reception.
On review aggregator Rotten Tomatoes, the film holds an approval rating of 66% based on 35 reviews, with an average rating of 6.04/10. The website's critics consensus reads: "Despite moments of hilarity and a talented ensemble, discordant direction and a sloppy script keep "The Polka King" from truly singing." On Metacritic, the film has a weighted average score of 65 out of 100, based on 11 critics, indicating "generally favorable reviews".


Back Home and Broke

Back Home and Broke is a lost 1922 American silent comedy film directed by Alfred E. Green and written by George Ade and J. Clarkson Miller. The film stars Thomas Meighan, Lila Lee, Frederick Burton, Cyril Ring, Charles S. Abbe, Florence Dixon, and Gertrude Quinlan. The film was released on December 24, 1922, by Paramount Pictures.
Plot.
As described in a film magazine, when Tom Redding's father dies, it transpires that, instead of being one of the wealthiest citizens of the Town of Bradford, he left little except some debts, having speculated wildly. Tom (Meighan) and his mother (Gordon) are compelled to leave their old home and move into a small house. Even the factory his father owned falls into creditors' hands and Olivia Hornby (Dixon), Tom's sweetheart, discards him. Only Mary Thorne (Lee), his father's former secretary, remains faithful to Tom and his mother. As a last resource, Tom decides to go west to try and develop an oil well that Ton's father had sunk money into. Eventually he strikes oil. He meets his old college chum Billy Andrews (Wheat) who suggests that Tom return to Bradford apparently broke and thus discover who his true friends are. Their plot is developed satisfactory. Billy, posing as the representative of the millionaire Keene, buys up practically all the property in town, including the bank, newspaper, and the factory. Tom, poorly dressed, is coldly received by all save Mary, who even offers her savings to back him in a new venture. Then Billy announces that Keene will be arriving, and the people of the town turn out to welcome him. They are very surprised when the "Keene" turns out to be the despised Tom Redding. Tom gives a big dinner to his former detractors and, instead of taking revenge, announces that he will allow them to continue in control of his investments save the factory, which again displays the sign "Redding and Son." He and Mary are united.


Pizarre

Pizarre, ou La conquête de Pérou ("Pizarro, or The Conquest of Peru") is an opera by the French composer Pierre-Joseph Candeille, first performed at the Académie Royale de Musique (the Paris Opéra) on 3 May 1785. It takes the form of a tragédie lyrique in five acts. The libretto, by Pierre Duplessis, is based on Voltaire's tragedy "Alzire, ou Les américains" (1736). Its subject is the Spanish conquistador and conqueror of the Incas, Francisco Pizarro. A revised version of the opera appeared in 1791.
Synopsis.
Act 1.
Alzire, daughter of Atabaliba, King of Peru, is engaged to Zamore. They are due to be married that day in the Temple of the Sun. But Alzire has had an ominous dream in which there was an eclipse of the sun, an earthquake and a voice crying “Die, Zamore!” Troubled by the dream, she has arrived at the temple early. Soon her father and Zamore enter to celebrate the wedding. The people sing a hymn to the sun. At the very moment the couple are about to be married, a messenger rushes in saying that the surface of the sea is covered by strange new objects and thunder is coming from the waves. Just then, the roar of cannons from the Spanish ships is heard. Zamore reassures the people and goes off to fight.
Act 2.
The second act opens with a battle between the Peruvians and the Spanish. The Spanish are triumphant and they destroy the temple with their cannons. Pizarro orders the retreat. He confesses to his friend Alonzo that he has fallen in love with a beautiful Peruvian woman named Alzire.
Act 3.
Pizarro offers to make Atabaliba king again if he will give him Alzire’s hand in marriage. Atabaliba tells his daughter to choose between Pizarro and Zamore. Pizarro orders the captive Zamore led off to be tortured, but Alzire pleads for his life. Pizarro says he will grant this if only Alzire agrees to marry him. Meanwhile, Atabaliba is plotting a rebellion.
Act 4.
Alzire goes to the tombs of her ancestors in a forest. The Peruvians, led by Atabaliba and Zamore arrive and swear to revolt against the Spanish and kill Pizarro.
Act 5.
Pizarro has decided to renounce his love for Alzire. The Peruvian rebels burst in and threaten to kill Pizarro, but Alzire and her temple maidens throw themselves in their way to protect the Spaniard. Alzire snatches Zamore’s sword from him and says she will kill herself. Pizarro grants Alzire to Zamore and the opera ends with reconciliation and a general celebration.


Chamras Kietkong

Chamras Kietkong (; 10 November 1916 – 8 August 1966) was a Thai painter, particularly of portraits. He produced many oil paintings of important Thai figures such as His Majesty King Bhumibol Adulyadej, Queen Sirikit, and Sawang Sommungmee.
Early life and education.
Chamras Kietkong was born on 10 November 2459 at Patil district, Meen Buri in Bangkok. His German father named Gerzen Esgerzen died when he was young. Consequently, he lived with his mother Chai Kietkong. When he was young, the wall of his house was full of his drawings. He started his education at Wat Bharomniwat and then changed to Wat Sommanat School and Wat Amarin. His inspiration and passion in art came from his uncle, Lamyai Kietkong, who encouraged him to study art at Poh Chang art and craft school.
Occupation.
His career path began at the Ministry of Education. As a government officer, he was assigned as an Instructor at Bann Somdej Teachers' College. After that, he moved to Sartiwithaya School and then Suansunandha School. During World War II every school in Thailand was shut down including Suansunandha School where Chamras worked. Subsequently, he spent time in that period painting with his friend at the Fine Arts Department. Criticized by Silpa Bhirasri (Corrado Feroci), his work gradually improved in both skill and style. He moved to the Fine Arts Department at the suggestion of its former Deputy Director-General, Thanit Yupho.
Technique.
He mostly used oil-based paint and chalk color. His focus of interest lay in human portraiture and figures.
Fame and reputation.
Chamras received numerous awards and exhibitions during his lifetime. Silpa Bhirasri once said of him: "It goes without saying that Chamras Kietkong was the best realistic painter we had".


