Cupid at the Circus

Cupid at the Circus is a 1910 American silent short drama produced by the Thanhouser Company. The film is a romance with a storyline focused around a country boy who follows a circus parade to the circus grounds and becomes intent on sneaking into the show. He is discovered, but before he can be ejected, a girl asks her father to buy him a ticket of admission. Thankful, the boy gives her his pocket knife. Years later the two meet again and when he sees her using his pocket knife. He proposes and she accepts. Not too much is known for certain about the production of this film, including the writer, director and photographer credits. The circus scenes were done with special arrangement by Barnum & Bailey. The film was released on May 20, 1910 to favorable reviews. The film is presumed lost.
Plot.
Though the film is presumed lost, a surviving official synopsis was published in "The Moving Picture World". It states: "Tom Wilk is a poor country lad, living alone with his stepfather, who ill-treats him. Tom leaves his work one day to follow a circus parade. He is fascinated with the wonders of the parade and follows it to the circus grounds, around which he stays all morning, and is finally tempted by his great wish to see the show, to crawl under the tent. He is discovered by a circus guard, and ordered off the ground. A small girl, Lillie Lockwood, and her father come to the circus, and witness Tom's ejection. Urged by his daughter, Lillie's father buys Tom a ticket of admission, giving him his first happy day. In return, Tom gives Lillie, as a keepsake, his most treasured possession, his pocket knife. On returning home, Tom is severely chastised by his step-father, after which he decides to run away. He walks to a neighboring town, and is there engaged as an office boy by Gates, a lawyer. After some years of faithful service, in various capacities, Tom becomes a member of the firm. Lillie obtains a position as a stenographer in their office. She and Tom do not recognize each other, until Tom accidentally sees in her hand the little knife he had given her in the long ago. He declares he had loved her through the years, and has been patiently waiting for her, so the romance that began at the circus finds a happy climax at the altar."
Production.
The writer of the scenario is unknown, but it may have been Lloyd Lonergan. Lonergan was an experienced newspaperman still employed by "The New York Evening World" while writing scripts for the Thanhouser productions. He was the most important script writer for Thanhouser, averaging 200 scripts a year from 1910 to 1915. While the director of the film is not known, two Thanhouser directors are possible. Barry O'Neil was the stage name of Thomas J. McCarthy, who would direct many important Thanhouser pictures, including its first two-reeler, "Romeo and Juliet". Lloyd B. Carleton was the stage name of Carleton B. Little, a director who would stay with the Thanhouser Company for a short time, moving to Biograph Company by the summer of 1910. Bowers does not attribute either as the director for this particular production nor does Bowers credit a cameraman. Blair Smith was the first cameraman of the Thanhouser company, but he was soon joined by Carl Louis Gregory who had years of experience as a still and motion picture photographer. The role of the cameraman was uncredited in 1910 productions. The two known credits in the film are for the leading players, Anna Rosemond and Frank H. Crane. Rosemond was one of two leading ladies for the first year of the company and joined in the autumn of 1909. Crane was involved in the very beginnings of the Thanhouser Company from 1909. Crane's was the first leading man of the company and acted in numerous productions before becoming a director at Thanhouser.
The setting of the film included Barnum and Bailey circus that were shot by a special arrangement with Mr. Barnum and Bailey. The date of the filming is unknown, but the 1910 route of Barnum & Bailey's Greatest Show on Earth indicates that it the circus was in New York between March 24 through April 30. The circus was at Madison Square Garden from March 24 through April 22 and it moved to Brooklyn, New York for April 25 through April 30. The circus would go to Philadelphia, Washington D. C., Baltimore, Maryland, and Wilmington, Delaware before moving back up through New Jersey on May 14 through May 18. According to one review in the "Santa Cruz Sentinel", the film showed "...the Barnum and Bailey circus from the time they arrive at the lot until after the show."
Release and reception.
The one reel film was released on Friday May 20, 1910. There are different records for the length of the reel. According to Bowers, the film was 975 feet long, but one trade publication listed it as being 940 feet long. The film was advertised in theaters in Kansas, Nebraska, Pennsylvania, Missouri, Minnesota, Indiana, and California. The film was released one day before the Barnum and Bailey tent caught fire in Schenectady, New York. The May 21 fire did not result in injury or loss of life, but was caused an estimated $10,000 in damages, .
The film was met with favorable reviews from critics. "The Morning Telegraph" offers general praise for the good photography and the well-told story. "The Nickelodeon" was equally positive and began to reflect the acting, staging and photography was up to the regular standard of the Thanhouser company. "The New York Dramatic Mirror" offered additional comments on the Thanhouser company's higher standards in their productions, but gave an otherwise positive review that focused on the novelty of the circus scenes.


Palestinian Arabic

Palestinian Arabic is a dialect continuum of mutually intelligible varieties of Levantine Arabic spoken by most Palestinians in Palestine, Israel and in the Palestinian diaspora populations. Together with Jordanian Arabic, it has the ISO 639-3 language code "ajp", known as South Levantine Arabic.
Further dialects can be distinguished within Palestine, such as spoken in the northern West Bank, that spoken by Palestinians in the Hebron area, which is similar to Arabic spoken by descendants of Palestinian refugees living in Jordan and south-western Syria.
History.
The variations between dialects probably reflect the different historical steps of Arabization of Palestine.
Prior to their adoption of the Arabic language in the seventh century, the inhabitants of Palestine predominantly spoke Jewish Palestinian Aramaic (as witnessed, for example, in Palestinian Jewish and Palestinian Christian literature), as well as Greek (probably in the upper or trader social classes), and some remaining traces of Hebrew. At that time in history, Arabic-speaking people living in the Negev desert or in the Jordan desert beyond Zarqa, Amman or Karak had no significant influence.
Arabic-speaking people such as the Nabataeans tended to adopt Aramaic as a written language as shown in the Nabataean language texts of Petra. Jews and Nabataeans lived side by side in Mahoza and other villages, and their dialects of what they would both have thought of as “Aramaic” would almost certainly have been mutually comprehensible. Additionally, occasional Arabic loan can be found in the Jewish Aramaic documents of the Dead Sea Scrolls.
The adoption of Arabic among the local population occurred most probably in several waves. After the Arabs took control of the area, so as to maintain their regular activity, the upper classes had quickly to get fluency in the language of the new masters who most probably were only few. The prevalence of Northern Levantine features in the urban dialects until the early 20th century, as well as in the dialect of Samaritans in Nablus (with systematic imala of /a:/) tends to show that a first layer of Arabization of urban upper classes could have led to what is now urban Levantine. Then, the main phenomenon could have been the slow countryside shift of Aramaic-speaking villages to Arabic under the influence of Arabized elites, leading to the emergence of the rural Palestinian dialects. This scenario is consistent with several facts.
Differences compared to other Levantine Arabic dialects.
The dialects spoken by the Arabs of the Levant – the Eastern shore of the Mediterranean – or Levantine Arabic, form a group of dialects of Arabic. Arabic manuals for the "Syrian dialect" were produced in the early 20th century, and in 1909 a specific "Palestinean Arabic" manual was published.
The Palestinian Arabic dialects are varieties of Levantine Arabic because they display the following characteristic Levantine features.
The noticeable differences between southern and northern forms of Levantine Arabic, such as Syrian Arabic and Lebanese Arabic, are stronger in non-urban dialects. The main differences between Palestinian and northern Levantine Arabic are as follows:
There are also typical Palestinian words that are shibboleths in the Levant.
Social and geographic dialect structuration.
As is very common in Arabic-speaking countries, the dialect spoken by a person depends on both the region he/she comes from, and the social group he/she belongs to.
Palestinian urban dialects.
The Urban ('madani') dialects resemble closely northern Levantine Arabic dialects, that is, the colloquial variants of western Syria and Lebanon.<ref name="Sociolinguistics/Soziolinguistik 3: An International Handbook"></ref> This fact, that makes the urban dialects of the Levant remarkably homogeneous, is probably due to the trading network among cities in the Ottoman Levant, or to an older Arabic dialect layer closer to the qeltu dialects still spoken in Upper Mesopotamia. Nablus takes a special place. The Nablus dialect distributed accents on the various syllables of the word. Almost each syllable has a stressed accent, which gives the dialect a slow and sluggish tone. The ancient dialect of Nablus even articulates every single syllable in the same word separately. Moreover, word endings blatantly slant according to a regulated system. For example, you may say sharqa with an [a:] sound at the end of the word to refer to the eastern part of the city and gharbeh with the [e] sound at the end of the word to refer to the western side of the city. You may also want to describe the colour of your bag and say safra (yellow) with an [a:] sound at the end of the word or sode (black) with an [e] sound at the end of the word. The nun and ha (n and h) are always slanted and end with the [e] sound; and they are the bases for the distinctive Nablusi accent. The two letters appear frequently at the end of words in the form of inescapable objective pronouns. In the ancient dialect of Nablus, the letters tha’, thal, thaa’, and qaf do not exist. The dialect of old Nablus is now to be found among the Samaritans, who have managed to preserve the old dialect in its purest form.
Urban dialects are characterised by the [ʔ] (hamza) pronunciation of ق qaf, the simplification of interdentals as dentals plosives, i.e. ث as [t], ذ as [d] and both ض and ظ as [dˤ]. Note however that in borrowings from Modern Standard Arabic, these interdental consonants are realised as dental sibilants, i.e. ث as [s], ذ as [z] and ظ as [zˤ] but ض is kept as [dˤ]. The Druzes have a dialect that may be classified with the Urban ones, with the difference that they keep the uvular pronunciation of ق qaf as [q]. The urban dialects also ignore the difference between masculine and feminine in the plural pronouns انتو ['ɪntu] is both 'you' (masc. plur.) and 'you' (fem. plur.), and ['hʊmme] is both 'they' (masc.) and 'they' (fem.)
Rural varieties.
Rural or farmer ('fallahi') variety is retaining the interdental consonants, and is closely related with rural dialects in the outer southern Levant and in Lebanon. They keep the distinction between masculine and feminine plural pronouns, e.g. انتو ['ɪntu] is 'you' (masc.) while انتن ['ɪntɪn] is 'you' (fem.), and همه ['hʊmme] is 'they' (masc.) while هنه ['hɪnne] is 'they' (fem.). The three rural groups in the region are the following:
Bedouin variety.
The Bedouins of Southern Levant use two different ('badawi') dialects in Galilee and the Negev. The Negev desert Bedouins, who are also present in Palestine and Gaza Strip use a dialect closely related to those spoken in the Hijaz, and in the Sinai. Unlike them, the Bedouins of Galilee speak a dialect related to those of the Syrian Desert and Najd, which indicates their arrival to the region is relatively recent. The Palestinian resident Negev Bedouins, who are present around Hebron and Jerusalem have a specific vocabulary, they maintain the interdental consonants, they do not use the ش-[-ʃ] negative suffix, they always realise ك /k/ as [k] and ق /q/ as [g], and distinguish plural masculine from plural feminine pronouns, but with different forms as the rural speakers.
Current evolutions.
On the urban dialects side, the current trend is to have urban dialects getting closer to their rural neighbours, thus introducing some variability among cities in the Levant. For instance, Jerusalem used to say as Damascus ['nɪħna] ("we") and ['hʊnne] ("they") at the beginning of the 20th century, and this has moved to the more rural ['ɪħna] and ['hʊmme] nowadays. This trend was probably initiated by the partition of the Levant of several states in the course of the 20th century.
The Rural description given above is moving nowadays with two opposite trends. On the one hand, urbanisation gives a strong influence power to urban dialects. As a result, villagers may adopt them at least in part, and Beduin maintain a two-dialect practice. On the other hand, the individualisation that comes with urbanisation make people feel more free to choose the way they speak than before, and in the same way as some will use typical Egyptian or Lebanese features as [le:] for [le:ʃ], others may use typical rural features such as the rural realisation [kˤ] of ق as a pride reaction against the stigmatisation of this pronunciation.
Specific aspects of the vocabulary.
As Palestinian Arabic is spoken in the heartland of the Semitic languages, it has kept many typical semitic words. For this reason, it is relatively easy to guess how Modern Standard Arabic words map onto Palestinian Arabic Words. The list (Swadesh list) of basic word of Palestinian Arabic available on the Wiktionary (see "external links" below) may be used for this. However, some words are not transparent mappings from MSA, and deserve a description. This is due either to meaning changes in Arabic along the centuries - while MSA keeps the Classical Arabic meanings - or to the adoption of non-Arabic words (see below). Note that this section focuses on Urban Palestinian unless otherwise specified.
Prepositional pseudo verbs
The words used in Palestinian to express the basic verbs 'to want', 'to have', 'there is/are' are called prepositional pseudo verbs because they share all the features of verbs but are constructed with a preposition and a suffix pronoun.
In the perfect, they are preceded by كان [ka:n], e.g. "we wanted" is كان بدنا [ka:n 'bɪddna].
Relative clause
As in most forms of colloquial Arabic, the relative clause markers of Classical Arabic (الذي، التي، اللذان، اللتان، الذين and اللاتي) have been simplified to a single form إللي ['ʔɪlli].
Interrogatives pronouns
The main Palestinian interrogative pronouns (with their Modern Standard Arabic counterparts) are the following ones.
Note that it is tempting to consider the long [i:] in مين [mi:n] 'who?' as an influence of ancient Hebrew מי [mi:] on Classical Arabic من [man], but it could be as well an analogy with the long vowels of the other interrogatives.
Marking Indirect Object
In Classical Arabic, the indirect object was marked with the particle /li-/ ('for', 'to'). For instance 'I said to him' was قلت له ['qultu 'lahu] and 'I wrote to her' was كتبت لها [ka'tabtu la'ha:]. In Palestinian Arabic, the Indirect Object marker is still based on the consonant /l/, but with more complex rules, and two different vocal patterns. The basic form before pronouns is a clitic [ɪll-], that always bears the stress, and to which person pronouns are suffixed. The basic form before nouns is [la]. For instance
Borrowings
Palestinians have borrowed words from the many languages they have been in contact with throughout history. For example,
Palestinians in the Palestinian territories sometimes refer to their brethren in Israel as "the b'seder Arabs" because of their adoption of the Hebrew word בְּסֵדֶר [beseder] for 'O.K.', (while Arabic is ماشي[ma:ʃi]). However words like 'traffic light' and 'roadblock' have become a part of the general Palestinian vernacular.
The 2009 film "Ajami" is mostly spoken in Palestinian-Hebrew Arabic.
Vowel harmony.
The most often cited example of vowel harmony in Palestinian Arabic is in the present tense conjugations of verbs. If the root vowel is rounded, then the roundness spreads to other high vowels in the prefix. Vowel harmony in PA is also found in the nominal verbal domain. Suffixes are immune to rounding harmony, and vowels left of the stressed syllable do not have vowel harmony.
Palestinian Arabic has a regressive vowel harmony for these present tense conjugations: if the verb stem's main vowel is /u/, then the vowel in the prefix is also /u/, else the vowel is /i/. This is compared with standard Arabic (which can be seen as representative of other Arabic dialects), where the vowel in the prefix is constantly /a/.
Examples:
Publications.
The Gospel of Mark was published in Palestinian Arabic in 1940, with the Gospel of Matthew and the Letter of James published in 1946.


Marten van Cleve

Marten van Cleve the Elder (Antwerp, c. 1527 – Antwerp, before 24 November 1581) was a Flemish painter and draftsman active in Antwerp between 1551 and 1581. Van Cleve is mainly known for his genre scenes with peasants and landscapes, which show a certain resemblance with the work of Pieter Bruegel the Elder. Marten van Cleve was one of the leading Flemish artists of his generation. His subjects and compositions were an important influence on the work of Pieter Brueghel the Younger and other genre painters of his generation.
Life.
Details about the life of Marten van Cleve are scarce. He was born in Antwerp as the son of Willem van Cleve the Elder who had become a master in the Antwerp Guild of Saint Luke in 1518. Based on his own declaration in a document dated 2 April 1567 that he was then 40 years of age, it is assumed van Cleve was born in 1526 or 1527. Marten's elder brother Hendrick van Cleve III and his younger brother Willem van Cleve the Younger were both painters.
Marten van Cleve first studied under his father. According to the early Flemish biographer Karel van Mander Marten van Cleve studied under Frans Floris, the leading Flemish history painter in the mid 16th century. There is no evidence for this apprenticeship. Some stylistic similarities with Frans Floris' works that appear in van Cleve's early work and the engravings after his inventions make the apprenticeship plausible. Van Mander also stated that van Cleve did not follow the 16th century trend of Flemish painters to study in Italy. This may explain why van Cleve's work does not show the influence of Italian Mannerism with its unrealistic deformations. Marten van Cleve became a master in the Antwerp Guild of Saint Luke in 1551.
Marten van Cleve married Maria de Greve on 7 January 1556. The couple had four sons named Gillis, Marten (called 'Marten the Younger), Joris and Nicolaas who all became painters. Marten van Cleve had five registered pupils, one of whom became a master. One of his pupils may have been Hans Jordaens.
Between 1560 and 1570 Marten van Cleve operated an important workshop with a large output. The majority of the works were copies of Marten's original inventions. It is probable that his own sons also assisted in his studio. Van Cleve was a regular collaborator with a number of prominent landscape painters.
Marten van Cleve Marten died in 1581, at which time he was suffering from gout and rheumatism.
Work.
Marten van Cleve was principally a genre painter, who specialized in peasant scenes and landscapes. Only about five of his works are signed and properly documented. He depicted predominantly low-life scenes of peasant weddings and dances, kermisses, brawling peasants and soldiers and plundering soldiers, which show his debt to the work of Pieter Bruegel the Elder. As the artist only left few signed works, the attributions of works to him has been difficult and several attributions have been rejected in recent years. Even the attributions by Dr. Klaus Ertz in his catalogue raisonné of Marten van Cleve's paintings and drawings published in 2014 have been questioned.
His oldest authenticated work is the "" (Kunsthistorisches Museum, Vienna), which was included in the 1659 inventory of Archduke Leopold Wilhelm of Austria. It is regarded as a youth work and shows the large kitchen of a farm. A couple from the city are in the kitchen to visit their child which they have entrusted to a wet nurse. The work, which is probably dated to around 1555–1560, shows the influence of Frans Floris in its fluid brush stroke. The choice of subject matter was likely influenced by Pieter Aertsen's peasant scenes from the period 1550–1560. Unlike Aertsen, van Cleve's treatment of space is more modern and his work is free of the influence of the Manierism of the Flemish Romanists who were inspired by contemporary Italian art. The influence of Pieter Brueghel the Elder is not yet visible in this early work.
Van Cleve came under the influence of Pieter Bruegel the Elder's work in the 1560s. It is a certain resemblance with the work of Bruegel (particularly in the numbers of figures depicted), which has led to the often unjustifiable categorization of van Cleve as a follower of Bruegel. He was, however, never an imitator of that master. He took from Bruegel certain subjects and peasant types but was not interested in following some of the reactionary aspects of Bruegel's work such as the return to Hieronymus Bosch's surrealism and Joachim Patinir's world landscapes. On the whole van Cleve's scenes are descriptive rather than allegorical. Van Cleve attempted to correct or modernize Bruegel by a higher level of interest in realism. He also depicted his scenes from a lower viewpoint than Bruegel.
Another confirmed authentic work is the (Kunsthistorisches Museum, Vienna),which is monogrammed with 'M(v)G' in ligature and dated 1566. It is quite similar to a work of a by Joachim Beukelaer. While Beuckelaer's work is clearly a still life, van Cleve's composition is a genre work which emphasizes the anecdotal and genre aspects of the work. Van Cleve's composition may also have an allegorical meaning. A little boy sitting on the threshold of the door is blowing a bubble. The bubble is in fact the bladder of the ox, at the time a children's toy. It is possible that the bubble-blowing boy is a reference to the "homo bulla" motive, the idea that life is just a bubble that only lasts a very short time. The dead ox itself is a reminder of death and is thus linked to the 'memento mori' idea, the notion that humans should remember that they are mortal. Together with the dated 1579 (Hermitage Museum), the shows that van Cleve preferred a broad and free brushstroke. In the "Carnival in a village with beggars dancing" van Cleve has also used various motifs from Pieter Bruegel the Elder's works.
Van Cleve developed a number of new themes such as the "King Drinks", the original of which is probably the painting sold at Kunsthandel Abels, Cologne in 1965. This theme invented by van Cleve became very popular in the next century. His 'The good shepherd' was another original creation, which was widely imitated. Many Flemish artists, and in particular Pieter Bruegel the Younger, were inspired by these subjects. Marten van Cleve is believed to have been an important influence on the development of Pieter Brueghel the Younger's style, along the more widely recognised precedent of his father, Pieter Bruegel the Elder. The peasant wedding was a favourite theme of Cleve. He returned frequently to this subject depicting its various rituals and ceremonies, mostly in the form of cycles of small-scale panels. His "Wedding Procession" was widely copied by his workshop as well as Pieter Bruegel the Younger. Another popular theme of van Cleve was and his version of this subject was copied even more frequently than the version of Pieter Bruegel the Elder. The attribution to van Cleve and his workshop of the various versions of the "Massacre of the Innocents" has been questioned on stylistic grounds, in particular on the basis of the fact that the more painterly handling of paint that is ascribed to van Cleve is missing in this body of work.
Marten van Cleve collaborated with many prominent landscape painters, including Gillis van Coninxloo, Gillis Mostaert and Jacob Grimmer as well as his brother Hendrick for whom he painted the figures. Hendrick reciprocated and added to Marten's figure-pieces landscape backgrounds.
To Marten van Cleve have been attributed a lot of designs for prints published by the Antwerp printers and publishers including Willem van Haecht. It is believed that while apprenticed in the workshop of Frans Floris, Marten van Cleve assisted in the preparation of print designs after preliminary drawings made by Frans Floris. An example is van Cleve's signed drawing of (c. 1574, Kupferstichkabinett Berlin) made after Floris' design. This drawing was then used by Philip Galle as the basis for his engraving of . In his prints, van Cleve remained closer to his master Floris's designs. Prominent engravers such as the Wierix brothers, Hans Bol, Philip Fruytiers, Johann Sadeler, Balthazar van den Bos and Philip Galle engraved the prints after van Cleve's designs.