Architecture of England

The architecture of England is the architecture of modern England and in the historic Kingdom of England. It often includes buildings created under English influence or by English architects in other parts of the world, particularly in the English and later British colonies and Empire, which developed into the Commonwealth of Nations.
Apart from Anglo-Saxon architecture, the major forms of non-vernacular architecture employed in England before 1900 originated elsewhere in western Europe, chiefly in France and Italy, while 20th-century Modernist architecture derived from both European and American influences. Each of these foreign modes became assimilated within English architectural culture and gave rise to local variation and innovation, producing distinctive national forms. Among the most characteristic styles originating in England are the Perpendicular Gothic of the late Middle Ages, High Victorian Gothic and the Queen Anne style.
Prehistoric architecture.
The earliest known examples of architecture in England are the megalithic tombs of the Neolithic, such as those at Wayland's Smithy and the West Kennet Long Barrow. These "cromlechi" are common over much of Atlantic Europe: present day Spain; Brittany; Great Britain; and Ireland. Radiocarbon dating has shown them to be, as historian John Davies says, "the first substantial, permanent constructions of man and that the earliest of them are nearly 1,500 years older than the first of the pyramids of Egypt." The Neolithic henges of Avebury and Stonehenge are two of the largest and most famous megalithic monuments in the world. The structure is an annual calendar, but the reason for the massive size is unknown with any certainty, suggestions include agriculture, ceremonial use and interpreting the cosmos. With other nearby sites, including Silbury Hill, Beckhampton Avenue, and West Kennet Avenue, they form a UNESCO World Heritage Site called Stonehenge, Avebury and Associated Sites.
Numerous examples of Bronze Age and Iron Age architecture can be seen in England. Megalithic burial monuments, either individual barrows (also known, and marked on modern British Ordnance Survey maps, as Tumuli,) or occasionally cists covered by cairns, are one form. The other is the defensive earthworks known as hill forts, such as Maiden Castle and Cadbury Castle. Archaeological evidence suggests that British Iron Age domestic architecture had a tendency towards circular dwellings, known as roundhouses.
Roman architecture.
The Roman period brought the construction of the first large-scale buildings in Britain, but very little survives above ground besides fortifications. These include sections of Hadrian's Wall, Chester city walls and coastal forts such as those at Portchester, Pevensey and Burgh Castle, which have survived through incorporation into later castles. Other structures still standing include a lighthouse at Dover Castle, now part of a church. In most cases, only foundations, floors and the bases of walls attest to the structure of former buildings. Some of these were on a grand scale, such as the palace at Fishbourne and the "thermae" at Bath. The more substantial buildings of the Roman period adhered closely to the style of Roman structures elsewhere, although traditional Iron Age building methods remained in general use for humbler dwellings, especially in rural areas.
Medieval architecture.
Anglo-Saxon architecture.
Architecture of the Anglo-Saxon period exists only in the form of churches, the only structures commonly built in stone apart from fortifications. The earliest examples date from the 7th century, notably at Bradwell-on-Sea and Escomb, but the majority from the 10th and 11th centuries. Due to the systematic destruction and replacement of English cathedrals and monasteries by the Normans, no major Anglo-Saxon churches survive; the largest extant example is at Brixworth.
The main material is ashlar masonry, sometimes accompanied by details in reused Roman brick. Anglo-Saxon churches are typically high and narrow and consist of a nave and a narrower chancel; these are often accompanied by a west tower. Some feature "porticus" (projecting chambers) to the west or to the north and south, creating a cruciform plan. Characteristic features include quoins in 'long-and-short work' (alternating vertical and horizontal blocks) and small windows with rounded or triangular tops, deeply splayed or in groups of two or three divided by squat columns. The most common form of external decoration is lesene strips (thin vertical or horizontal strips of projecting stone), typically combined with blind arcading. Notable examples of this exist at Earls Barton, Bradford-on-Avon and Barton-upon-Humber.
Norman architecture.
In the 11th century the Normans were among Europe's leading exponents of Romanesque architecture, a style which had begun to influence English church building before 1066, but became the predominant mode in England with the huge wave of construction that followed the Norman Conquest. The Normans destroyed a large proportion of England's churches and built Romanesque replacements, a process which encompassed all of England's cathedrals. Most of the latter were later partially or wholly rebuilt in Gothic style, and although many still preserve substantial Romanesque portions, only Durham Cathedral remains a predominantly Romanesque structure (along with St Alban's and Southwell, abbey churches in the medieval period). Even Durham displays significant transitional features leading towards the emergence of Gothic. Romanesque churches are characterised by rounded arches, arcades supported by massive cylindrical piers, groin vaults and low-relief sculptural decoration. Distinctively Norman features include decorative chevron patterns.
In the wake of the invasion William I and his lords built numerous wooden motte-and-bailey castles to impose their control on the native population. Many were subsequently rebuilt in stone, beginning with the Tower of London.
There are also a very small number of domestic Norman buildings still standing, for example Jew's House, Lincoln; manor houses at Saltford and Boothby Pagnall; and fortified manor houses such as Oakham Castle.
Gothic architecture.
The major buildings of the Late Middle Ages and the first centuries of the Early Modern Period were constructed in the predominant late medieval European style of Gothic architecture. Art-historical periodisations are Early English or "First Pointed" (late 12th–late 13th centuries), Decorated Gothic or "Second Pointed" (late 13th–late 14th centuries), and Perpendicular Gothic or "Third Pointed" (14th–17th centuries). The architect and art historian Thomas Rickman's "Attempt to Discriminate the Style of Architecture in England", first published in 1812, divided Gothic architecture in the British Isles into three stylistic periods. Rickman identified the period of architecture from William the Conqueror () to Henry II () as "Norman"; from Richard the Lionheart () to Edward I () as "Early English"; the reigns of Edward II () and Edward III () as "Decorated", and from Richard II () to Henry VIII () as "Perpendicular".
From the 15th century, under the House of Tudor, the prevailing Gothic style is commonly known as Tudor architecture, being ultimately succeeded by Elizabethan architecture and Renaissance architecture under Elizabeth I (). Rickman excluded from his scheme most new buildings after Henry VIII's reign, calling the style of "additions and rebuilding" in the later 16th and earlier 17th centuries "often much debased". Architect and art historian Edmund Sharpe published in 1851 "The Seven Periods of English Architecture", in which he identified a pre-Gothic "Transitional Period" (1145–90) after the "Norman" period, in which pointed arches and round arches were employed together. Focusing on the windows, Sharpe dubbed Rickman's first Gothic style the "Lancet Period" (1190–1245); divided the second into first the "Geometrical" (1245–1315) and then the "Curvilinear" (1315–1360); and named the third style "Rectilinear" (1360–1550).
This last Gothic style was typified by large windows, four-centred arches, straight vertical and horizontal lines in the tracery, and regular arch-topped rectangular panelling. Perpendicular was the prevailing style of Late Gothic architecture in England from the 14th century to the 17th century. Perpendicular was unique to the country: no equivalent arose in Continental Europe or elsewhere in the British Isles. Of all the Gothic architectural styles, Perpendicular was the first to experience a second wave of popularity from the 18th century on in Gothic Revival architecture.
Vernacular architecture.
Little survives of the vernacular architecture of the medieval period due to the use of perishable materials for the great majority of buildings. Most domestic buildings were built on timber frames, usually with wattle and daub infill. Roofs were typically covered with thatch; wooden shingles were also employed, and from the 12th century tile and slate came into use in some areas. Also around the 12th century, the cruck frame was introduced, increasing the size of timber framed vernacular buildings. Typically, larger houses of this period were based around a great hall open from floor to roof. One bay at each end was split into two storeys and used for service rooms and private rooms for the owner. Even quite high up the social scale houses were small by modern standards, except for the very wealthy.
Buildings surviving from this period included moated manor houses of which Ightham Mote is a notable late medieval example, and Wealden hall houses such as Alfriston Clergy House. Tintagel Old Post Office is a 14th-century manor house in a part of the country where stone was the typical building material for better houses. Little Moreton Hall, a large manor house begun in 1504-08 and later extended, is a famous showpiece of decorative half-timbering. Near the dangerous Scottish border, the peel tower was a type of tower house or small castle; in Scotland they were even more common. The bastle house was a two-storey version, continuing what had been a common form of house for the better-off across the country in the late Anglo-Saxon and Norman periods.
Tudor transition.
The Tudor period constitutes a transitional phase, in which the organic continuity and technical innovation of the medieval era gave way to centuries in which architecture was dominated by a succession of attempts to revive earlier styles.
The Perpendicular Gothic style reached its culmination in the reign of Henry VII and the early years of Henry VIII, with the construction of King's College Chapel, Cambridge and Henry VII's Chapel at Westminster Abbey. However, the Reformation brought an effective halt to church-building in England which continued in most parts of the country until the 19th century.
By the time of Henry VII's accession castle-building in England had come to an end and under the Tudors ostentatious unfortified country houses and palaces became widespread, built either in stone or in brick, which first became a common building material in England in this period. Characteristic features of the early Tudor style included imposing gatehouses (a vestige of the castle), flattened pointed arches in the Perpendicular Gothic manner, square-headed windows, decoratively shaped gables and large ornate chimneys. Outstanding surviving examples of early Tudor palatial architecture include Hampton Court Palace and Layer Marney Tower.
Over the course of the 16th century Classical features derived from the Renaissance architecture of Italy exerted an increasing influence, initially on surface decoration but in time shaping the entire design of buildings, while the use of medieval features declined. This development gave rise to palatial stone dwellings or prodigy houses such as Hardwick Hall and Montacute House.
Style revivals.
Stuart architecture.
During the 17th century the continuing advance of Classical forms overrode the eclecticism of English Renaissance architecture, which gave way to a more uniform style derived from continental models, chiefly from Italy. This entailed a retreat from the structural sophistication of Gothic architecture to forms derived from the more primitive construction methods of Classical antiquity. The style was typified by square or round-headed windows and doors, flat ceilings, colonnades, pilasters, pediments and domes. Classical architecture in England tended to be relatively plain and simple in comparison with the contemporaneous Baroque architecture of the continent, being influenced above all by the Palladian style of Italy. This was first introduced to England by Inigo Jones and typified by his Queen's House at Greenwich.