Striped hyena fur


Yangju byeolsandae nori

Yangju byeolsandae nori is Korea's traditional mask drama which is the second most Important Intangible Cultural Properties of Korea after Jongmyo jerye. It is performed primarily in April (chopail), May (danoh), July (Basin) and August (Thanksgiving) and also sometimes in a ceremony which prays for rain. The name originates from the place where mask-playing started, Yangju province in Korea. It was the first mask play to be designated as an "Important Intangible Cultural Property".
History.
According to the Korean official culture information service, Yangju byeolsandae nori was started by government officials working in Yangju province. In Yangju, a group of entertainers called Ttakttakyipae from Hanyang came to perform every April and May but they frequently broke their promise and failed to put on a show. As a result, the officials in Yangju started to make their own mask drama and hold performances. Lee Eul-chuk was the main organiser of the show and the first to produce mask dramas in Yangju. At that time, Yangju was both a big town and transport hub, and also a city with many officials. So the Yangju byeolsandae nori become the special play that was performed by people living near the Yangju office. Sandae nori is also called "sandi nori", "sanji nori" or "sandu nori" and originated from "sandae gabhee", a welcoming ceremony for Chinese diplomats. It spread mainly from Seoul and Gyeonggi Province to Aeohgae (now Ahyeon-dong), Manrijae, Gameundol (now Heukseokdong), Nokbeon, Sajikgol, Gupabal, Nodes (now Noryangjin), Toegyewon and Uijeongbu but it is not performed in these regions any more.
Procedures.
Before the mask drama starts, a ceremony takes place praying for a good performance and traditional foods are served. These include jora, tteok and fruits organized in three colors, head of beef and leg of pork. Usually rich people and merchants in town paid the cost of the show and the performers were unpaid. The performance took place at Sagikgol, which is to the north of Mount Bulgok in the town. There had been a shaman house there and props needed for the show were placed inside. There were no rules as to the exact times of performances but they usually started in the evening and ended at dawn the following day. Occasionally, it was shortened to three or four hours. The main instruments used in the performance were two piri (flute), one jeotdae, one haegeum, one janggu and one buk which are all traditional Korean instruments. Kkwaenggari was added when it was needed and sometimes players danced with only piri and janggu. They used the rhythms of taryong or gutgurigok and the dance style was divided into geodeureumsik and kkaekkisik. Yangju byeolsandae nori is organized with mainly dancing to music like other talchum, and it is divided into dance performance, miming and drama where the actors have set lines. The traditional characters include Sangjwa, lotus and nunkkeumjjeokyi, waejangnyeo, aesadang, somu, veteran, monkeys, haesanmo, podo Director and miyal grandma. Some roles do not have any words so only dancing and gesture are required but other roles have lines as well as dance and gesture. The typical Bongsan Talchum is in verse but in Yangju byeolsandae nori, the lines are in prose.
Characters.
Yangju byeolsandae nori is organized with 32 characters but as some masks are used in two or three ways, only 22 masks are used during the performance. The 22 characters are two Sangjwa, scabies, four mokjung, yeonip, nunkkeumjjeokyi, wanbo, sinjubu, waejangnyeo, nojang, two Somu, maltuki, monkeys, Chwibari, one sanim, podo Director, sinhalahbi and miyal grandma.


The Entertainment at Althorp

The Entertainment at Althorp, or The Althorp Entertainment, is an early Jacobean era literary work, written by Ben Jonson. It is also known by the alternative title The Satyr. The work marked a major development in Jonson's career, as the first of many entertainments and masques that he would write for the Stuart Court.
The entertainment was designed to welcome the members of the new royal family to England during their progress from Edinburgh to London. It was performed on 25 June 1603, before the new queen consort, Anne of Denmark, and her son Prince Henry, at Althorp, the Northamptonshire estate of the Spencer family. (The then-head of the family, Sir Robert Spencer, was created 1st Baron Spencer of Wormleighton less than a month later, on 21 July 1603.) The main speaker in the entertainment is a satyr, yielding the alternative title, and the cast includes fairies and elves — a blending of figures from both classical and native English folklore that Jonson would employ in future works as well (see, for example, "The Fortunate Isles and Their Union" of 1625). The new queen is personified as Queen Mab.
Under its full title, "A Particular Entertainment of the Queen and Prince their Highness at Althorp," the work was entered into the Stationers' Register on 19 March 1604, and was published later that year in a quarto that also included Jonson's "The Coronation Triumph." The quarto was printed by Valentine Simmes for the bookseller Edward Blount. The entertainment was reprinted in the first folio collection of Jonson's works in 1616, and was thereafter included in the collected works.
Jonson's attempt to win royal favor during the previous reign had not succeeded: his play "Cynthia's Revels" was poorly received when acted at Court in 1601, and he gained no preferment from Queen Elizabeth. Jonson fared much better in the new reign: he wrote several entertainments in the early Jacobean era, and in 1605 his first Court masque, "The Masque of Blackness," was staged at Whitehall Palace. From then till "Chloridia" in 1631, Jonson was the most regularly employed masque writer for the Stuarts. He produced a major segment of his total literary output for their court, and received a large share of his income from those works.


Kurdish Sun

The Kurdish sun "Roj" is a burning golden sun and the national emblem of the Kurds. It has a religious and cultural history among the Kurds, dating back to ancient times. It's also found inside the flag of Kurdistan and the official flag of the Kurdistan Region. The sun disk of the emblem contains 21 rays of equal size and shape. Number 21 is a venerable number, standing for the renaissance in the ancient and original Kurdish religion, Yazdani, and its modern branches. The number 21 also symbolizes March 21, the holiday of Nowruz, which is the Kurdish New Year.


Sharir

Sharir is a surname. Notable people with the surname include:


Galician-Portuguese lyric

In the Middle Ages, the Galician-Portuguese lyric, also known as trovadorismo in Portugal and trobadorismo in Galicia, was a lyric poetic school or movement. All told, there are around 1680 texts in the so-called secular lyric or "lírica profana" (see Cantigas de Santa Maria for the religious lyric). At the time Galician-Portuguese was the language used in nearly all of Iberia for lyric (as opposed to epic) poetry. From this language derives both modern Galician and Portuguese. The school, which was influenced to some extent (mainly in certain formal aspects) by the Occitan troubadours, is first documented at the end of the twelfth century and lasted until the middle of the fourteenth, with its zenith coming in the middle of the thirteenth century, centered on the person of Alfonso X, "The Wise King". It is the earliest known poetic movement in Galicia or Portugal and represents not only the beginnings of but one of the high points of poetic history in both countries and in Medieval Europe. Modern Galicia has seen a revival movement called Neotrobadorismo.
The earliest extant composition in this school is usually agreed to be "Ora faz ost' o senhor de Navarra" by João Soares de Paiva, usually dated just before or after 1200. Traditionally, the end of the period of active "trovadorismo" is given as 1350, the date of the testament of D. Pedro, Count of Barcelos (natural son of King Dinis of Portugal), who left a "Livro de Cantigas" (songbook) to his nephew, Alfonso XI of Castile.
The troubadours of the movement, not to be confused with the Occitan troubadours (who frequented courts in nearby León and Castile), wrote almost entirely "cantigas" (although there were several kinds of "cantiga") with, apparently, monophonic melodies (only fourteen melodies have survived, in the "Pergaminho Vindel" and the "Pergaminho Sharrer", the latter badly damaged during restoration by Portuguese authorities). Their poetry was meant to be sung, but they emphatically distinguished themselves from the "jograes" who in principle sang, but did not compose (though there is much evidence to contradict this). It is not clear if troubadours performed their own work.
Beginning probably around the middle of the thirteenth century, the songs, known as "cantares", "cantigas" or "trovas", began to be compiled in collections known as "cancioneiros" (songbooks). Three such anthologies are known: the "Cancioneiro da Ajuda", the "Cancioneiro Colocci-Brancuti" (or "Cancioneiro da Biblioteca Nacional de Lisboa"), and the "Cancioneiro da Vaticana". In addition to these there is the priceless collection of over 400 Galician-Portuguese "cantigas" in the "Cantigas de Santa Maria", which tradition attributes to Alfonso X, in whose court (as nearly everywhere in the Peninsula) Galician-Portuguese was the "only" language for lyric poetry (except for visiting Occitan poets).
The Galician-Portuguese cantigas can be divided into three basic genres: male-voiced love poetry, called "cantigas de amor" (or "cantigas d'amor") female-voiced love poetry, called "cantigas de amigo" ("cantigas d'amigo"); and poetry of insult and mockery called "cantigas d'escarnho e de mal dizer". All three are lyric genres in the technical sense that they were strophic songs with either musical accompaniment or introduction on a stringed instrument. But all three genres also have dramatic elements, leading early scholars to characterize them as lyric-dramatic.
The origins of the "cantigas d'amor" are usually traced to Provençal and Old French lyric poetry, but formally and rhetorically they are quite different. The "cantigas d'amigo" are probably rooted in a native song tradition (Lang, 1894, Michaëlis 1904), though this view has been contested. The "cantigas d'escarnho e maldizer" may also (according to Lang) have deep local roots. The latter two genres (totalling around 900 texts) make the Galician-Portuguese lyric unique in the entire panorama of medieval Romance poetry.
Sources.
Basic bibliography.
For further bibliography see Galician-Portuguese.