The Great Fire of London in 1666 forced the reconstruction of much of the city, which was the only part of the country to see a significant amount of church-building between the Reformation and the 19th century. Sir Christopher Wren was employed to replace many of the destroyed churches, but his master plan for rebuilding London as a whole was rejected. Wren's churches exemplify the distinctive English approach to church-building in the Classical manner, which largely rejected the domes that typified the continental Baroque and employed a wide range of different forms of steeple, experimental efforts to find a substitute for the Gothic spire within a Classical mode. However, a dome featured very prominently in Wren's grandest construction, St Paul's Cathedral, the only English cathedral in any permutation of the Classical tradition.
The later 17th century saw Baroque architecture, a version of Classicism characterised by heavy massing and ostentatiously elaborate decoration, become widespread in England. Grand Baroque country houses began to appear in England in the 1690s, exemplified by Chatsworth House and Castle Howard. The most significant English Baroque architects after Wren were Sir John Vanbrugh and Nicholas Hawksmoor, who adapted the Baroque style to fit English tastes in houses such as Blenheim Palace, Seaton Delaval Hall and Easton Neston.
Georgian architecture.
The 18th century saw a turn away from Baroque elaboration and a reversion to a more austere approach to Classicism. This shift initially brought a return to the Italian Palladianism that had characterised the earliest manifestations of Classical architecture in England. Later Neoclassical architecture increasingly idealised ancient Greek forms, which were viewed as representing Classicism in its original 'purity', as against Roman forms, now regarded as degenerate. Country houses representing this style include Woburn Abbey and Kedleston Hall. This period also saw the emergence of an increasingly planned approach to urban expansion, and the systematic, simultaneous construction of whole streets or squares, or even of entire districts, gave rise to new forms of domestic construction, the terrace and the crescent, as exemplified in Bath and in Bloomsbury and Mayfair in London. Among the notable architects practising in this era were Robert Adam, Sir William Chambers, John Wood and James Wyatt.
Victorian architecture.
The 19th century saw a fragmentation of English architecture, as Classical forms continued in widespread use but were challenged by a series of distinctively English revivals of other styles, drawing chiefly on Gothic, Renaissance and vernacular traditions but incorporating other elements as well. This ongoing historicism was counterposed by a resumption of technical innovation, which had been largely in abeyance since the Renaissance but was now fuelled by new materials and techniques derived from the Industrial Revolution, particularly the use of iron and steel frames, and by the demand for new types of building. The rapid growth and urbanisation of the population entailed an immense amount of new domestic and commercial construction, while the same processes combined with a religious revival to bring about a resumption of widespread church building. Mechanised manufacturing, railways and public utilities required new forms of building, while the new industrial cities invested heavily in grand civic buildings and the huge expansion and diversification of educational, cultural and leisure activities likewise created new demands on architecture.
The Gothic revival was a development which emerged in England and whose influence, except in church building, was largely restricted to the English-speaking world. It had begun on a small scale in the 18th century under the stimulus of Romanticism, a trend initiated by Horace Walpole's house Strawberry Hill. However, widespread Gothic construction began only in the 19th century, led by the renewal of church building but spreading to secular construction. Early Gothic revival architecture was whimsical and unsystematic, but in the Victorian era the revival developed an abstract rigour and became a movement driven by cultural, religious and social concerns which extended far beyond architecture, seeing the Gothic style and the medieval way of life as a route to the spiritual regeneration of society. The first great ideologue of this movement was Augustus Welby Northmore Pugin, who together with Charles Barry designed the new Houses of Parliament, the grandest work of Victorian Gothic architecture.
The Parliament building's Perpendicular style reflects the predominance of the later forms of English Gothic in the early Victorian period, but this later gave way to a preference for plain Early English or French Gothic, and above all to a style derived from the architecture of medieval Italy and the Low Countries. This High Victorian Gothic was driven chiefly by the writings of John Ruskin, based on his observations of the buildings of Venice, while its archetypal practitioner was the church architect William Butterfield. It was characterised by heavy massing, sparse use of tracery or sculptural decoration and an emphasis on polychrome patterning created through the use of different colours of brick and stone. The Gothic revival also drove a widespread effort to restore deteriorating medieval churches, a practice which often went beyond restoration to involve extensive reconstruction. The most active exponent of this activity was also the most prolific designer of new Gothic buildings, George Gilbert Scott, whose work is exemplified by St Pancras Station. Other leading Victorian Gothic architects included G. E. Street, J. F. Pearson and G. F. Bodley.
The Victorian period also saw a revival of interest in English vernacular building traditions, focusing chiefly on domestic architecture and employing features such as half-timbering and tile-hanging, whose leading practitioner was Richard Norman Shaw. This development too was shaped by much wider ideological considerations, strongly influenced by William Morris and the Arts and Crafts Movement. While its ethos shared much with the Gothic revival, its preoccupations were less religious and were connected with romantic socialism and a distaste for industrialisation and urban life. In the later 19th century vernacular elements mingled with forms drawn from the Renaissance architecture of England and the Low Countries to produce a synthesis dubbed the Queen Anne Style, which in fact bore very little resemblance to the architecture of that reign. While some architects of the period were ideologically committed to a particular manner, a tendency personified by Pugin, others were happy to move between styles. An exemplar of this approach was Alfred Waterhouse, whose works included buildings in Romanesque, Gothic and Renaissance styles and eclectic fusions between them.
The new technology of iron and steel frame construction exerted an influence over many forms of building, although its use was often masked by traditional forms. It was highly prominent in two of the new forms of building that characterised Victorian architecture, railway station train sheds and glasshouses. The greatest exponent of the latter was Joseph Paxton, architect of the Crystal Palace.
In the 18th century a few English architects had emigrated to the colonies, but as the British Empire became firmly established in the 19th century many architects at the start of their careers made the decision to emigrate, several chose the United States but most went to Canada, Australia or New Zealand, as opportunities arose to meet the growing demand for buildings in these countries. Normally they adopted the style of architecture fashionable when they left England, though by the latter half of the century, improving transport and communications meant that even quite remote parts of the Empire had access to many publications, such as The Builder magazine. This enabled colonial architects to stay abreast of current fashion. Thus the influence of English architecture spread across the world. Several prominent 19th century architects produced designs that were executed by architects in the various colonies. For example, Sir George Gilbert Scott designed Bombay University & William Butterfield designed St Peter's Cathedral, Adelaide.
Historical styles in the 20th century.
The last great exponent of late Victorian free Renaissance eclecticism was Edwin Lutyens, and his shift into the Classical mode after 1900 symbolised a wider retreat from the stylistic ferment of the 19th century to a plain and homogenous Classicism based on Georgian exemplars, an approach followed by many architects of the early 20th century, notably Herbert Baker and Reginald Blomfield. This Neo-Georgian manner, while not greatly favoured in later decades by the architectural profession or architecture critics, has remained popular with clients and conservative commentators, notably Charles, Prince of Wales. Domestic architecture throughout the 20th century and beyond has continued to be strongly influenced by a homogenised version of Victorian vernacular revival styles. Some architects responded to modernism, and economic circumstances, by producing stripped down versions of traditional styles; the work of Giles Gilbert Scott illustrates this well.
Modern architecture.
International Style.
The International Style (also known as Modernism) emerged as a reaction against the world before the First World War, including historical architectural styles. Stylistically it was functional, drawing upon objects that were designed for a specific purpose such as Oceanliners. It emerged as an idea from continental Europe, but was of interest to some English architects. However it the arrival of emigre architects such as Mendelsohn and Lubetkin that galvanised the position of modern architecture within England.
The bombing of English cities created a housing shortage, in the post war years. To meet this many thousands (perhaps hundreds of thousands) of council houses in mock-vernacular style were built, giving working class people their first experience of private gardens and indoor sanitation. The demand was partly sated through the pre-fabrication of buildings within factories, giving rise to the "Pre-fab" .
Brutalist architecture.
The reconstruction that followed the Second World War had a major impact upon English architecture. The austerity that followed the WWII meant that cost dictated many design decisions, however significant architectural movements emerged. One such movement was the native development of Brutalism. Its look was created though the desire to express how buildings were constructed, for example through the use of exposed concrete. Significant "New Brutalist" buildings were the Economist Building, the Hayward Gallery, the Barbican Arts Centre and the Royal National Theatre.
High-tech architecture.
High-tech architecture emerged as an attempt to revitalise the language of Modernism, it drew inspiration from technology to create new architectural expression . The theorical work of Archigram provided significant inspiration of the High-tec movement. High-tech architecture is mostly associated with non-domestic buildings, perhaps due to the technological imagery. The two most prominent proponents were Richard Rogers and Norman Foster. Rogers' most iconic English building is the Lloyd's building, situated nearby is Foster's most famous 30 St Mary Axe building (nicknamed "The Gherkin"). Their respective influence continues into the current century.
Postmodern architecture.
Postmodern architecture also emerged as an attempt to enrich Modern architecture. It was especially fashionable in the 1980s, when Modernism had fallen from favour, being associated with the welfare state. Many shopping malls and office complexes for example Broadgate used this style. Notable practitioners were James Stirling and Terry Farrell, although Farrell returned to modernism in the 1990s. A significant example of postmodernism is Robert Venturi's Sainsbury Wing of the National Gallery.
Contemporary architecture.
Significant recent buildings, in a variety of styles, include: Will Alsop: Peckham Library, North Greenwich tube station; David Chipperfield: River and Rowing Museum, Hepworth Wakefield; Future Systems: Lord's Media Centre, Selfridges Building, Birmingham; Zaha Hadid, London Aquatics Centre; Ian Simpson: Beetham Tower, Manchester, Beetham Tower, Birmingham.