The Caribbean Times

The Caribbean Times was a British weekly newspaper that was first published in 1981 by Hansib Publications, a publishing house for Caribbean, African and Asian writers and their communities, founded in London by Guyanese-born businessman Arif Ali in 1970. The newspaper covered news, sport and social developments in the Caribbean, targeting the UK's West Indian and African-Caribbean population. It was "an important anti-racist campaigning organ" and the UK's oldest Black weekly newspaper. Hansib brought out other publications, including the weekly "Asian Times" in 1983 and the "African Times" in 1984, but in 1997 sold off the newspapers in order to concentrate on producing books.
The "Caribbean Times" was subsequently published by Ethnic Media Group Ltd, and in 2006 was merged with the "New Nation", which had launched in 1996.
After Ethnic Media Group went into administration in 2009, the rights to "The Caribbean Times" and other titles were sold.


The Age for Love

The Age for Love is a 1931 American pre-Code comedy film (now lost) directed by Frank Lloyd based on the 1930 novel of the same name by Ernest Pascal. The film was a vehicle for Howard Hughes' mistress Billie Dove. The film was a commercial failure, but this did not stop Hughes funding another film for Billie Dove.
The film's music includes "I'm Chuck Full of Kisses" (music by Alfred Newman, lyrics by screenwriter David Silverstein) and "Just Another Night" (again by Alfred Newman, Con Conrad and David Silverstein).


Tentative list of World Heritage Sites in Turkey

Below is the tentative list of UNESCO World Heritage Sites in Turkey. (For the criteria see the Selection criteria)


Calling the Shots

Calling the Shots is a Canadian documentary film, directed by Janis Cole and Holly Dale and released in 1988. The film analyzes the changing role of women in the film industry, through the reflections of various female performers and filmmakers.
Figures appearing in the film include Karen Arthur, Lizzie Borden, Joyce Chopra, Euzhan Palcy, Martha Coolidge, Donna Deitch, Margot Kidder, Sherry Lansing, Agnès Varda, Margarethe von Trotta, Anne Wheeler, Sandy Wilson, Mai Zetterling and Jeanne Moreau.
The film premiered on September 8, 1988 at the 1988 Toronto International Film Festival.
The film received a Genie Award nomination for Best Feature Length Documentary at the 10th Genie Awards in 1989.


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

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


Springhill Coal Mining National Historic Site

Springhill Coal Mining is a National Historic Site of Canada located on the corner of Industrial Park Drive and Memorial Crescent in Springhill, Nova Scotia. The Historic Site, designated in 1998, consists of a museum and the land that once contained the Springhill Coal Mines. Springhill was once one of the most important coalfields in Canada, along with those in Pictou and Cape Breton. Springhill coal was shipped and marketed throughout the Maritimes and Quebec. The surviving mining features in Springhill are among the most complete in Canada. The Springhill Mines were made infamous by a number of disasters that occurred underground, including the 1891 explosion, the 1956 explosion and the 1958 bump.
History.
Springhill played a large part in the Nova Scotia coal mining boom from the 1870s to the 1940s. Springhill coal, along with coal from Pictou and Cape Breton, was shipped and sold throughout the Maritimes and Quebec, the revenue from which helped industrialize Nova Scotia's economy. Local mining operations were developed with the expansion of the Intercolonial Railway in the early 1900s, which spawned the Cumberland Coal Company. Mining operations depended heavily on highly skilled miners working in perilous underground conditions that were prone to explosions and underground earthquakes, as evidenced by the multiple disasters. In 1891 and 1956, coal dust explosions rocked the mine and resulted in many fatalities; in 1958 an underground earthquake, or "bump", caused sections of the mine to collapse. The site's historical value is due to Springhill's high importance in the industrialization of post-Confederation Nova Scotia and Canada in general. Nova Scotia was Canada's largest coal producer from 1867 until 1914, partially due to tariffs on foreign coal in Canada and the high demand for coal in other provinces in the late 1800s. After the two disasters in the 1950s, operations were downscaled and the mine officially closed in 1970. All that remains of the original mine is several brick buildings and the sealed pitheads for the No. 2 and No. 4 mines, with the Syndicate Mine entrance remaining open for the museum. The mine was designated a National Historic Site of Canada on March 12 1998, along with the coal mining sites in Stellarton and Sydney, Nova Scotia.
Museum.
The National Historic Site is centred around a one-storey red brick building that was once used as a lamp cabin for the miners. The museum commemorates the tragedies of the mine and the heroics of the miners during the disasters as well as the history of prosperity brought by coal mining to Springhill. The museum offers tours of the wash house and the lamp cabin as well as a tour of a remaining part of the underground mine.


Connolly (surname)

Connolly () is a common Irish surname. Following is a list of notable people with the surname Connolly:


Hod (Kabbalah)

Hod (Hebrew "howd" "majesty, splendour, glory") is the eighth sephira of the Kabbalistic Tree of Life.
Hod sits below Gevurah and across from Netzach in the tree of life; Yesod is to the south-east of Hod. It has four paths, which lead to Gevurah, Tiphereth, Netzach, and Yesod.
All the sephirot are likened to different parts of the body, and Netzach and Hod are likened to the two feet of a person i.e. the right and left foot. The feet are usually only the means for a person's activity. While the hands are the main instrument of action, the feet help bring a person to the place where he wishes to execute that action.
Hasidic Judaism's view of "Hod" is that it is connected with Jewish prayer. Prayer is seen as form of "submission"; "Hod" is explained as an analogy - that instead of "conquering" an obstacle in one's way, (which is the idea of "Netzach"), subduing oneself to that "obstacle" is related to the quality of "Hod".
"Hod" is where form is given by language in its widest sense, being the key to the "mystery of form" (this may be an adoption of a point of view of Jacques Lacan). Our unconscious desires come from "Netzach", and are given form in the symbolic realm by "Hod", manifesting unconsciously through "Yesod" to Malkuth.
"Hod is like doing your dirty laundry" -Reb Zalman Shachter-Shalomi
Non-Jewish occult associations.
Hod is described as being a force that breaks down energy into different, distinguishable forms, and it is associated with intellectuality, learning and ritual, as opposed to Netzach, Victory, which is the power of energy to overcome all barriers and limitations, and is associated with emotion and passion, music and dancing.
Both these forces find balance in Yesod, foundation, the world of the unconscious, where the different energies created await expression in the lowest world of Malkuth, the Kingdom.
The archangel of this sphere is Michael, and the Bene Elohim is the Angelic order. The opposing demonic order in the Qliphoth is Samael, headed by the Archdemon Adrammelech.
Hod is said to be the sphere in which the magician mostly works. An example is given by occultist and author Dion Fortune in "The Mystical Qabalah":
Imagine primitive man is meditating in the wilderness, and comes in contact with, and begins to understand, some energy that surrounds him. So that he can grasp it better, he creates some form, perhaps the form of a god or a symbol, so he has something he can relate to. He then uses that statue or that symbol in future ceremonies to contact that intangible energy once again. This is the role that Hod plays in magic, while the music and dance that may be present in such a ceremony is the role that Netzach might play, providing the raw energy to reach the higher levels of consciousness.
In comparison with Eastern systems, both Hod and Netzach are sometimes associated with the Manipura chakra (solar plexus chakra), which is associated with the breaking down and releasing of energy, anabolism and catabolism.
In "777", Aleister Crowley associates Hod to the Four Eights of occult tarot among these being Anubis, Thoth, Hanuman, Loki, Hermes, Mercury, Jackal, Hermaphrodite, Opal, Storax, and quicksilver (Not a complete list).


She Got What She Wanted

She Got What She Wanted is an American pre-Code early talking film comedy-drama directed by James Cruze and starring his actress wife Betty Compson. The film was made for Tiffany Pictures with Cruze and Compson having recently completed "The Great Gabbo" (1929).
Preservation status.
"She Got What She Wanted" is now considered a lost film.


John Honyman

John Honyman (1613 – April 1636), also Honeyman, Honiman, Honnyman, or other variants, was an English actor of the Caroline era. He was a member of the King's Men, the most prominent playing company of its era, best known as the company of William Shakespeare and Richard Burbage.
Honyman belonged to the generation that followed Shakespeare and Burbage. He was christened on 7 February 1613, in the parish of St. Botolph's, Bishopsgate. An apprentice of John Shank, he started his career as a boy player filling female roles; in his teens he was playing leading female parts, Domitilla in "The Roman Actor" (1626) and Sophia in "The Picture" (1629), both plays by Philip Massinger, and Clarinda in Lodowick Carlell's "The Deserving Favourite" (also 1629).
Some boy actors of Honyman's era made successful transitions from filling lead female roles as boys to lead male roles as young men; Stephen Hammerton and Richard Sharpe are two examples of this successful transition. John Honyman illustrates the opposite phenomenon, in that he graduated to only rather minor roles as a young adult. He played the servingman Sly in John Clavell's "The Soddered Citizen" (1630), and the First Merchant in Massinger's "Believe as You List" (1631). In the 1632 King's Men's revival of John Fletcher's "The Wild Goose Chase", he filled the minor part of "Young Man disguised as a Factor."
Honyman was made a Groom of the Chamber on 15 April 1633, along with John Thompson. His potential development in his craft was cut short by his early death. He was buried on 13 April 1636. His last will and testament, drawn up six days earlier on 7 April (Robert Benfield was one of the witnesses), leaves bequests to his mother, father, and brother, his fellow actors, and the poor of his parish, St. Giles without Cripplegate. Thomas Jordan published an elegy on Honyman in his "Love's Dialact" (1646).
Honyman also appears to have been among the minority of actors who wrote one or more plays. Sir Aston Cockayne left a 10-line poem "To Mr. John Hunnieman" that extols his "Successful pen and fortunate fantasy" and even compares Honyman to Shakespeare. Yet nothing is known of Honyman's dramas, not even their titles.


Sargent Scheme

The Sargent Scheme, formally known as the Report of the Sargent Commission on Post-War Education Development in India, was a 1944 memorandum (as claimed by British) prepared at the behest of the British-run Government of India that outlined the future development of literacy and education in India.
A central goal of the Sargent Scheme was the educational reconstruction of India. It recommended the introduction of free and compulsory education for all Indian children in the 6-11 years age group. The plan aimed to bring about universal literacy in India within 40 years of its introduction, i.e. by 1984. The scheme went as follows:
Although the 40 year time-frame was derided at the time by leaders of the Indian independence movement as being too long a period to achieve universal literacy, average literacy levels in post-independence India had only reached about 65% in 2008 (64 years after the scheme would have been launched) and were increasing only "sluggishly" at 1.5% per year.