List of Pennsylvania state historical markers in Tioga County

This is a list of the Pennsylvania state historical markers in Tioga County.
This is intended to be a complete list of the official state historical markers placed in Tioga 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 15 historical markers located in Tioga County.


Zaftig


Order of the Crown (Iran)

The Order of the Crown was founded in 1913 (1332 AH) by Shah Ahmad Shah Qajar before his coronation as the highest dynastical and state order. Until 1926 it existed in two classes (with breast star and sash for both). The 1st class had a collar (neck chain with badge as a pendant) reserved for the Shahanshah and the Crown-Prince. The Order was preserved in Iran after the fall of Qajars. Until the reform of the Order in 1938/39 the sash was blue with thin green-white borders, but after the reform was corn-yellow with sky-blue edges.
The first Shah from the Pahlavi dynasty reformed the order at the end of the year in 1938/39. The order was the senior one after the dynastic Order of Pahlavi. It was abolished in 1979. following the Iranian revolution.


Cornelis van Dalem

Cornelis van Dalem (1530/35 – 1573 or 1576) was a Flemish painter and draughtsman active in Antwerp in the middle of the 16th century and an important contributor to the development of landscape art in the Low Countries. Van Dalem introduced into landscape painting new themes, which he derived from his humanistic education, and searched for new ways of representing his themes.
Life.
Details about his life are scarce. He was likely born in Antwerp. His father was a nobleman originally from Tholen who had moved to Antwerp where he was operating as a cloth merchant. His father was active in the local Chamber of rhetoric 'De Olyftack' in Antwerp and was the chamber's dean in 1552–3. The van Dalem family was a cultured family. Cornelis and his older brother Lodewijk likely enjoyed a humanistic education and were both trained as painters with the obscure artist Jan Adriaensens. Cornelis commenced his training in 1543 and became a master in the Guild of Saint Luke in 1556. The same year married Beatrix van Liedekercke, a member of a wealthy family.
Despite being a member of the Guild of Saint Luke, Cornelis van Dalem only practiced painting as an amateur and he remained a merchant his entire career. He was independently wealthy and did not need to rely on his art to make a living. However, he regarded art as an important part of his life as is demonstrated by the way he decorated the facade of his Antwerp residence. Cornelis had the façade of his house decorated with a splendour not seen in Northern Europe. The façade had a relief of the goddess Pictura in front of an easel, of Minerva and Mercury as well the stone busts of Durer and Jan van Eyck with laudatory inscriptions.
Bartholomäus Spranger was a registered pupil of van Dalem from 1560 to 1564. Van Dalem appears not to have been concerned much about teaching Spranger the art of painting but more about ensuring that his apprentice kept his studio clean and tidy. At the end of his four years of apprenticeship, Spranger is said to have been frustrated about his lack of progress. Around this time there were also increasing rumours about the possible heretical leanings of the van Dalem household: it was said they never went to the Catholic Church but rather attended Protestant gatherings. These rumours appear to have forced the van Dalems to leave Antwerp and settle on a castle near Breda. Accusations of heresy were said to have been reiterated against Cornelis in 1571 and he may have given refuge to a radical sect of Anabaptists. He died in Breda in 1573.
Work.
General.
Only a few works by Cornelis van Dalem are known. The majority of these are landscapes. His oeuvre also includes a few genres scenes and possibly an architectural painting of a church interior. He is considered one of the possible candidates for the authorship of the series of landscape drawings attributed to the Master of the Small Landscapes. The importance of van Dalem lies in the fact that he introduced into landscape painting new themes (such as the origin of civilization), which he derived from his humanistic education, and his innovative way of representing his themes.
Van Dalem is known to have collaborated regularly with his fellow artists who painted the staffage in his landscapes or architectural paintings. His most regular collaborator was Jan van Wechelen with whom at least three collaborations are suspected. He further worked with Gillis Mostaert (who may have painted the staffage in the "", Alte Pinakothek). as well as with Joachim Beuckelaer.
'Rock paintings'.
The early 17th century artist biographer Karel van Mander called van Dalem an excellent painter of rocks ('fraye schilder van rotsen'). And indeed several of his landscape paintings feature extensive rock parties with grottos. Examples are the ' of 1564 (Iris & B. Gerald Cantor Center for Visual Arts) and the ' of c. 1560 (Prado Museum). Van Dalem's rock landscapes often include a grotto where some human activity is going on. These works had an influence on Joos de Momper who was an important adept of the genre and created about 70 paintings of this motif.
One of the most ambitious grotto scenes painted by van Dalem was the composition referred to as "" (Museum Boijmans Van Beuningen). In this complex composition van Dalem attempts to depict the origin of human civilization, a very challenging topic for a painting. Only one artist is known to have attempted this subject matter before: the Italian Piero di Cosimo who painted a number of paintings of the state of mankind just before the onset of civilization one of which is in the Ashmolean Museum. Di Cosimo's works deal with the history of early man and derive their visual inspiration from passages in Book 5 of "De rerum natura" by Lucretius (98-c.55BC), in which the role of fire is emphasized in the origins of life on earth and the birth of community life. Di Cosimo stresses the devastating effects of uncontrolled fire in his composition.
Van Dalem's composition, which was probably made in 1565, is dominated by a high, steep cliff which only leaves a small strip of heaven at the top of the painting. A large round hole in the rock allows a view onto a wide landscape in the distance. The top of the rock is covered with trees and shrubs that are painted very precisely and a flute-playing shepherd descends the cliff amidst his herd of goats. Below the cliff is a cave covered with reeds and people clad in rough clothes. It has been surmised that van Dalem intended to depict primitive man in his natural environment, as described in the "De rerum natura". He shows in his composition several elements that were deemed at the time to play a role in the civilization process such as communication, fixed housing, domestication of animals and culture (music). The old man in the middle of the painting steps out of a sort of primitive gate, which symbolizes the border between nature and civilization.
The painting of van Dalem which is represented in the famous gallery painting of ' by Willem van Haecht also treats a similar subject. Van Dalem's picture is the one just below the chandelier and is referred to as '. This composition appears to depict a further stage of development in the evolution of man when people have founded communities and wear woven clothes. A painting with a similar subject matter depicting the Flight into Eypt was formerly in the Gemäldegalerie, Berlin but was lost during World War II.
Nature v culture.
The paintings dealing with the subject of the development of civilization find their counterpart in the composition "" (1564, Alte Pinakothek). Here van Dalem seems to address the topic of the decay of culture, which is represented in the form of a ruined church, dilapidated hut and barren trees and earth.
The composition's theme of the eternal conflict of man and nature further refers to the idea of the lost paradise and the futility of the efforts of mankind to return to that lost age in which man and nature where one. An alternative reading of the meaning of picture is that it refers to the decay of the Catholic Church particularly because van Dalem put his signature in the ruins of the church.
The baker of Eeklo.
An interesting foray into genre painting is the composition "The Legend of the Baker of Eeklo" which he painted in collaboration with Jan van Wechelen. The original of the painting is lost but a presumed copy of the original is part of the collection of the Rijksmuseum and is on loan to the Muiderslot. There also exist many versions said to have been made by the circle of Cornelis van Dalem and Jan van Wechelen or after Cornelis van Dalem and Jan van Wechelen. The composition was also engraved by Frederik Bouttats the Younger.
The painting depicts a legend told about the citizens of Eeklo in Flanders. When they were unhappy with the look of their heads, they would go to the village bakery. There the baker and his assistants would lop off their heads and place cabbages on their necks to stem the bleeding. The improved heads would then be kneaded and rolled, rubbed with a new finish, baked in the oven and ultimately replaced. The composition recounts the whole process. However, there was always the risk that a new head would fail to bake, or over-bake, thus resulting in a deformed or deficient head. At the back of the bakery we can see a woman holding a severed head who is having a discussion with the baker dressed in red. She is probably trying to return the head of her husband with which she is not happy. This story had a moral and cautionary message for those who were dissatisfied with their appearance and wanted to do something drastic about it.
Publishing.
Cornelis van Damen was also involved in publishing activities. In 1561 he was responsible for the publication of Frans Huys' two-sheet "" seen in bird's-eye view after a design by Pieter Brueghel the Elder. There is still uncertainty as to the actual level of involvement of van Dalen in the publication of this engraving. It has been suggested that possibly van Dalem was only the backer and initiator in whose name the publishing privilege was issued and that the actual publishing was undertaken by an established publisher such as for instance Hieronymus Cock.
Reception.
Cornelis van Dalem's paintings were highly esteemed by the next generation of artists: Peter Paul Rubens's estate included one of his works, and a representation of one of his paintings is featured in the famous gallery painting of "" by Willem van Haecht. The prominent 17th century Antwerp art collector Pieter Stevens is said to have owned one of his paintings. Van Dalem's name was forgotten in later ages and it was only in the early 20th century that art historians such as Ludwig Burchard rediscovered the artist and his work.