Megama

The Megama Duo was a Jewish country band consisting of Moshe Yess (d. 2011) and Shalom Levine (d. 2013). The name Megama is Hebrew for "direction."
Yess was a native of Canada who worked as a musician and arranger for several well-known American pop music artists. In the 1960s Yess shared stages with David Crosby, Jefferson Airplane & The Association. As a solo performer he played Las Vegas, Reno, and other hot spots. In 1978 he moved from Hollywood, California to Jerusalem and formed the Megama Duo with Shalom Levine. Yess recorded twelve albums and four children's music videos in all.
Yess's and Levin's goal in creating Megama was to communicate the beauty and values of Judaism through American-style music. They toured for more than three and a half years. One tour, which consisted of 32 shows in 29 cities, lasted 42 days. "My Zaidy" was Megama's biggest hit. Art Raymond of WEVD radio station in New York, , claimed that it was the most requested song he had in eighteen years of broadcasting.
Discography.
The Megama Record
G-d Is Alive And Well In Jerusalem


My Big Break

My Big Break is a 2009 documentary film directed by Tony Zierra starring Wes Bentley, Tony Zierra, Brad Rowe, Chad Lindberg and Greg Fawcett. The film was produced by MBB Group, Elizabeth Yoffe and Tony Zierra.
Synopsis.
Filmed over ten years, this controversial documentary follows five roommates trying to make it in Hollywood who face the unexpected consequences of fame.
Tony Zierra, an aspiring filmmaker with no money, stars or crew, resorts to filming the lives of his four struggling actor roommates. Three of the actors, Brad Rowe, Chad Lindberg and Wes Bentley quickly hit it big, while the fourth actor, Greg Fawcett, is nearly driven insane watching the others get famous.
It doesn't take long for the unsettling reality of stardom to set in. Lindberg's hope of becoming a leading man is crushed when he’s repeatedly told he doesn’t have the right look; Rowe ends up typecast as a pretty boy and can't break past his uncanny resemblance to Brad Pitt; while Bentley, who has a fast career launch, is quickly drawn into the darker side of the L.A. lifestyle. As the actors struggle with life in the public eye, Zierra deals with constant obstacles while he tries to complete his film - including being scrutinized and blocked by the actors' nervous agents. Each of the subjects is tested and changed by their encounters with the film industry.
The documentary ends with a follow-up Zierra filmed when he returns to Hollywood after a five-year absence to find out what happened to each of his former roommates.
Production.
'The production of "My Big Break" was fraught with setbacks and challenges. Tony Zierra originally intended to shoot a fiction film but while trying to find a script and secure financing he decided to film his roommates, Wes Bentley, Chad Lindberg, Brad Rowe and Greg Fawcett, who were struggling actors. He thought that their pursuit of success in the film business would make an interesting story. At the time, in the 1990s, the concept of "reality" media was virtually unknown so Zierra's idea was considered by the actors and others in the industry to be unusual. He self-financed the production through the money he made at various jobs and by other means such as holding garage sales.
Zierra ended up filming almost every aspect of his roommates' lives. He thought that it was possible that one of them might beat the odds and get some kind of break but more likely they would all end up leaving Hollywood discouraged. Whatever happened, Zierra felt that it would make for an intriguing film. However, three of the roommates ended up becoming successful quickly. Brad Rowe was cast as the love interest in "Billy's Hollywood Screen Kiss", an independent gay-themed romantic comedy that was a hit at the Sundance Film Festival. The film launched Rowe's career, he was featured prominently on the cover of "US Magazine" and labeled "The Next Big Thing". "Billy's Hollywood Screen Kiss" also launched the career of actor Sean Hayes who played the main character, Billy, in the film and went on to play Jack McFarland on the long-running television series "Will & Grace".
Chad Lindberg was cast in the film "October Sky" and in many television shows such as "Buffy the Vampire Slayer", "ER" and "The X-Files".
Wes Bentley won the coveted part of Ricky Fitts in the Oscar-winning film "American Beauty" and became an overnight sensation. Zierra, who had already been following his roommates lives before they got their break was able to capture their success on camera as it happened.
Once the actors became successful, Zierra's project began to draw interest from the media and film industry insiders. However, that interest didn't immediately translate into financial backing which, as years passed, made continuing to film increasingly difficult. Additionally, the interest also brought problems as the people who handled the business end of the actors' burgeoning careers began to worry about the content of the footage that Zierra had of his roommates. The representatives of Wes Bentley at the William Morris Agency were particularly concerned. Zierra refused requests to show the footage to anyone until he had finished filming.
In 2001, Zierra began to edit the 200+ hours of footage into a film titled "Carving Out Our Name", a name taken from a line in the "Counting Crows" song "Round Here". At the time, there were no non-linear editing systems that could allow independent filmmakers a way to edit their projects on a modest budget. Editing costs were exorbitant, so from week to week Zierra had to find a variety of ways to raise money to continue with post-production. He bartered, negotiated percentages of ownership in the future finished film, and borrowed on credit cards. After dealing with repeated obstacles he finally completed "Carving Out Our Name" with backing from his friends Alex Ebert and Tim Anderson of the band" Ima Robot". Ebert and Anderson became the executive producers and wrote most of the score for the film.
"Carving" emphasized the friendship among the roommates and their personal relationships with the women in their lives. The documentary was completed at a relatively high point in the actors' careers so it didn't show a full range of highs and lows in their lives. "Carving" was accepted into the 2001 Toronto International Film Festival and premiered on the evening of September 10, 2001. It was extremely well received by the audience of 1000 people and generated a great deal of interest from the media and potential distributors.
At the film premiere afterparty, Zierra's agent, Cassian Elwes from William Morris Independent, wanted to discuss the deals that were being offered by distributors, but Zierra felt he should honor the friendship that "Carving" had captured over the years and just let everybody "enjoy themselves"; he decided to wait until the morning to discuss business with Elwes. The attacks on America the next day, September 11, 2001, brought everything to a halt and emotionally devastated all of the festival attendees. The Toronto International Film Festival was cancelled.
"Carving Out Our Name" was never released due to a combination of factors, including changes in the market after the 9/11 and concerns by insiders in Hollywood that the film might have a negative impact on the actors' careers. In the early 2000s, filmmakers in Zierra's position were completely dependent on the tightly-controlled Hollywood distribution system. There were no alternatives for independent filmmakers to distribute or market their own films because online outlets didn't exist. An independent film without Hollywood backing had no chance of being seen by the audience.
Zierra was extremely affected by the experience and suffered an emotional breakdown. He destroyed all copies of "Carving Out Our Name", left Hollywood, and cut ties with everyone he had known there, including his former roommates.
Years later, Zierra decided to take the original footage out of storage and begin editing another film that would include his own experience making "Carving". By this time, editing a film had become much more cost effective because of the introduction of the user friendly and affordable non-linear editing system Final Cut Pro. Still, starting the film over from the 200+ hours was a massive undertaking. Whereas "Carving" focused on the success of the actors and their personal relationships, the new film," My Big Break", focuses on the ups and downs of the film business and how fame – or the lack thereof – affected all of them. Alex Ebert, one of the executive producers of "Carving Out Our Name" contributed to "My Big Break" by composing music for the film. Ebert subsequently won a Golden Globe for Best Original Score in 2014 for "All Is Lost" starring Robert Redford.
After contacting his former roommates, Zierra shot an update with Lindberg, Rowe and Fawcett, each of whom had gone through disappointments and setbacks in the film business. Despite Zierra's repeated attempts, Bentley wasn't willing to see him and communicated only through text messages. Bentley was reputed to be struggling with severe drug addiction but Zierra couldn't verify this.
Zierra ended up re-editing "My Big Break" numerous times. During the process he once again found himself dealing with the emotional impact of delving deeply into the story and had to put the film aside for periods of time. The ending of the film proved particularly difficult to lock down because the unresolved tensions between him and Bentley required him to construct Bentley's "update" in ways that never fully satisfied him.
In 2010, Bentley came forward and admitted to the press that his sudden rise to fame had sent him into a spiral of drug addiction from which he was now recovering. Zierra felt that the story finally had closure. He cut an ending that he was satisfied with and completed the documentary. From start to finish, "My Big Break" took 15 years to finish.
Portrayal of drug use.
"My Big Break" includes scenes of drug use as the aspiring actors and filmmaker get caught up in the negative side of the Hollywood lifestyle. The film deglamorizes what is euphemistically referred to as "partying" by showing the destructive consequences that substance abuse has on the careers and personal lives of those who become famous. In the film, Professor Mark Schaller, author of "The Psychological Consequences of Fame", discusses how celebrities often turn to the excessive use of drugs and alcohol to "escape the fishbowl of Hollywood" when they feel overwhelmed by pressure and scrutiny. Zierra decided to directly address the problem of substance abuse in Hollywood after Heath Ledger, who had been his friend, died in 2008. "My Big Break" is dedicated to Ledger.
"My Big Break" and "American Beauty".
When Zierra first began filming his roommate Wes Bentley, the young actor had recently screen tested for the coveted role of Ricky Fitts in "American Beauty" but hadn't yet heard if he got the part. In "My Big Break", Bentley discusses the experience of screen testing and his hope that he will be cast in the movie. Once Bentley landed the part, Zierra filmed him going to the Los Angeles premiere of "American Beauty" before the actor had any idea how the film or his performance would be received. The filmmaker was given rare access by DreamWorks to film the premiere from the vantage point of the red carpet. Zierra subsequently filmed Bentley attending the film's premiere in Toronto as well as the media frenzy that surrounded Bentley after "American Beauty" became a critically acclaimed hit. "My Big Break" then follows Bentley through his fast rise to fame and his misgivings about the pressures of the film industry. The final cut of "My Big Break" incorporates Bentley's admissions to the press, a decade after "American Beauty", that he became a heroin addict after his initial success and how his career is now getting back on track. Coincidentally, Ricky Fitts, the character Bentley played, became an iconic figure in popular culture because of his unusual habit of filming everything and everybody with his digital camera. At the time, the concept of people filming everything around them was strange and new. While Bentley was playing a character that represented the advent of a new digital media generation, his own life was being digitally chronicled by Zierra.
"My Big Break" and "Entourage".
"My Big Break" has repeatedly been referred to as 'a real-life "Entourage"', HBO's fictional series about four friends living in Hollywood. Although Tony Zierra began filming his project long before "Entourage", parallels exist between the two. They're both portraits of male friendship, Hollywood, stardom, and the ups and downs of the film business. In "My Big Break", Greg Fawcett's outspoken, often outrageous personality is similar to the character of Johnny Drama in "Entourage". Wes Bentley and the fictional Vincent Chase have a number of striking similarities. They both gain fame quickly and were viewed as "potentially the best young actor of his generation", they both angered high-powered Hollywood insiders by their unwillingness to "play by the rules", they both ended up struggling with severe substance abuse problems and were arrested while in possession of drugs. Perhaps the most direct similarity is that Bentley had a well-known feud with mega- producer Harvey Weinstein while on "Entourage" Vincent Chase had a similar feud with Harvey Weingard, the fictional version of Weinstein. According to "Entourage" executive producer Mark Wahlberg, "Entourage" was originally conceived of as a documentary about him and his friends but he chose a fictional approach to keep the content more satirical. Whereas "Entourage" is mostly light in tone and focuses on the flashy perks of Hollywood, " My Big Break" is much grittier. The documentary directly takes on the darker side of celebrity and the consequences of pursuing success and fame in the film business.
Screenings.
The 2008 cut of "My Big Break" screened on September 26, 2008 at EYECON (the "Supernatural" convention) in Florida. Other pre-2011 cuts have screened at George Washington University, Bryn Mawr College, Bennington College, The Popular Culture/American Culture Conference, Artsfest Film Festival, The American Cinematic Experience Festival, the Boston Film Festival and Raindance Film Festival in London.
Reception.
"My Big Break" has received strong support and glowing reviews from its fans and in the blogosphere. The film won Best Documentary at the Boston Film Festival and Best Documentary at the Artsfest Film Festival 2009. It was also an official selection of The American Cinematic Experience Festival (Acefest) 2009, and Raindance Film Festival 2009 where it was nominated for Best Documentary.
Multiple versions.
In order to build a buzz and test audience reaction an early cut of "My Big Break" was given an extremely limited release on DVD in 2008. This longer version is no longer available and did not include Wes Bentley's admission that he had been struggling with drug addiction. In 2009 a tightened cut of the documentary was shown at festivals, universities and conferences but was not made available to a wider audience. The final cut of "My Big Break" released, in 2011, deals directly with issues of substance abuse. It also includes a text update of what the main subjects of the documentary are doing as of the release.
Awards.
The film was also nominated for Best Documentary at the Raindance Film Festival in London.


Royal and Hashemite Order of the Pearl

The Royal and Hashemite Order of the Pearl is the dynastic order of the Royal House of Sulu, which serves as the premier institution and the highest personal honour of and in the Royal Sultanate of Sulu. The order is an honourable and nobiliary corporation instituted as a dynastic Order of Datuship analogous to traditional dynastic orders of chivalry, and is in direct continuation from the ancient customs and distinctions of the Royal Sultanate of Sulu and the Court of the Sultan. Ampun Sultan Muedzul Lail Tan Kiram, as Head of the Royal House of Sulu, is the hereditary sovereign who processes the fons honorum and Grand Sayyid of the order, and his heirs and successors as heads of the Royal House of Sulu, shall ever be sovereigns and Grand Sayyids of the order.
Original founding.
In his care for preservation of the ancient customs of the Sultanate and the values of the nation, Ampun Sultan Muedzul Lail Tan Kiram in 2011 used his sovereignty right of fons honorum to create an Order, thus developing the traditional honours of the Royal court in a form accepted internationally.
The Sultan is formally recognised at the national level as in 1974, the Philippine government had officially recognised the continued existence of the Royal Sultanate of Sulu and the Sultan as the legitimate heir.
Membership.
Membership within the Order is conferred upon those who have performed worthy and meritorious service of an exceptional level for the Royal House of Sulu; upon those of any nationality who, in any field of endeavour, have become distinguished and respected figures of international renown by virtue of their celebrated activities; and upon those who have performed loyal and faithful service to the Royal House and its members.
The grades of the Order are:
Notable members.
Some of the more notable people who have accepted membership in the Order of the Pearl are:
Heraldry.
Members of the Order have specific heraldic regulations related to how to display their insignia with their coat of arms. Permission to display their insignia is granted via the office of the Gateway Chronicler King of Arms that also regulates all heraldry for the Royal House of Sulu.
Specifically, these are the rules:
Those in the two senior most ranks are entitled to supporters in a way of grant or of certification. A widow of a companion who did not obtain supporters but was entitled to them, may apply in his name.
Honorific Title.
No specific courtesy titles are awarded to Members of the Order but those belonging in the upper class who are either a Distinguished Companion or a Grand Cordon are permitted to use conventional honorific titles such as "The Honourable" or "Excellency". Royal Companion Members normally have their own customary titles of nobility but some notable members may also be awarded the senior nobility title of "Datu Sadja" which is exclusively granted by the Sultan. Conferring of customary titles is protected under the Rules and Regulations of the Indigenous Peoples Rights Act of 1997.


Pantun

Pantun (Jawi: ) is a Malay oral poetic form used to express intricate ideas and emotions. It is generally consists of even-numbered lines and based on ABAB rhyming schemes. The shortest pantun consists of two lines better known as the "pantun dua kerat" in Malay, while the longest pantun, the "pantun enam belas kerat" have 16 lines. Pantun is a disjunctive form of poetry which always come in two parts, the first part being the prefatory statement called "pembayang" or "sampiran" that has no immediate logical or the narrative connection with the second or closing statement called "maksud" or "isi". However, they are always connected by the rhymes and other verbal associations, such as puns and repeating sounds. There is also an oblique but necessary relationship and the first statement often turns out to be a metaphor for the second one. The most popular form of pantun is the quatrain (four lines), and the couplet (two-lines), which both featured prominently in the literature and modern popular culture.
The earliest literary records of pantun date back to the 15th century, as it was featured in the most important Malay literary text, the Malay Annals. Pantun is regarded as a high art and has been the integral part of classical Malay literature. It also thrived as a natural part in the daily communication of traditional Malay society and served as the important expressive tool in Malay songs, rituals, performing arts and in all form of storytelling.
Etymology.
According to Za'aba, the word "pantun" is thought to evolve from the Malay word "sepantun" (Jawi: سڤنتون) meaning 'same as'. The word is used to signify a proverbial metaphor or simile, a type of figure of speech commonly found in traditional pantuns or proverbs from classical Malay literature. The archaic meaning of pantun in Malay language also refers to a form of proverb used for indirect references, which has similar role to pantun as poetry, that are still generally created in styles portraying "sindir" (indirect references) and "kias" (analogies).
Other theory suggests that pantun originated from the word "penuntun" ('guider'), from noun-building prefix "pe(n)" and the verb "tuntun" (Jawi:تونتون) or 'to guide'. Alternatively, Brandstetter suggested that the word originates from "tun" and its similar sounding variants in Austronesian languages, with multiple meanings; Kapampangan "tuntun" ('well organized'), Tagalog "tonton" ('skillfull arrangement'), Old Javanese "tuntun" ('thread'), "atuntun" ('well arranged'), "matuntun" ('to lead'), and Toba Batak "pantun" ('polite' or 'worthy of respect'). Winstedt supported this opinion, noting that in many Austronesian languages, words which suggest 'something set out in rows' gradually gain the new meaning of 'well-arranged words', in prose or in poetry. Ari Welianto suggested that pantun is originated from Minangkabau word of "patuntun" which means "guide".
History.
Some scholars believe that "pantun" predates literacy and maybe as old as the Malay language itself, Muhammad Haji Salleh believe that "pantuns" form grew and spread from Srivijaya, and most probably from around the city of Palembang or Malayu. When Palembang became more dominant, "pantuns" of the two cities would be known to each other’s population, and while they used the same language, they were adversaries politically. Nevertheless, the tradition was known to have reached its refined form with the flowering of classical Malay literature from the 15th century. Notable literary works like Malay Annals and Hikayat Hang Tuah contain the earliest written examples of "pantun".
For at least 500 years, "pantun" spread from Malay language through trade routes, ports, and migrations and became the most dynamic single literary form. Today, it is known in at least 40 dialects of Malay, and 35 non-Malay languages, in the Malay Peninsula and many of the islands of Maritime Southeast Asia. The popularity of pantun among hybrid communities like Peranakans, Chitty and Kristang people, signifies its preeminent position as a cultural symbol in the Malay world. A type of pantun called "pantun berkait" that consists of interwoven quatrains, was introduced to Western poetry in the 19th century by Ernest Fouinet and later popularised by Victor Hugo, that forms the basis of modern pantoum.
Tradition.
The "pantun" originated as a traditional oral form of expression, manifesting the traditional Malay views of life and their surroundings, and utilized to express an endless range of emotions and ideas. As a symbol of Malay identity, "pantuns" are known to be the reflections of "adat" ('customs) and "adab" ('manners'). As Malay culture emphasised the importance of polite and indirect expressions, "pantun"s are generally created in styles portraying various forms of figurative language. Elements of metaphors, similes, symbols, personifications, eponyms, allusions, idioms and proverbs are abound in the elegantly compacted Malay "pantun"s.
In Malay culture, "pantun" is an important instrument of communication in various social, cultural, and economic activities. It is used traditionally to express feelings, to give advice, to exchange quizzes, and also to sweeten conversations. For example, "pantuns" are used in the customary verbal exchange in a Malay wedding (or engagement) ceremony, especially as part of the culturally sanctioned greetings between the representatives of the bridegroom and the bride upon their arrival at the bride house. As an expressive tool, pantuns are also used extensively in the lyrics of traditional Malay songs that tuned to the popular rhythms like Zapin, Inang and Joget. Other notable application of "pantuns" can be found as a structural support for art performances like Dondang sayang, Bangsawan, Mak yong, Mek Mulung and Dikir barat. The skill in performing these poems is to recite in a way to suggest a form of singing while at the same time conjure up the ability to engage in quick, witty and subtle dialogue.
Indonesia possesses a wealth of verbal art. A largely nonwritten tradition of reciting expressive, often witty quatrains called "pantun" is common in most Malay areas throughout the archipelago. Some "pantun" performances are narrative; the "kentrung" traditions of central and eastern Java, for instance, use "pantun" structure to recount religious or local historical tales to the accompaniment of a drum, although this appears to be modern adaptations, as writers from the early 20th century like H Overbeck and JJ De Hollander noted that a tradition similar to pantun did not exist in Javanese at that time. Indeed, much of Indonesia’s traditional literature forms the foundation of complex mixed-genre performances, such as the Randai of the Minangkabau of western Sumatra, which blends instrumental music, dance, drama, and martial arts in ceremonial settings.
Description.
In its most basic form, the consists of a quatrain which employs an "abab" rhyme scheme. A is traditionally recited according to a fixed rhythm and as a rule of thumb, in order not to deviate from the rhythm, every line should contain between eight and 12 syllables. "The is a four-lined verse consisting of alternating, roughly rhyming lines. The first and second lines sometimes appear completely disconnected in meaning from the third and fourth, but there is almost invariably a link of some sort. Whether it be a mere association of ideas, or of feeling, expressed through assonance or through the faintest nuance of thought, it is nearly always traceable" (Sim, page 12). The is highly allusive and in order to understand it, readers generally need to know the traditional meaning of the symbols the poem employs. An example (followed by a translation by Katharine Sim):
According to Sim, literally means 'a floating coconut shell at sixes and sevens'. ('sweet basil') implies 'lover', because it rhymes with the word for that, . Other frequently recurring symbols are the flower and the bee, indicating a girl and her lover, the squirrel () implying a seducer, and the water hyacinth () meaning love that will not take root. The often makes use of proverbs as well as geographical and historical allusions, for example, the following poem by Munshi Abdullah:
This alludes to the foundation of Singapore in 1819 by Sir Stamford Raffles. The last line means a girl who is protected by a powerful man, and Sim suggests this may refer to Raffles's wife Olivia.
Sometimes a may consist of a series of interwoven quatrains, in which case it is known as a . This follows the "abab" rhyme scheme with the second and fourth lines of each stanza becoming the first and third lines of the following stanza. Finally, the first and third lines of the first stanza become the second and fourth lines of the last stanza, usually in reverse order so that the first and last lines of the poem are identical. This form of has exercised the most influence on Western literature, in which it is known as the "pantoum".


Fort Frontenac

Fort Frontenac was a French trading post and military fort built in July 1673 at the mouth of the Cataraqui River where the St. Lawrence River leaves Lake Ontario (at what is now the western end of the La Salle Causeway), in a location traditionally known as Cataraqui. It is the present-day location of Kingston, Ontario, Canada. The original fort, a crude, wooden palisade structure, was called Fort Cataraqui but was later named for Louis de Buade de Frontenac, Governor of New France who was responsible for building the fort. It was abandoned and razed in 1689, then rebuilt in 1695.
The British destroyed the fort in 1758 during the Seven Years' War and its ruins remained abandoned until the British took possession and reconstructed it in 1783. In 1870–71 the fort was turned over to the Canadian military, who continue to use it.
History.
Establishment and early use.
The intent of Fort Frontenac was to control the lucrative fur trade in the Great Lakes Basin to the west and the Canadian Shield to the north. It was one of many French outposts that would be established throughout the Great Lakes and upper Mississippi regions. The fort was meant to be a bulwark against the English who were competing with the French for control of the fur trade. By constructing the trading post the French could encourage trade with the Iroquois, who were traditionally a threat to the French because of their alliance with the English. Another function of the fort was the provision of supplies and reinforcements to other French installations on the Great Lakes and in the Ohio Valley to the south.
Explorer René Robert Cavalier de La Salle was ordered by governor Daniel de Rémy de Courcelle to select a location for a fort. He selected the strategic junction of Lake Ontario, the Cataraqui River, and the St. Lawrence River. Governor Louis de Buade de Frontenac, de Courcelle's successor, was concerned about further Iroquois threats, and endorsed La Salle's proposal. Governor Frontenac and his close associates also hoped to personally benefit from building the fort by controlling trade. Frontenac, along with his entourage, journeyed up the St. Lawrence to the fort's future site where he met leaders of the Five Nations of the Iroquois on July 12, 1673 to encourage them to trade with the French, and to begin the fort's construction. The fort, which was constructed of wood surrounded by a wooden stockade consisting of sharpened poles, was completed within six days. La Salle administered the fort and built storage buildings and dwellings, brought in domestic animals and ensured some land outside the fort was cultivated with the aim of attracting settlers.
The fort was sited to protect a small sheltered bay (the "cannotage") that the French could use as a harbour for large lake-going boats. Unlike the Ottawa River fur trade route into the interior, which was only accessible by canoes, larger vessels could easily navigate the lower lakes. The cost of transporting goods such as furs, trade items, and supplies through at least the lower Great Lakes would be reduced.
La Salle was granted seigneurial privileges in the vicinity of the fort. In return for these privileges, La Salle was obliged to reimburse Frontenac for expenses related to building the fort, keep 20 workers onsite for two years, and maintain the fort. In 1675, La Salle rebuilt the structure. Stone bastions and a stone wall were constructed to strengthen the fort and much of the wooden pallisade was rebuilt. He was also required to attract settlers and meet their spiritual needs by building a chapel and establishing a mission with one or two Recollet priests. A description of the fort written in the 17th century mentions that:
La Salle used Fort Frontenac as a convenient base for his explorations into the interior of North America.
Iroquois siege and reconstruction.
Fur trade rivalries continued to cause friction between the French and the Iroquois in the 1680s. The French began a campaign against the Iroquois to resolve the Iroquois threat, beginning with Governor Antoine Lefèbvre de La Barre's unsuccessful expedition to Fort Frontenac and into Seneca territory south of Lake Ontario in 1684. In 1687 La Barre's successor, the Marquis de Denonville, gathered an army to travel into the Seneca territory. To quell suspicion about his motives, Denonville let on that he was merely travelling to a peace council at Fort Frontenac. As Denonville and his army moved up the St. Lawrence toward the fort, several Iroquois, many of whom were friendly to the French, including women and children and some prominent leaders, were captured and imprisoned at Fort Frontenac by intendant de Champigny ostensibly to prevent them from revealing Denonville's troops' location. Some were held hostage and sent to Montreal in the event that any French were captured, and some were sent to France to be used as galley slaves. Denonville's troops and native allies went on to attack the Seneca.
In retaliation for these incidents the Iroquois laid siege to Fort Frontenac and blockaded Lake Ontario. The fort and the settlement at Cataraqui were besieged for two months in 1688. Although the fort was not destroyed, the settlement was devastated and many inhabitants died, mostly from scurvy. The French abandoned and destroyed the fort in 1689, claiming that its remoteness prevented proper defense and that it could not be adequately supplied. The French again took possession of the fort in 1695 and it was rebuilt and strengthened to serve primarily as a military base of operations. From Fort Frontenac in 1696 the French organized an attack on the Iroquois who inhabited areas south of Lake Ontario.
Increased tension between the British and the French in the 1740s led to the French upgrading the fort's defensive capabilities by adding new guns, building new barracks and increasing the size of the garrison. However, when the Marquis de Montcalm arrived at the fort in 1756 to launch an attack on the British at Oswego, he was not impressed with its construction. One of his engineers noted that:
The fort's strategic significance gradually decreased. Other forts such as Fort Niagara, Fort Detroit, and Fort Michilimackinac became more important. By the 1750s Fort Frontenac essentially served only as a supply storage depot and harbour for French naval vessels, and its garrison had dwindled.
Battle of Fort Frontenac.
During the Seven Years' War between Britain and France, who were vying for control of the North American continent, the British considered Fort Frontenac to be a strategic threat since it was in a position to command transportation and communications to other French fortifications and outposts along the St. Lawrence – Great Lakes water route and in the Ohio Valley. Although not as important as it once was, the fort was still a base from which the western outposts were supplied. The British reasoned that if they were to disable the fort, supplies would be cut off and the outposts would no longer be able to defend themselves. The Indian trade in the upper country (the "Pays d'en Haut") would also be disrupted.
Fort Frontenac was also regarded as a threat to Fort Oswego, which was built by the British across the lake from Fort Frontenac in 1722 to compete with Fort Frontenac for the Indian trade, and later enhanced as a military establishment. General Montcalm had already used Fort Frontenac as a staging point to attack the fortifications at Oswego in August 1756.
The British also hoped that taking the well-known fort would boost troop morale and honour after their demoralizing battle defeat at Fort Ticonderoga (Fort Carillon) in July 1758.
In August 1758, the British under the command of Lieutenant-Colonel John Bradstreet left Fort Oswego with a force of a little over 3000 men and attacked Fort Frontenac. The fort's garrison of 110 men, including five officers and 48 enlisted men of the regular colonial troops, employees, women, children, 8 Indians, and others commanded by Pierre-Jacques Payen de Noyan et de Chavoy, surrendered and were allowed to leave. Bradstreet captured the fort's supplies and nine French naval vessels, and destroyed much of the fort. He quickly departed to avoid further conflict with any French support troops.
For the British, Fort Oswego was secured, and the army's reputation was restored. For the French, the fort's loss was considered to be only a temporary setback. Fort Frontenac's surrender did not succeed in completely severing French communications and transportation to the west since other routes were available (e.g. the Ottawa River – Lake Huron route). Supplies could also be moved west from other French posts (e.g. Fort de La Présentation). In the long term, however, the surrender compromised French prestige among the Indians and contributed to the defeat of New France in North America. Since the fort was no longer perceived to be important to the French, it was never rebuilt and was left abandoned for the next 25 years.
French imperial power was waning in the late 1750s, and by 1763 France had withdrawn from the North American mainland. Cataraqui and the remains of Fort Frontenac were relinquished to the British.
Reconstruction and modern times.
In 1783, the Cataraqui region was selected by the British as a location to settle United Empire Loyalists who had fled the United States after the American War of Independence. The centre of the region, a community focused on the old fort, would eventually become the city of Kingston. General Sir Frederick Haldimand, Governor of the Province of Quebec, ordered Major John Ross, commander at Oswego, to repair and rebuild the fort to accommodate a military garrison. This was done by a force of 422 men and 25 officers. By October 1783, a lime kiln, hospital, barracks, officers' quarters, storehouses, and a bakehouse were completed. In 1787, the rebuilt fort became known as Tête-de-Pont Barracks. During the War of 1812, the fort was the focus of military activity in Kingston, having housed many military troops. Many of the present barrack buildings were built between 1821 and 1824.
After British imperial forces withdrew from most Canadian locations in 1870–71, the Canadian Militia authorized the creation of two batteries of garrison artillery which provided garrison duties and schools of gunnery. ""A" " Battery School of Gunnery was established at Tête-de-Pont Barracks and other locations in Kingston (""B" " Battery was located in Quebec). These batteries were known as the Regiment of Canadian Artillery. When this regiment evolved into the Royal Canadian Horse Artillery (RCHA), its headquarters was at the Tête-de-Pont Barracks from 1905 to 1939. When the RCHA left for operational duties during the Second World War, the fort was used as a personnel depot.
On 25 May 1923, the site of Fort Frontenac was designated as a National Historic Site of Canada.
In 1939 the site of the fort again became known as Fort Frontenac. Canadian Army staff training began at Fort Frontenac when the Canadian Army Staff College moved to the fort from the Royal Military College in 1948. The college is now known as the Canadian Army Command and Staff College. Fort Frontenac was also the location of the National Defence College until 1994.
Archaeology.
In 1982, archaeological investigation began at the fort. During the spring of 1984, the City of Kingston redesigned the intersection of Ontario and Place d'Armes Streets so that the northwest bastion (Bastion St. Michel) and curtain wall could be excavated and partially reconstructed. The research also provided important details about the development and use of the fort and surrounding area, and helped to establish the relationship between the physical remains and the information included in historical maps and plans.
Intact remains of the east bastion were located in 2020 by archaeologists while preparing for infrastructure work. Deposits associated with the fur trade era were found on the south side of the bastion wall, including trade beads, beaver jaws, gun flints, and fish bones.


Gwiazdy coat of arms

Gwiazdy (Polish for "Stars") is a Polish coat of arms. It was used by a number of "szlachta" (noble) families under the Polish–Lithuanian Commonwealth.
Blazon.
Azure in fess three mullets-of-six-points or. The Helm mantled azure doubled or, crested [what is that?].
Notable bearers.
Notable bearers of this coat of arms have included:


Badan Warisan Malaysia

Badan Warisan Malaysia ("Malaysian Heritage Trust") is a non-government organisation formed in 1983, concerned with the conservation and preservation of Malaysia's built heritage. It is a voluntary organisation with tax-exempt status.
Since its founding in 1985, Badan Warisan Malaysia have been involved in building conservation projects throughout Malaysia including Suffolk House in Penang, Stadium Merdeka, Gedung Raja Abdullah and Masjid DiRaja Sultan Suleiman in Klang, Bangunan Sulaiman and Rumah Penghulu Abu Seman in Kuala Lumpur, No. 8 Heeren Street in Melaka's UNESCO World Heritage Site, Rumah Kutai in Kuala Kangsar, Istana Tunku Long in Kuala Terengganu and Istana Jahar in Kota Bahru.
The secretariat for Badan Warisan Malaysia is located at No.2, Jalan Stonor in Kuala Lumpur, in a colonial bungalow which was restored and adapted in 1995 as a Heritage Centre with exhibition, seminar, and meeting facilities.
Also located at No. 2 Jalan Stonor is the Chen Voon Fee Resource Centre (CVFRC). This is a closed-access specialised library and information centre which houses a collection of documents, books, periodicals, articles, measured drawings, slides, newspaper cuttings and photographs covering a range of topics from architecture, heritage sites, history and culture and legislation related to heritage in Malaysia and the region. The CVFRC is open to the public and supported by the Chen Voon Fee Charitable Trust Fund.
Badan Warisan Malaysia 2020 Council consists of President: Esme Lim Wei-Ling, Vice President: Dato’ Zahim Albakri, Honorary Secretary: YM Tengku Nasariah YM Tengku Syed Ibrahim, Honorary Treasurer: Dato’ Dr Zaha Rina Zahari, and Council Members; Anand Krishnan, Ar. Lim Take Bane, Caesar Loong, Omar bin Malek Ali Merican, Suridah Jalaluddin, Nisha Dobberstein , Pascale Sutherland & Viji Krishnamoorthy. Honorary Council Members; Lee Jia Ping, TPr Afzal Azhari and Prof. Dr. Ong Puay Liu


Cullinane (name)

The Irish surname Cullinane, Ó Cuilleanáin or Ó Cuilleannáin may refer to:
Surname:
The name seems to be related to Cullen. While Cullen is encountered primarily in Dublin and southeast Ireland, Cullinan/Cullinane used almost exclusively in western Ireland on a north–south-Axis from County Galway to County Cork. A distribution map of the name has been processed on a genealogy site.
Notable persons of the name are:
Fictional people include:


Ruth Stonehouse

Ruth Stonehouse (September 28, 1892 – May 12, 1941) was an actress and film director during the silent film era. Her stage career started at the age of eight as a dancer in Arizona shows.
Early life and career.
Ruth Stonehouse was born to James Wesley Stonehouse (1869–1958) and Georgia C. Worster on September 28, 1892 in Denver, Colorado. Her father was the founder of Stonehouse Signs Inc. According to the 1900 Census for Laurence Town, Teller County, Colorado, she lived with her father, James, a sign writer, and her grandmother, Eda Stonehouse, along with her sister, Hazel, who was a year younger. By 1910, she was living with her mother, Georgia Stonehouse, a stenographer, and her sister, Hazel, in Chicago, Illinois. Curiously, her mother lists herself as a widow on the 1910 Census, while James Stonehouse can be found residing in Arizona.
Film career.
Stonehouse worked for Triangle Film Corporation and Universal Pictures during a career which extended from 1911 until 1928. A few years prior in 1907, she was a founding member of Essanay Film Manufacturing Company. She also signed on to work on Cyrus J. Williams' productions. Having experience here helped Stonehouse begin her directing career later on as she moved to different stations. Her androgynous appearance was most apparent in the role of "Nancy Glenn" and in the 1917 motion picture, "The Edge of the Law". She performed in comedies and dramas such as the patriotic film "Doing Her Bit" (1917), which was directed by Jack Conway.
In 1917, Stonehouse directed the films "Daredevil Dan", "A Walloping Time", "The Winning Pair", "A Limb of Satan", "Puppy Love", and "Tacky Sue's Romance". These movies were one-reel "orphan asylum pictures", the first of which was entitled "Mary Ann".
Personal life.
Stonehouse owned a cabin in Santa Anita Canyon in the Sierra Madre Mountains. Here she entertained men and women of prominence in the film world, cooking culinary masterpieces which her friends deemed superior to most chefs. Stonehouse was a fan of the Owen Magnetic Auto and promoted it in newspapers. Stonehouse was an avid gardener who grew fibrous-rooted begonias, pleromas, fuchsias, cinerias, and hyacinths. Her home, located at 204 North Rossmore Avenue in Los Angeles, California, was an adaptation of a Spanish design that was situated well to the front of a large lot. She was an active worker in the Children's Home Society for twenty-five years and also a member of the Garden Club of California.
Death.
Stonehouse died in Hollywood, California of a cerebral hemorrhage on May 12, 1941, at the age of 48. She was listed as Mrs. Felix Hughes in her obituary. Her funeral services were conducted from Wee Kirk o' the Heather. She was interred in a mausoleum at Forest Lawn Memorial Park.


Hemhem crown

Hemhem crown was an ancient Egyptian ceremonial headgear. It was basically an ornate triple atef with corkscrew sheep horns and usually two uraei. The Egyptian word "hemhem" means "to shout", "cry out", possibly indicating that the hemhem crown represented a battle horn.
An early use of the hemhem crown is shown on the golden throne of 18th Dynasty Pharaoh Tutankhamun. Later the hemhem crown was shown on the images of non-Egyptian rulers, such as Natakamani, Arnekhamani or Silko of Nobadia. Cyrus the Great is seen wearing the crown in a bas-relief found in Pasargadae.
Description.
The hemhem crown is a more elaborate version of the atef crown; because of this, it was sometimes referred as the "Triple Atef Crown". "Heka" the god of magic was illustrated wearing the hemhem crown. The crown is connected to the rising of the sun, which is interpreted as ‘rebirth’ and it is often seen in hieroglyphs with a solar child inside a lotus flower. This crown became known during the Ptolemaic period.
History.
The hemhem crown originated in the 18th Dynasty, and was worn during significant ceremonies. The symbolic interpretation behind this crown was to boast the power of the Pharaoh. Also, the crown was worn during warfare – this was signified by the meaning of hemhem as 'scream' – but it was worn during many festivals as well. It was also used in the ritual crowning of the new king, which was done by two gods. However, the first noted appearance of the hemhem crown was during the reign of "Akhenaten" and then discovered in the tomb of "Amarna". A young king named "Tutankhamen" wore the crown in a different manner; he would place the crown on the back of the throne. This was also discovered in his tomb.
Features.
The crown is set on top of a pair of long spiral ram's horns, and it is commonly seen with a cobra on either side of the crown. It was created with reeds and ostrich feathers, along with feathers from many other birds. The hemhem was the "Triple Rush Crown", and was worn tilted towards the back of the head – contrary to how crowns are normally worn. Another type of hemhem crown has three falcon birds in place of the three sun disks. This type of crown signifies the reign over Lower Egypt; the combination of the sun disks and the falcon shows the power over Lower Egypt along with Upper Egypt. The hemhem crowns occur more frequently from the time of Ptolemy VI onwards. The symbols on the crown, such as reeds and uraeuses signify a later time period. The more intricate the carvings on the crown, the later the time period of the crown. Falcons and horn imagery are not part of the early Ptolemaic period, and are rarely depicted in hieroglyphs during that time period. Many other features of the crown, such as feathers from different animals, are all found in different time periods. Each feather added on the hemhem crown has significance to its time period. The form of the crown was constantly changing according to the time period; different items would be added on or taken off, or the shape of the crown would change. The crown was often depicted along with the nemes – the striped head cloth – and just as each time period had its significance, so did the collaboration of the nemes and the hemhem crown.


Seated stone buddha statue in Eupha-ri

Seated stone buddha statue in Eupha-ri(Gangwon-do Tangible Cultural Property No. 22) was made during the early part of the Goryeo Dynasty period. It was originally located in an old temple site at Sangdong-ri, Gonggeun-myeon, Hoengseong together with a stone pagoda. During the Occupation of Japanese it was moved to its present location, Hongseong-eup Eupha-ri. This statue has its hands in the jigwonin position, Both hands are gathered at the chest and the index finger of the left hand is covered by the right hand. This was typical of Vairocana symbolizing truth. The back halo is ship-shaped. On both lower part of the halo a standin Bodhisattva is embossed indicating that it was intended to be in the form samjon-hveongsik which has two images of Bodhisattva ; one on each of the two sides, centering around the Buddhist image. This example is so rare as to be noteworthy.


Our Mrs. McChesney

Our Mrs. McChesney is a lost 1918 American silent comedy drama film produced and distributed by Metro Pictures, directed by Ralph Ince, and based on the 1915 play by Edna Ferber and George V. Hobart which starred Ethel Barrymore.
Barrymore reprised her role from the popular play, as did her fellow cast members Huntley Gordon and William H. St. James. Wilfred Lytell was a brother of Bert Lytell and Lucille Lee Stewart was a sister of Anita Stewart. Ince was married to Lucille Lee Stewart.
Plot.
As described in a film magazine, Emma McChesney (Barrymore), saleswoman for T. A. Buck & Co., plans to give up the "road" and settle down with her boy Jack (Lytell). She discovers that Jack has married a chorus girl while at college and also raised a check that she had sent him. Determined to make a man of him, she secures a position for him at T. A. Buck & Co. and sends the daughter-in-law to a boarding school. She designs a new skirt for the company that finds favor at a fashion show when modeled by Jack's wife, and saves the company from bankruptcy.