Dalvay-by-the-Sea

Dalvay-by-the-Sea is a National Historic Site of Canada located on the north shore of Prince Edward Island at the eastern end of Prince Edward Island National Park. The most significant feature of Dalvay is the Queen Anne Revival style hotel, originally constructed as a home for an American industrialist.
The hotel is a popular attraction for visitors to Prince Edward Island and has been featured in the Anne of Green Gables movies. The venue also served as the fictional White Sands Hotel in the Canadian "Road to Avonlea" television series.
Prince William, Duke of Cambridge, and Catherine, Duchess of Cambridge visited Dalvay-by-the-Sea during their 2011 royal tour of Canada. William took part in training exercises with the Canadian Forces, executing a "water bird" emergency landing procedure over Dalvay Lake in a Sea King helicopter. Later in the day, the royal couple competed against each other in a dragon boat race on Dalvay Lake.
Alexander Macdonald house.
In 1895, a wealthy Scots-born American industrialist, Alexander Macdonald, discovered the area while on vacation on Prince Edward Island. He and his wife became so enamored of the area that Macdonald purchased of land and commissioned a house to be built here. The house was completed in 1896. Macdonald named it Dalvay-by-the-Sea after his boyhood home in Scotland.
Construction costs were approximately $50,000. The lower half of the house was constructed of Island sandstone in its natural form. The huge fireplaces were also made of sandstone. The furnishings were purchased from all over the world during family travels in England, France, Italy, and Egypt. Some pieces were also purchased in Charlottetown. Water and power were supplied by a series of windmills.
The MacDonalds kept a number of servants, including grooms to look after the many horses and carriages owned by the family. It cost about $10,000 a year to operate. The family entertained frequently over the summer, and at the end of every summer hosted a lavish dance for the locals.
The MacDonalds enjoyed the house for over a decade, but by 1909 he was not in good health. At the end of that summer, he stood for the last time at Long Pond gazing at his house before quietly saying, "Good-bye Dalvay". He died in Long Beach, California in 1910.
After his death, the property was left to MacDonald's granddaughters. Since they were underage at the time, it was managed by their father, Edmund Stallo. Due to bad investments, the $15 million Alexander fortune dwindled to nothing and the estate had to be sold. The property itself was tended by William Hughes since the death of Alexander. When he contacted the family to ask what should be done with the place, they told him he could have it for the back taxes. Hughes bought the house and furnishings for $486.57. He had no interest in keeping it, so sold it to William O'Leary of Montreal. The O'Leary's removed most of the furniture and eventually it was sold to Captain Edward Dicks. Dicks renovated the house, intending to turn it into a hotel. However, he ran out of money. In time, George DeBlois acquired the property.
In 1938, DeBlois sold the house and land to the Government of Canada. Since then, the house has been operated as a hotel by operators under a leased concession from Parks Canada. There are 26 guest rooms, furnished in period antiques.


Punjabi Cinema Golden Honours

Punjabi Cinema Golden Honors is a celebration of the rich heritage of Punjabi film and entertainment Industry is honoring those artists who have helped the industry scale its current heights. Ratesh Gupta the founder of Punjabi Canvas, an organization that aims to promote the Punjabi language and Punjabi cinema, " Punjabi honors will create a common platform where legends, present stars, and a future artist will come together and share the same space.
Concept.
Seminar to be conducted with a panel of experts from the industry and the media on the growth and technical advancement of Punjabi Cinema. Screening of Punjabi Short films and Documentaries to create an audience for the genre. Celebration Night to honor the veterans and Contemporary stars who have dedicated their lives to Punjabi Cinema.
Idea.
The Punjabi Cinema Golden Honors is an occasion to celebrate Punjabi films and artists who have dedicated their lives to the growth of the industry. We aim to promote both mainstream and parallel Punjabi Cinema. Work of new and upcoming filmmakers will also be showcased along with documentaries made in Punjabi. We wish to educate the audience about the rich heritage and legacy of Punjabi Cinema so that they can feel proud of being associated with the cinema of their region and the journey of its success.
Honors.
The Golden Honors concept is more to do with cooperation rather than competition. We wish to honor the people who have contributed to the success and development of Punjabi Cinema and helped the industry scale its current heights.
Film festival.
The event is first of kind ever held in the history of Punjabi cinema to promote the fresh talent and showcase their work. The selection of work being showcased will be at the sole discretion of the panel headed by the eminent personalities of the industry. In addition, to this we are holding a symposium on Punjabi cinema where the big stalwarts of industry media personalities and the students belong to Fraternity of Cinema will share a common platform and participate in open discussion of cinema now and then.


Aamir Khan Productions

Aamir Khan Productions (AKP) is an Indian motion picture production and distribution company based in Mumbai. The company was founded in 1999 by actor Aamir Khan; its first production was Academy Award nominated film "Lagaan" (2001).
B. Shrinivas Rao is the executive producer for Aamir Khan Productions, and Khan's wife, Kiran Rao, also serves as a producer; she was the associate producer for both "Taare Zameen Par" (2007) and "Jaane Tu... Ya Jaane Na" (2008).
History.
Aamir Khan Productions was set up in 1999 by Hindi film actor Aamir Khan with the purpose of producing the film "Lagaan". He decided to produce "Lagaan" after the script was not purchased by any other studio. B. Shrinivas Rao also joined AKP as the line producer on "Lagaan". The movie was released in 2001, with Khan as the lead actor. The film was a critical and commercial success, and was nominated for an Academy Award in the Best Foreign Language Film category along with four other foreign films, eventually losing to "No Man's Land". The film won many major awards at several award functions such as Filmfare and IIFA.
B. Shrinivas Rao later served as the executive producer for Khan's directorial debut, "Taare Zameen Par", and became the executive producer for the production company, supervising all of its productions. Khan also starred in "Taare Zameen Par", sharing the screen with the child actor Darsheel Safary (in his acting debut) and Tisca Chopra. The film was initially conceived of and developed by a husband-and-wife team, Amole Gupte and Deepa Bhatia. It tells the story of a young child who suffers in school until a teacher identifies him as dyslexic. The movie was critically acclaimed. "Taare Zameen Par" won the 2008 Filmfare Best Movie Award as well as a number of other Filmfare and Star Screen Awards. Khan's wife, Kiran Rao, also worked as an associate producer for "Taare Zameen Par".
The third film produced by the company was Abbas Tyrewala's "Jaane Tu Ya Jaane Na", released in July 2008. It marked the debut of Aamir Khan and Mansoor Khan's nephew, Imran Khan, and it was co-produced by Ritesh Sidhwani.
The fourth offering from AKP was "Dhobi Ghat" (Mumbai Diaries), a low-budget art house film written and directed by Kiran Rao. It focuses on four characters – one of them played by Khan – from different walks of life in the city of Mumbai.
The next film produced by the production company was Anusha Rizvi's "Peepli Live". This low-budget film was released in August 2010, starring Omkar Das Manikpuri, Raghubir Yadav, Shalini Vatsa, Malaika Shenoy, Nawazuddin Siddiqui, and Naseeruddin Shah. It was a satire based on the suicides committed by Indian farmers due to the financial hardship. "Peepli Live" had its premiere at the Melbourne International Film Festival on 6 August 2010 at the Regent Theatre, Melbourne.
In 2011, the English/Hindi "Delhi Belly" was released, a departure from the "clean, family entertainment" reputation of Aamir Khan Productions. It was a sleeper hit and immensely popular with urban Indian youth, though it was criticised for strong language.
In 2012, the production company released the suspense drama, "", which starred Khan along with Rani Mukherji and Kareena Kapoor. It was directed by Reema Kagti and was also produced in association with Excel Entertainment. This movie was a semi-hit at the box office.
In 2016, the production company released the sport drama, Dangal, which starred Khan along with Sakshi Tanwar. It was directed by Nitesh Tiwari. Siddharth Roy Kapur has also produced the film. This film was an all-time blockbuster.
In 2017, the production company released the drama, "Secret Superstar," which starred Khan in an extended cameo along with Zaira Wasim (who also appeared in "Dangal"). It was also produced by Akash Chawla.
Aamir Khan Productions has been credited with redefining and modernizing the masala film, with its own distinct brand of socially conscious cinema in the early 21st century. The studio's films blur the distinction between commercial masala films and realistic parallel cinema, combining the entertainment and production values of the former with the believable narratives and strong messages of the latter, earning both commercial success and critical acclaim, in India and overseas.


Naor

Naor (; ) is a Hebrew given name and family name meaning enlightened. Naor may refer to: