Richard Webster (British author)

Richard Webster (17 December 1950 – 24 June 2011) was a British author. His five published books deal with subjects such as the controversy over Salman Rushdie's novel "The Satanic Verses" (1988), Sigmund Freud and psychoanalysis, and the investigation of sexual abuse in Britain. Born in Newington, Kent, Webster studied English literature at the University of East Anglia and lived in Oxford, England. He became interested in the problem of false allegations partly due to reading the work of historian Norman Cohn.
In "A Brief History of Blasphemy" (1990), Webster discussed the Muslim response to "The Satanic Verses" and argues against unrestricted freedom of speech. The book was praised by Rowan Williams, the Archbishop of Canterbury. In Webster's subsequent book "Why Freud Was Wrong" (1995), he argued that Freud became a Messiah figure and that psychoanalysis is a disguised continuation of the Judaeo-Christian tradition. The book was praised by several commentators. In "The Secret of Bryn Estyn: The Making of a Modern Witch Hunt" (2005), Webster discussed a care home for adolescent boys that became the focus of press revelations and a police investigation for child abuse that spread across a number of residential homes in North Wales, and argued that abuse scandals could be phenomena created by public hysteria. The book was shortlisted for the Orwell Prize.
Personal life and career.
Webster, the son of a subpostmaster, was born in 1950, in Newington, Kent, and raised in a strict Methodist family; according to journalist Bob Woffinden, "His parents' work ethic meant he had much time to himself, leading to independence of thought and intellectual rebellion." He attended Sir Roger Manwood's School in Sandwich, Kent and graduated in English and American studies from the University of East Anglia. Webster returned to the University to teach in 1974 and 1975 and started a PhD, which he did not complete. When his father became ill, Webster ran the family post office, which had been shifted to Cambridge.
Having married in 1977, Webster started The Orwell Bookshop in Southwold with his wife Bod in 1985. The shop was successful, but was sold because Webster's other interests demanded too much of his time. Webster moved to Oxford after the break-up of his marriage.
In his "A Brief History of Blasphemy" (1990), Webster described himself as "an atheist who was brought up as a Methodist." This work led Margareta Petersson to describe him as being one of the few Western writers who have "tried to view the Rushdie affair from a Muslim perspective", viewing the controversy over "The Satanic Verses" not as a single case of confrontation between Islam and the West, but the most recent of a series of hostile encounters, which started as soon as Muhammad's movement had grown strong. Webster once wrote that: "...at the heart of almost everything I have written over the last twenty years or so is the view that, in our modern, proudly rationalist attempts to break the links which tie us to our superstitious, essentially religious past, we have become profoundly muddled about our own cultural history." He noted that his investigations into police 'trawling operations', which occupied him for a number of years, were not a diversion from his theory of cultural history but an attempt to apply it in practice.
Webster made the acquaintance of literary critic Frederick Crews while the latter was working on the essays that appeared in "The Memory Wars" (1995); Crews thanked Webster for his help, and commented that his contact with him had been enriching. Webster's "Why Freud Was Wrong" (1995) received acclaim, as well as some criticism.
With Bob Woffinden, Webster helped find lawyers for Dawn Reed and Christopher Lillie, former Newcastle nurses who were falsely accused of sexually abusing children in their care. Reed and Lillie, who were first accused of child abuse in 1993 and only found not guilty in 2002, say that they would probably be dead, through suicide or murder, without this assistance. Reed told "The Observer" that, "After all that had happened, to find people who wanted to help us just out of the goodness of their hearts was amazing".
Webster explained his interest in the problem of false allegations in his "The Secret of Bryn Estyn" (2005):
In 2005, Wrexham council decided, following legal advice, to refuse permission for Falsely Accused Carers and Teachers (FACT) North Wales, a support group for carers and teachers, to hold its conference 'False Allegations – Truthful Answers' at the Erlas Centre, one of its venues, after it learned the purpose of the event. Webster, who was to have been a key speaker at the conference, had been going to discuss "The Secret of Bryn Estyn". Wrexham councillor Malcolm King was quoted saying that he was "very pleased" that the council had prevented something that "would have been very hurtful to many people who have already been hurt enough". Webster stated in reply that he was "flabbergasted" by the council's action, and that Mr King "entirely missed the point", since, in Webster's opinion, the evidence showed that there never was a paedophile ring based at Bryn Estyn and that dozens of staff had been wrongly accused.
Webster died of natural causes in 2011; he had undergone heart surgery a decade before his death. Julie Summers, who knew Webster through the Writers in Oxford group, said of him: "What was so special about him was he had this very gentle, but very, very clear view on things. You could always rely on him to cut through the mud and see exactly the point of an issue. He had a very clear mind." Webster had spent much of the year assisting Portuguese contacts to expose the Casa Pia child sexual abuse scandal as, in Webster's opinion, a scare. A book was subsequently published, "Casa Pia: Portugal's high society paedophile ring. Fact or fantasy?". Webster also left behind an unfinished book, "The Natural History of Human Beings".
Private press.
Webster owned and controlled his own press, "The Orwell Press".
It was founded in 1988 by Webster and was primarily involved in publishing images of the Suffolk Heritage Coast, painted by Stanley Spencer, Philip Wilson Steer and J M W Turner.
Webster also used the press to self-publish his books.
In 2011, The Orwell Press became Orwell Press Art Publishing. "Since that time our range of cards has grown from 50 images to over 200, and now include some of the best art of our favourite places in Great Britain."
Works.
"A Brief History of Blasphemy".
In "A Brief History of Blasphemy: Liberalism, Censorship and the Satanic Verses" (1990), Webster discusses the controversy over Salman Rushdie's novel "The Satanic Verses". The book was widely praised in the immediate aftermath of the controversy. While condemning the Ayatollah Khomeini's threats against Rushdie, Webster also tried to explain the hurt "The Satanic Verses" caused Muslims and argued that we should not arbitrarily defend the liberty to publish books that may cause distress to minorities or increase racial tension. Webster noted that he named the book after the fourth section of "The Crime of Blasphemy", a pamphlet issued by the International Committee for the Defence of Salman Rushdie and his Publishers, and that his work is influenced by historians Karen Armstrong and Norman Cohn. He also approvingly cites Muslim writer Shabbir Akhtar. He described his book as "an attempt to show, without ever aspiring to completeness or comprehensiveness, that the picture of blasphemy which is presented by the authors of International Committee's document is incomplete, and in some respects, seriously misleading." The work was praised by Rowan Williams, the Archbishop of Canterbury.
"Why Freud Was Wrong".
"Why Freud Was Wrong: Sin, Science and Psychoanalysis" (1995), the book for which Webster may be best remembered, is a critique of Sigmund Freud and psychoanalysis. In it, Webster argues that Freud became a kind of Messiah and that psychoanalysis is a disguised continuation of the Judaeo-Christian tradition. The work received acclaim. It was called "brilliant" by Anthony Storr and Jonathan Gathorne-Hardy. It was identified as "an indispensable modern critique of psychoanalysis" by Storr and "the most comprehensive negative critique" of Freud by professor of German language and literature Ritchie Robertson (who notes that it incorporates earlier critiques). Webster has been credited with exposing the weakness of Freud's science and exposing his disguised continuation of the Judaeo-Christian tradition more comprehensively than any previous author.
"The Great Children's Home Panic".
In "The Great Children's Home Panic" (1998), Webster discusses police investigation of sexual abuse in Britain. Christian Wolmar writes that in Webster's view "there is a grave risk of injustice against care workers because there are financial incentives" to make false claims and police have encouraged alleged victims to come forward by suggesting that they may obtain damages. Wolmar states that while the police initially referred people to lawyers, they are now reluctant to do this, as it has enabled defence lawyers to undermine the credibility of witnesses, and that many of those who make successful claims through the Criminal Injuries Compensation Authority (CICA) lose much of the award. According to him, while Webster sees claims to CICA as vulnerable to abuse because of its low standards of proof, lawyers acting on behalf of victims observe that even making claims to CICA is painful. He cites solicitor Bilhar Singh Uppal as arguing that while Webster is right to open debate, there has been no wholesale fabrication of evidence.
Damian Thompson writes that in Webster's view "investigations into child abuse in care homes in the early 1990s were disfigured by the zealotry associated with the Ritual Satanic Abuse affair".
Chris Beckett writes that while Webster accepts that abuse occurs, he considers many convictions against former residential workerers miscarriages of justice and sees them as similar to witch-hunts. Beckett sees Webster's case against the widespread belief that the residential care system was infiltrated by paedophile rings as well-argued. According to Beckett, Webster argues that police procedures in North Wales dangerously reverse normal police methods, by starting with suspects and then interviewing large numbers of people to find out whether a crime was committed; this process is flawed since former residents of residential homes may have motives to make false accusations.
"Freud".
"Freud" (2003) is a short critical discussion of Freud written for "The Great Philosophers" series edited by Ray Monk and Frederic Raphael. Steven Poole calls "Freud" "an entertaining demolition job", noting that it discusses Anna O.'s hysteria, Freud's seduction theory, reconstructed memories, the Oedipus complex, and the influence of Wilhelm Fliess.
"The Secret of Bryn Estyn".
In "The Secret of Bryn Estyn: The Making of a Modern Witch Hunt" (2005), Webster discusses the case of Bryn Estyn, a care home for adolescent boys which, in the 1990s, became the focus of press revelations and a police investigation for child abuse that spread across a number of residential homes in North Wales. The work, in which Webster argued that abuse scandals could be phenomena created by public hysteria, received praise from British journalists. Peter Wilby calls "The Secret of Bryn Estyn" "exhaustively researched", noting that while it was shortlisted for the Orwell Prize, it went largely unnoticed by the British press. Wilby writes that Webster compares modern scandals of mass abuse to the witch-hunts of the Middle Ages. Journalist Catherine Bennett credits Webster with exposing "the hysteria and false accusations generated by the Bryn Estyn children's home investigations", and writes that in his view the uncritical press reports about the issue demonstrate "the insatiable human appetite for narratives of evil".
The rights to the book were bought by Tony Garnett, a producer of television dramas. Garnett planned a three-hour drama based on "The Secret of Bryn Estyn" for Britain's Channel 4, but the project was cancelled due to budget cuts.
Articles.
Webster published articles in "Critical Quarterly", "Quarto", "The Literary Review", "The Observer", "The Bookseller", "The Guardian", "The Times Literary Supplement", the "New Statesman", and "The Tablet". In "The Observer" in February 1981 Webster attacked structuralists for their "habit of reducing human nature to pseudo-mathematical formulae." "Structuralism and dry rot", Webster's article, was cited by Geoffrey Hartman as an example of how literary theory has become the focus of public debate in England.
Webster published an article suggesting that former British Prime Minister Tony Blair offered a generous tribute to the deceased scientist David Kelly because he was worried that Kelly's widow might accuse him of being responsible for her husband's death, thereby endangering his political career.


Shihhi Arabic

Shihhi Arabic (also known as Shehhi, Shihu, Shihuh, or Al-Shihuh) is a variety of Arabic spoken in the Musandam Governorate of Oman and Ras al Khaimah emirate of UAE. The Al Shehhi, Al Hebsi, Al Dhuhoori and Al Shemaili tribes speak it.


Little Comrade

Little Comrade is a lost 1919 American silent comedy film directed by Chester Withey and written by Alice Eyton and Juliet Wilbur Tompkins. The film stars Vivian Martin, Niles Welch, Gertrude Claire, Richard Henry Cummings, Larry Steers, and Elinor Hancock. The film was released on March 30, 1919, by Paramount Pictures.
Plot.
As described in a film magazine, Genevieve Rutherford Hale (Martin), pampered daughter of wealthy parents, decides to become a farmerette to help win the war. She arrives at the Hubbard farm in her limousine and goes to work with a group of other young women. Bob Hubbard (Welch), the youngest son of farmer Hubbard (Cummings), falls in love with Genevieve, and when he enters an army training camp life becomes so distasteful that he goes AWOL and returns home. Genevieve persuades him to return to camp, but they are discovered together and the elder Hubbard sends the young woman away. Bob obtains a leave of absence and goes home to explain things to explain things to his father, and Genevieve's name is cleared in the eyes of the farmer and farmerettes. Bob becomes a good soldier and determines to marry Genevieve when the war is over.


Julia Maitland

Julia Charlotte Maitland (21 October 1808 – 29 January 1864), "née" Barrett, first married name Thomas, was an English writer and traveller, and the grandniece of the novelists Fanny Burney and Sarah Burney. She and her husband ran a boys' school in India, while strongly advocating a national system of education for the country.
Family.
Julia Barrett was born on 21 October 1808, probably in Richmond, Surrey, as the eldest of the five children of Henry Barrett (1756–1843) and his wife, Charlotte, née Francis (1786–1870), the niece of Fanny Burney (Madame D'Arblay), who first, rather drastically, edited her journals and letters. Julia was a favourite with the elderly Fanny, who remarked on her "very good sense, & a truly blyth juvenile love of humour". She and her sister Hetty (died 1833) suffered from tuberculosis and their mother took them to France and then Italy, where they came in touch with Fanny's sister Sarah Burney. Sarah Burney wrote of them in her correspondence and regularly described Julia as a beauty. Julia made a full recovery in 1834.
Julia Barrett's many admirers included Fanny Burney's parson son Alexander d'Arblay, but she chose instead to marry a widower with children, James Thomas (died 1840) on 2 August 1836, to the disappointment of her family. Thomas took her to India, where he was a judge in the Madras Presidency. They moved to Rajahmundry in 1837, where they kept a boys' school. Her son James Cambridge Thomas was born on 3 February 1839. The ill-health of her daughter Henrietta Anne Thomas (born 1837) obliged her to return to England in December 1839.
After her husband's death in 1840, Julia Thomas was remarried to Charles Maitland (1815–1866), a writer and Anglican curate of Lyndhurst, Hampshire, in the New Forest, on 5 November 1842. They had a daughter Julia Caroline (1843–1890). Maitland died of tuberculosis at the home of her son-in-law, Rev. David Wauchope, at Stower Provost, Dorset, on 29 January 1864.
Writings and beliefs.
Julia Maitland's first publication of note was her "Letters from Madras, During the Years 1836–1839, by a Lady", which was published anonymously in 1843. The school she and her husband ran in Rajahmundry accepted boys of different castes and taught in both English and the local language ("Gentoo"). Controversially, it was strongly Christian. She also set up a multilingual reading room and assisted in starting other schools nearby. The book ends with a plea for a national system of education in India, as the route to modernization: "If every civilian up the country were to have a poor little school like ours, it would do something in time." She also made strong efforts to learn local languages, helped with famine relief, and investigated and condemned the South Indian slave trade.
Later, Maitland wrote three books for children, all of them popular in their day: "Historical Acting Charades" (1847); "The Doll and Her Friends, or Memoirs of the Lady Seraphina", illustrated by Hablot Knight Browne (1852); and "Cat and Dog, or Memoirs of Puss and the Captain", illus. Harrison Weir (1854). These were both humorous and didactic, promoting politeness, benevolence and generosity. She commented at the end of "Cat and Dog", "I would propose Puss and Captain as an example of a new and better method of 'Living Like Cat and Dog'."


The Charm School (film)

The Charm School is a lost 1921 American silent comedy film starring Wallace Reid. Produced by Famous Players-Lasky and distributed through Paramount Pictures this James Cruze directed film was based on a 1920 Broadway stage play and novel by Alice Duer Miller that starred veteran actress Minnie Dupree. It is currently a lost film. It was filmed on the campus of Pomona College in Claremont, California.
Plot.
As summarized in a film publication, when Mrs. Rolles (Farrington) insists that she will not have Austin Bevans (Reid) as a son-in-law, he insists that she will. But when his aunt dies and leaves Austin a girl's boarding school in her will, Austin gives up his suit of Susie Rolles (Bains) and decides to run the school. Under his aunt's regime the girls studied microbes, etc., but Austin turns it into a charm school where the girls are taught dancing, fencing, and grace in general. Elsie (Lee), one of the students, immediately falls in love with Austin, but he fails to respond. She then tries to vamp him, but when Austin does not fall she tells him directly that she loves him. Elsie's uncle is very interested in the young Austin. When Mrs. Rolles hears of how well he is getting along, she tries to patch things up between Austin and her daughter Susie, and tells Elsie that the two are engaged. While Elsie is brokenhearted, in the end all turns out well for her and Austin.
Remake.
The story was remade in 1936 as the film "Collegiate".


Sam the Kid production discography

The following is a list of the songs produced by Sam the Kid.


Military awards and decorations

Military awards and decorations are distinctions given as a mark of honor for military heroism, meritorious or outstanding service or achievement. A decoration is often a medal consisting of a ribbon and a medallion.
While the United States Government does not consider all its military awards and medals as being "decorations", other countries tend to refer to all their military awards and medals as "decorations". Civil decorations awarded to military personnel should not be considered military decorations, although some orders of chivalry have civil and military divisions. Decorations received by police and fire brigade personnel may sometimes be considered alongside military decorations, on which they may be modelled, although they are strictly not military awards.
History.
Decorations have been known since ancient times. The Egyptian Old Kingdom had the Order of the Golden Collar while the New Kingdom awarded the Order of the Golden Fly. Celts and Romans wore a torc or received other military decorations such as the "hasta pura", a spear without a tip. Dayaks wore and still wear tattoos, etc. Necklaces and bracelets were given during the early Middle Ages, evolving into richly jewelled big necklaces, often with a pendant (commonly a medal) attached.
The oldest military decorations still in use is Sweden's "För tapperhet i fält" ("For Valour in the Field") and "För tapperhet till sjöss" ("For Valour at Sea") awarded to officers and soldiers of the Swedish Armed Forces who have—as the medal names suggest—shown valour in the field or at sea in wartime. The medal was instituted by Swedish king Gustav III on 28 May, 1789, during his war against Russia. Whilst technically it is still active, it is for practical purposes inactive, not having been awarded since 1915. The next oldest was the Austro-Hungarian "Tapferkeits Medaille" Honour Medal for Bravery 1789–1792. This medal was instituted on 19 July, 1789, by the Emperor Joseph II. Another of the oldest military decorations still in use is Poland's War Order of "Virtuti Militari" (Latin for "For Military Valour"). It was first awarded in 1792.
Forgery.
Medals have been forged by many people to make the medal appear more valuable or to make one look like a more decorated soldier. Medal forgeries can include: adding bars, engraving a famous soldier's name on it or creating a whole new medal. Medal forgery is illegal in most countries and can be punishable by imprisonment.
Contemporary use.
Today military decorations include:
In most NATO militaries, only the service ribbons are normally worn on everyday occasions (as opposed to the actual medals).


List of Indiana state historical markers in Pike County

This is a list of the Indiana state historical markers in Pike County.
This is intended to be a complete list of the official state historical markers placed in Pike County, Indiana, United States by the Indiana Historical Bureau. The locations of the historical markers and their latitude and longitude coordinates are included below when available, along with their names, years of placement, and topics as recorded by the Historical Bureau. There are 3 historical markers located in Pike County.


Cafferkey

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


How They Got Game

The How They Got Game project's aim was to explore the historical and cultural impact of new media, through interactive simulation and video gaming. The involvement through people conducting research in many defined areas of computing, such as storytelling, strategy, simulation, sports and shooter.
In this project, an important aspect is the preservation of software and documentation, where How They Got Game constructed a digital archive of source material. The project also introduced a Stanford class offered in the Science, Technology and Society program called the "History of Computer Game Design."
People Involved.
Henry Lowood and Tim Lenoir headed the project, there have also been contributors involved with the project, such as Casey Alt, Georgios Panzaris, Rene Patnode, Doug Wilson, Waynn Lue, David Lui and Sarah Wilson. Technical developers involved were Casey Alt and Zachary Pogue.
Henry Lowood.
Henry Lowood, currently living in San Bruno, California, is a library Curator of History of science and technology, film and media at the University of Stanford. He has been an employee of the University for 32 years. He jumped straight into his profession after graduating the University of California. He gained the appropriate qualifications for University at Alexandra Hamilton High School in Los Angeles.
Lowood began his profession at Stanford University as an ordinary librarian back in the 1980s. His career soon climbed into the more important role in which he now holds within the University, of being a library Curator. Since 2000, Lowood has headed a project named ‘How They Got Game’. The history and preservation of digital games, virtual worlds and interactive simulations as new media forms now merging, was the main focus of the overall project. Research was conducted in five main areas of computer games: storytelling, strategy, simulation, sports, and shooters.
How They Got Game and its result.
The main outcome so far in relation to the project is the exhibition of two museums in 2003 and 2004, which featured the worlds of computer games, art and military simulation; . The Machinima Archive, is a joint effort of the Internet Archive, the How They Got Game project, the Academy of Machinima Arts and Sciences, and Machinima.com. The archive is a collection of machinima films, which can be found on Internet Archive, and accepts Machinima productions from various internet publishers and other producers.


Rough Riding Romance

Rough Riding Romance is a lost 1919 American silent western film directed by Arthur Rosson and starring cowboy Tom Mix. It was produced and distributed by Fox Film Corporation.
Plot.
As described in a film magazine, Phineas Dobbs (Mix), cowboy and dairyman, becomes rich when oil is discovered on his land. His first thought is to give a party with the whole town as his guests. The party is at its height when a mysterious and beautiful young woman with two frock-coated escorts alight from a nearby stalled train who are menaced by the town badman. Disposing of the bad man in his best style, Phineas takes to the open country on his horse. The train passes and the lady throws him a note from the window, asking him to follow and rescue her. His quest takes him to San Francisco and thence to an estate in the San Mateo hills, where a secret society of foreign noblemen are seeking to force the young woman to marry one of their members. Her father is held prisoner and his life is to be the price of her refusal. Phineas mixes in and, with the help of his trusted steed, effects the rescue of the young woman, who turns out to be a princess and her father a king. Sometime later, after he has returned to the ranch, the young woman appears and they are married.
Preservation status.
Only a fragment of the film is preserved at the Library of Congress.


Georges Island (Nova Scotia)

Georges Island (named after George II of Great Britain) is a glacial drumlin and the largest island entirely within the harbour limits of Halifax Harbour located in Nova Scotia's Halifax Regional Municipality. The Island is the location of Fort Charlotte - named after King George's wife Charlotte. Fort Charlotte was built during Father Le Loutre's War, a year after Citadel Hill (Fort George). The island is now a National Historic Site of Canada.
As of August 6, 2020, the island is open to public tours through Thanksgiving weekend.
History.
The island was originally named "île à la Raquette" which means Snowshoe Island. For a brief time, the Island was known as "île d'Enville", named after the leader of the great Duc d’Anville Expedition who was buried on the island for a number of years. In 1749, the island was named "George Island" after King George II, and then finally, in 1963, it was renamed "Georges Island".
Upon the arrival of Edward Cornwallis and the outbreak of Father Le Loutre's War, fortifications were established on Citadel Hill (Fort George) (1749) and Georges Island (Fort Charlotte) (1750).
During the Seven Years' War, two thousand French sailors were imprisoned on the island after the British victory in the Battle off Cape Race, Newfoundland.
During the war, Fort Charlotte was one of four forts where Acadians were imprisoned over the nine years of the Expulsion of the Acadians (the others were Fort Frederick, Saint John, New Brunswick; Fort Cumberland and Fort Edward). The Acadian prisoners in the vicinity of Halifax were subject to various degrees of confinement and dependence upon victualization, without the right to own land, continuously, from 1759 to 1768. According to historian Ronnie Gilles-LeBlanc there were approximately 1660 Acadians held prisoner on the island during the deportation (1755-1763), with a maximum of 600 prisoners at one time. Many Acadian men in the region were occupied with road building, fisheries, wharf building, and wood cutting, and lodged close to where they worked.
During the American Revolution the 84th Regiment of Foot (Royal Highland Emigrants) were stationed at the fort to protect the harbour from American Privateers. Numerous American privateers were held prisoner in the fort throughout the war.
Georges Island was part of the "Halifax Defence Complex" from the mid-18th century to the Second World War, with Citadel Hill and Fort Charlotte on the island being restored by Parks Canada. For nearly two hundred years Georges Island was the scene of constant military activity. Tales of executions, forts and hidden tunnels surround the folklore associated with the mysterious island. It had an Island Prison Camp, a Look Out Point, an Acadian Prison camp, and a Quarantine Station.
The Georges Island Lighthouse was established on the island in 1876. The original wooden tower burned in 1916 and was replaced by an octagonal concrete tower in 1917. The light was manned until 1972 when it was automated and destaffed.
Today.
As of November 2020, the island is open to tours on the weekends, during the tourist season through Thanksgiving weekend.
In March 2009, the federal government designated $3.5 million to install water, sewer and electrical services on the National Historic Site over the following year. "This would be the first step towards opening the island," said Carla Wheaton, Parks Canada cultural resource manager. "Following that, we would still need to construct visitor facilities, such as washrooms (and) possibly a visitors’ centre." For now, anyone wishing to visit must have permission from the Canadian Government. Georges Island appears to have made little progress since 2009, as it has not opened to the public despite receiving funds to create a hospitable environment to open the park to the public. Georges Island is known to local fisherman to have many blueberries and black garter snakes . The island is part of Halifax Regional Municipality District 12. In addition to the ruins of Fort Charlotte, the island also contains the Georges Island Lighthouse and its keeper's dwelling. The Canadian Coast Guard operates an unmanned radar station commissioned in 1977.
References.
Endnotes
Texts


Figures of the Night

Figures of the Night (German:Nachtgestalten) is a 1920 German silent horror film written, directed and produced by Richard Oswald and starring Paul Wegener, Conrad Veidt, Reinhold Schünzel and Erna Morena. It is based on the novel "Eleagabal Kuperus" by Karl Hans Strobl. Strobl was the editor of a German horror fiction magazine called "Der Orchideengarten" which was said to have been influenced by the works of Edgar Allan Poe. Strobl was an anti-Semitic and later willingly joined the Nazi Party, which may explain why he has become an obscure literary figure today.
The film's art direction was by Hans Dreier, and Carl Hoffmann handled the cinematography. Hoffmann went on to collaborate with such noted German directors as Fritz Lang and F.W. Murnau. It was filmed at the Babelsberg Studio in Berlin. No print of the film is known to survived, making it a lost film.
Plot.
Multi-billionaire Thomas Bezug is the richest man in the world and the loneliest. He is a cripple who can only laboriously move on his crutches, domineering, cruel, only full of fanatical love for his son, who lives like a monkey in a cage, climbs on trees and eats nuts. His minions are muscle-bound giants and misshapen dwarfs. His cunning secretary only strives to bring wealth into his possession. A dancer he loves leaves him. Then an unemployed inventor demands the hand of his nymphomaniac daughter for an invention with which it is supposed to be able to extract oxygen from the air. With it he wants to blackmail the whole world and become ruler over all countries.
The film is of note since it co-starred both Wegener and Veidt in the same movie, both of whom later went on to star in two different film versions of "The Student of Prague" (1913 and 1926 respectively). Director Richard Oswald later cast Wegener in his 1932 film "Uncanny Stories".


Haeju Dharani Monument

The Haeju Dharani Monument is one of the National Treasures of North Korea. It is located in Haechong-dong, Haeju, North Korea. Similar Dharani pillars are found in China.
The stone monument is over 5 meters in height. It has three sections; the lower two-tiered round plinth has two layers of carved floral leaves along the edges, the middle portion stands on the plinth and the upper portion is made of three-tiered hexagonal stones decreasing upwards in width and in height. The upper portion's eaves, ridges and top of the roofing stones are slightly bent. Stones in a hexagonal shape on the back side and in the shape of a drum on the front side are sandwiched between the roofing stones.


Hahoetal

Hahoetal masks (河回탈 및 屛山탈) are the traditional Korean masks worn in the Hahoe Pyolshin-gut t'al nori ceremony (Hahoe byeolsingut talnori) dating back to the 12th century. They represent the stock characters needed to perform the roles in the ritual dance dramas included in the ceremony. The masks originated in the Hahoe Folk Village and Byeongsan Village, North Gyeongsang Province, South Korea. They are counted among the treasures of South Korea, and the oldest Hahoe mask is on display in the National Museum of Korea. The Hahoetal masks are considered to be among of the most beautiful and well known images representing Korean culture. The South Korean government named the masks "National Treasure #121" and the dance of the Pyolshin-gut Ta'l nori as "important intangible cultural asset #69." The Hahoe Mask Dance Drama Preservation Society performs the dance drama weekly at the Hahoe folk village for tourists, while Andong City hosts an international mask dance festival every October.
Legend.
The exact origin of the Hahoetal masks is not clearly known, although there is a colorful legend about their original construction. It is said that a young man named Hur received instructions in a dream from his local protecting deity to construct the masks. The decree was that he had to create all of the masks in private, completely unseen by any other human being. He closed himself off in his home, hanging straw rope around the house to prevent anyone from entering while he finished his task. A young woman in love with Hur grew impatient after not seeing him for several days. She decided to secretly watch him by making a small hole in his paper window. Once the deities' rules were broken, Hur immediately started vomiting and hemorrhaging blood, dying on the spot. It is said he was working on the final mask of Imae when he died, leaving it unfinished without a chin. The girl then died of guilt and a broken heart. The villagers performed an exorcism allowing for their souls to be raised to the rank of local deity, and they were able to marry in the afterlife. The Hahoe Pyolshin-gut ritual ceremony was developed to honor them and console their tormented souls.
Mask construction.
Hahoe pyolsin-kut became one of the most popular forms of t'al nori (talchum), which are Korean dance mask dramas. There are over a dozen t'al nori still performed today. T'al nori masks are traditionally made from gourds and paper-mache using Korean mulberry paper called hanji. They are then painted, lacquered and decorated. Most t'al are burned to exorcise any demons inhabiting the masks during and after the performance. The Hahoetal are noticeably different from other Korean masks in that they are carved out of solid pieces of wood. Historically, Hahoetal have been carved from the wood of alder trees. They are painted as needed and lacquer is applied two or three times to color each mask properly. Except for the partial area around the chin, the masks are carved in asymmetry with a view to express a more facial-like expression to boost the satire and fun of the drama, while also representing the typical facial look of the Korean people.
The gaze transforms the shape of the mask owing to its asymmetric structure from left to right and from top to bottom. The angle of the mask when presented to the audience seems to offer a variety of expressions, and some of the masks have detached jaws connected with string or twine allowing for an even larger range of expression. The seeming change of expression is needed to honor the play's social situations and satire: harmony with lack of harmony, symmetry in asymmetry and perfection in imperfection. The Hahoetal are not burned after performances, but returned to their shrines as they are considered sacred objects. If one wants to view the masks, that person has to offer a ritual to the spirits. The Hahoe pyolsin-gut functions to honor the local deities, and therefore earns the permission to use the masks in the ritual dramas, which then are returned to their shrines to await the next ceremony.
The Twelve Masks of the Hahoetal.
The twelve masks of the Hahoetal represent the characters needed to perform all the roles in the Hahoe pyolsin-gut. Of the twelve original masks, nine remain and are counted among the national treasures of Korea. Each mask has a unique set of design characteristics to portray the full range needed in the representation of these stock characters. They are:
Chuji (the winged lions): These masks represent two Buddhist winged lions, which act as protectors from evil during the ritual performance. They are long ovals adorned with feathers and often painted red. They are not worn over the face, but held in the hands of the performers.
Kaksi (the young woman/bride): This mask represents a goddess in the first play of the cycle and a young bride in later episodes. This mask has a closed mouth and closed downward lowered eyes, indicating that she is both shy and quiet. Her eyes are not symmetrical, and the mask is carved and painted to have long black hair. The mask is constructed from one solid piece of wood.
Chung (the Buddhist monk): Monks held a great deal of power and influence, and were therefore susceptible to corruption, greed and mockery from the lower classes. Chung is therefore portrayed as a lecherous and gluttonous character in the plays. The mouth of the mask is a separate piece from the top and attached with cords, allowing for movement to represent laughter. The eyes are narrow, and there is a small horn-like bump on the forehead. The mask is often painted red to represent middle-age.
Yangban (the aristocrat): The character with the most power, and therefore the object of extreme mockery in the plays. The eyes are painted closed, with deep dark eyebrows and wrinkles surrounding them. The chin is a separate piece from the top of the mask, and the actors can lean forward and back to make the mask smile or frown as needed.
Ch'oraengi (the aristocrat's servant): The wise fool, this character mocks and ridicules his master, providing much of the comedy for the plays. He has a crooked mouth with his sharp teeth showing and bulging eyes set in a deep socket with a solid dark eyebrow. The expression of the mask shows stubbornness, anger and a mischievous and meddling nature.
Sonpi (the teacher/scholar): Another character holding high social status, the mask has flared nostrils and sharply defined cheekbones to show an air of disapproval, conceit and disdain. The mask is wider at the top, coming almost to a point at the chin to represent and mock the large brain of the know-it-all scholar. The mask has a separate jaw attached with a chord or string.
Imae (the scholar's servant): This character is portrayed as a jolly fool, with a drooping eyes to express foolishness and naivety. The forehead and cheeks are slanted and there are many wrinkles around the entire face and eyes. It is the only mask without a chin.
Punae/Bune (the concubine): Punae is a forward and sexual character, appearing in the plays as the concubine of either the scholar or the aristocrat. The mask is symmetrical and made of one solid piece of wood. She has a very small mouth with red rouged lips, cheeks and forehead. Her eyes are closed and she has a general look of happiness and good-humor. The mask is constructed with black hair painted on the top of her head and 2 cords/strings hanging from the sides of the mask.
Paekjung (the butcher): The mask has narrow eyes and a separate jaw, allowing the mask to have an evil grin when the actor leaned forward, and appear to be in maniacal laughter when leaning back. The hair and eyebrows are painted black and the mask is covered with wrinkles. The brow is slanted to represent an ill-tempered nature.
Halmi (the old woman): The mask has wide round eyes and an open mouth, both surrounded by wrinkles. The forehead and chin are both pointed to represent a character without the blessings of heaven above or the promise of good fortune later in life. The mask is one solid piece of wood.
Ttoktari (the old man): This mask is lost.
Pyolch'ae (the civil servant/tax collector): This mask is lost.
Ch'ongkak (the bachelor): This mask is lost.
Hahoe pyolsin-gut and T'al nori in performance.
Hahoe pyolsin-gut ceremony functioned to honor local deities and perform the rites of exorcism over evil spirits, therefore bringing prosperity to the village. Beyond the original shamanistic functions, the plays offered a chance for the oppressed lower classes to gather and mock the Yangban ruling class. The humor was base and sexually taboo, especially for the ethics of the Yangban, offering a carnivalesque entertainment for the masses. T'al nori generally dealt with three themes from village to village: the hypocrisy and greed of the ruling class, the lecherous behavior or the monks and the servants complaining of the dim-wittiness of their masters.
The t'al nori start with a dance followed by a ceremony honoring the hosting deity who protected that village. Once the ceremony is performed, the plays are performed. Dances also ended the celebration, framing the plays which could be performed in any order. Acrobats were often showcased between chapters of the play cycle as well. Most performances of t'al nori included a Yangban episode, an old woman episode and a monk episode, but otherwise varied greatly from village to village. Performances did not need a formal stage, but could be performed anywhere with the space to allow for a band, a changing area for the actors, room for the performance and a place to put the audience. Performances were most often held in village courtyards in front of the altar to the local deity who protected that village, called a songangdae. In larger towns, performances were often staged at the bottom of hills to allow the audience raked viewing, and some of the largest towns built temporary formal stages for the performances.
A small band would accompany performances, providing the varying rhythms and melodies needed to perform the dances within the plays. Percussion is traditionally provided by the "janggo", which is a drum in the shape of an hourglass, and various versions of a "buk," which is a Korean wooden drum skinned to play at both ends. A "kkwaenggwari", or small, hand-held flat gong, is also used throughout the performance. Melody is traditionally provided by the daegum, which is a large bamboo flute and the piri, which is a large double reed oboe also made from bamboo. The haegeum, which is a double-stringed "fiddle" rounds out the band. The rhythms and tempo of the band match the status or actions of the characters as well as providing the base for the formalized dances. For example, slow rhythms and melodies would show and accompany elegance, while fast music would underscore comedic antics or excitement.
The Episodes of the Pyolshin-gut t'al nori.
When the Pyolshin-gut t'al nori ceremony is performed in its entirety, it consists of ten "episodes." They are:
Opening rituals/"Piggyback" episode: The ceremony begins with a forty to fifty foot pole being erected to honor the village's guardian deity. The pole has five brightly colored pieces of fabric and a bell on top. A second, smaller pole is built for the "Deity of the Home-site," also with five pieces of fabric on the top. The villagers and audience then prays for the Gods to descend and bless the proceedings, and the bell on top the larger pole rings to signify their approval. The villagers then throw pieces of clothing at the poles, trying to have them drape over them. Success would ensure personal blessings of prosperity. The master of ceremonies and performers then start marching down to the performance site followed by the audience, playing music and dancing along the way. The performer wearing the Kaksi bride mask is carried to the performance, as she is representing the deity of the girl form the legend of the masks, and deities cannot touch the ground. This action earns the deity's blessing for the proceedings.
The Winged Lions Dance: Two performers carry the Chuji masks and dance around the playing space, loudly opening and closing the mouths of the masks. The purpose of this dance is to ensure the safety of the playing space and actors by expelling evil spirits and demonic animals, which would be scared of the winged lions. Once the dance is done, the stage has been purified.
The Butcher Episode: Paekjung, the butcher, dances around and taunts the audience. He kills a bull and then starts trying to sell the heart and other organs to the audience. The audience refuses and he shows frustration at the lack of success in selling off the parts by throwing tantrums and shouting at the audience. He then raises the game by making an energetic attempt to sell the bull's testicles. He runs through the audience trying desperately to finish his task.
The Old Widow Episode: Halmi, the old woman, tells the story of losing her husband the day after their wedding, and expresses her grief at having been a widow since she was fifteen. She sings a song at her loom telling her tale.
The Corrupt Monk Episode: Chung, the Buddhist monk, watches Punae/Bune dance around the stage. She then urinates on the ground, Chung scoops up the wet earth and smells it and is instantly taken over with lust. The two dance a lascivious dance - unknowingly being watched by Sonpi and Yangban. They then run off together to the disapproval of the scholar, aristocrat and their servants.
The Aristocrat and the Scholar Episode: Sonpi, the scholar, and Yangban, the aristocrat, fight over their shared desire for Punae/Bune, the concubine. They argue about their worthiness, citing examples of their education and desire, and then compete to buy the bull testicles from the butcher as a sign of virility to win Punae's affection. The three come to amiable terms and all dance together. Their servants, Ch'oraengi and Imae, mock their actions directly to the audience. Once they overhear the mockery and disdain expressed by the servants who also tell them the tax collector is coming, Yangban, Sonpi and Punae scatter.
The Wedding Episode: Villagers compete to present the couple with their personal mat to be used for their wedding night. It is believed that anyone successfully adding their mat to the pile will be blessed with prosperity. A small wedding ceremony is then performed on a collection of mats piled from the offerings of the audience.
The Wedding Night/Bridal Chamber: Ch'ongkak, the bachelor, ceremoniously removes Kaksi's robe and they lay down together on their pile of wedding mats, acting out the consummation of their marriage. Afterwards, the couple falls asleep and Chung jumps out of a wooden chest and murders Ch'ongkak.This scene is played at midnight, and due to its graphic nature women and children were forbidden to attend.
Performance today.
The Hahoe pyolsin-kut ceremony stopped being performed in the Hahoe Village in 1928 due to the demands of Japanese rule. Under the leadership of Master Han-sang Ryoo, the Hahoe Mask Dance Drama Preservation Society organized all existing manuscripts for the ceremony, and from 1974-1975 meticulously recreated the ritual performance. They continue to perform the dances domestically and internationally, as well as training and passing on the traditions to younger generations. A six play version is performed most weekends in the Hahoe Village for locals and tourists, and the full length version is performed annually. The Andong Maskdance Festival is held each year in Andong City, North Gyeongsang Province, South Korea, of which Hahoe Village is a part. Starting late September and running over a week, it features performances by many Korean and international mask dance companies, as well as contests, plays, mask making workshops and concerts to name a few of the available attractions. It is part of the Korean Folk Arts festival, which celebrated its 45th anniversary in 2016.


Star Wedgwood

Cecily Stella Wedgwood (29 October 1904 – 18 February 1995), known as Star Wedgwood, was a British ceramicist.
Work.
Star was introduced to pottery decoration through Alfred Powell’s painting classes at the Etruria Works of the Wedgwood pottery firm in England.
She became a designer herself at the company during the early 1930s and created a number of patterns on bone china and Queen’s ware for Wedgwood. Her signature was a five-pointed star and the initials CW. According to the Wedgwood Museum, "Her bone china designs tend to be bold, and made extensive use of strong colours and platinum lustre".
In 1937, Star married Frederic Maitland Wright, who later became the company secretary of Wedgwood and joint managing director with Norman Wilson. She died in Oxfordshire in 1995.
Heritage.
Born in Barlaston, Staffordshire, England, Star was the daughter of Francis Hamilton Wedgwood and his wife Katherine ("née" Pigott). Her father has been described as a "fifth generation Wedgwood", directly descended from the Wedgwood company founder, potter Josiah Wedgwood, thus making Star part of the Wedgwood family's sixth generation.


The Soul of Buddha

The Soul of Buddha is a 1918 American silent romance film directed by J. Gordon Edwards and starring Theda Bara, who also wrote the film's story. The film was produced by Fox Film Corporation and shot at the Fox Studio in Fort Lee, New Jersey.
Plot.
As described in a film magazine, fascinated by the lure of white robes and dancing, Bava (Bara) enters the Temple of Buddha. She is soon disillusioned and, yielding to the entreaties of Major John Dare (Thompson) of the British army, she flees with him and becomes his wife, incurring the enmity of Ysora (Kennard), high priest from the temple. A child is born to the two but is later found dead with the Buddhist death mark on its forehead. This withers the soul of Bava, who leads her husband around the globe in search of happiness. Hardened by sorrow, she turns against Dare and bids him gone. At a Paris resort she meets a theatrical manager (Warwick) who is fascinated by her dancing. She accepts an offer to appear at his theater. At the night of her premiere her husband attempts a reconciliation, but is unsuccessful and kills himself in her dressing room. At the end of her dance Bava meets her death at the hands of Ysora.
Reception.
Like many American films of the time, "The Soul of Buddha" was subject to cuts by city and state film censorship boards. For example, the Chicago Board of Censors required a cut, in Reel 3, of the attack on the servant woman, all views of woman's leg exposed above the knee, in the Apache dance eliminate all views of Apache framing blonde woman's face with hands and wiggling her in close embrace, man kissing woman's arm and love scene following, and, Reel 5, stabbing of dancer.
Preservation status.
"The Soul of Buddha" is now considered to be a lost film.


Haapi

Haapi, also Haip and Ha'ip was a commissioner of the 1350–1335 BC Amarna letters correspondence. The name "Hapi" in Egyptian is the name for the Nile god "Hapi".
Haapi is referenced in 3 letters from the Byblos-("Gubla") corpus of the prolific writer Rib-Hadda, of 68 letters. Haapi is also referenced in letter EA 149 of Abimilku of Tyre-("Surru"), (EA for 'el Amarna').
The following letters are referenced to Haapi/Ha'ip:
The letters of commissioner: Haapi/Ha'ip.
EA 149, "Neither water nor wood", letter no. 4 of 10.
Letter no. 4 of 10 by Abimilku of Tyre.
EA 132, "The hope for peace".
Rib-Hadda letter; see Egyptian commissioner: Pahura.
EA 107, "Charioteers, but no horses".
See also Maryannu; in letter: "mar-i(y)a-nu-ma", =charioteer.
EA 107 is a virtually undamaged tablet-letter. 107 also shows the precise spelling of the term: "charioteer"/Maryannu.
The 'matters'/'discussions', (i.e. the topic), of this letter appears to be twofold: 1) Ha'ip justification, or appropriateness as a commissioner, and 2) the events in Damascus/"Dimašqu" with the warring Aziru.


NASA Exceptional Bravery Medal

The NASA Exceptional Bravery Medal is a NASA award for exemplary and courageous handling of an emergency by an individual who, independent of personal danger, has acted to prevent the loss of human life or U.S. government property. The award is open to government and non-government employees.
The first 6 medals were awarded and presented in 1963 by NASA Associate Director Dr. Robert Seamons to Paul J. Balfe, John A. Gordon, Larry J. Hough, Curtis C. Lyon, Charles L. Manes and Lynn B. Rowe. On November 9, 1962, NASA pilot Jack B. McKay was test flying an X-15 when it experienced engine failure. An emergency landing was made at Mud Lake, Nevada where the aircraft flipped on its back. As part of the rescue crew, these 6 men worked to free McKay in the presence of lethal concentrations of unjettisoned anhydrous ammonia fuel, saving McKay's life.
Exceptional Bravery Medals were awarded in 1969 to NASA engineers Bill B. McClure and Charles J. "Jack" Beverlin, who prevented the collapse and explosion of an Atlas rocket at great risk to their own lives. A feature on Mars was later named after them.
Medals were also awarded to Herbert W. Grandy in 1970, and to Paul D. Sebesta in 1974. Subsequently, thirty eight workers at the Michoud Assembly Facility were awarded this medal for protecting the facility from flooding due to Hurricane Katrina in 2005.
References.
John V. Becker, "The X-15 Program in Retrospect," 3rd Eugen Sänger Memorial Lecture, Bonn, Germany, Dec. 4–5, 1968, copy in the NASA Dryden Historical Reference Collection.
Bradley E. Rowe, A Personal Interview with a Hero. Telephone conversation with Retired Colonel Lynn B. Rowe, USAF, November 17, 2017.


Sai Gundewar

Saiprasad Gundewar (22 February 1978 – 10 May 2020) was an Indian actor and model. He was best known for his appearances in reality shows like "Survivor" and "Splitsvilla," as well as acting in films such as "PK (film) (2014), Bazaar (2018)" and "Rock On!!. He died in Los Angeles after a year-long battle with brain cancer."
Personal life.
Sai got married to fashion designer Sapna Amin in 2015. He was fighting with brain cancer disease before succumbing to the disease on May 10 in Los Angeles.
Career.
Sai played some significant cameos in films such as "Yuvvraaj", "P.K, Rockon!!, Pappu Can't Dance Saala, Me aur Main and David" and also appeared in many Television commercials. He played the role of ticket seller in P.K


A Night in Casablanca

A Night in Casablanca is a 1946 film starring the Marx Brothers: Groucho, Chico, and Harpo. The picture was directed by Archie Mayo, and written by Joseph Fields and Roland Kibbee.
Plot.
Set in Casablanca shortly after World War II, escaped Nazi war criminal Heinrich Stubel has steadily murdered three managers of the Hotel Casablanca. Disguised as a Count Pfefferman, Stubel's goal is to reclaim the stolen art treasures that he has hidden in the hotel. However, the only way he can do this undetected is by murdering the hotel's managers and running the hotel himself.
The newest manager of Hotel Casablanca is former motel proprietor Ronald Kornblow, who is very much unaware that he has been hired because no one else will dare take the position. Inept Kornblow takes charge of the hotel, and eventually crosses paths with Corbaccio, owner of the Yellow Camel company, who appoints himself as Kornblow's bodyguard, aided and abetted by Stubel's valet Rusty. In his many efforts to murder Kornblow, Stubel sends beautiful Beatrice Reiner to romance the clueless manager.
Before Stubel can make his escape to the airfield with the loot, Kornblow, his friends, and Miss Reiner invade his hotel room and sneak from suitcase to closet and back again to unpack his bags, which serves to drive him thoroughly mad. Arrested on false charges, Kornblow, Corbaccio and Rusty eventually crash Stubel's plane into a police station where the brothers expose Stubel as an escaped Nazi.
Legal myth.
A popular story (spread in part by Groucho himself) surrounding the movie is that the Marx Brothers were threatened with a lawsuit by Warner Bros. for the use of the word "Casablanca" in the title, it being an infringement on the company's rights to the 1942 film "Casablanca." Groucho responded with a letter asserting that he and his siblings had use of the word "brothers" prior to the establishment of Warner Brothers (and many others had before that), and often the story is told that Groucho threatened a counter-suit based on this assertion. He also mentioned that he would consider further legal action by pointing out to Warners that the title of their current hit film "Night and Day" infringed on the titles of two Marx Brothers films: "A Night at the Opera" and "A Day at the Races".
The true story is that the original storyline for the film was intended to be a direct parody of "Casablanca," with the characters having similar-sounding names to the characters and actors in the 1942 film. Groucho Marx has said that an early draft named his character "Humphrey Bogus", a reference to the leading actor in "Casablanca," Humphrey Bogart. Warner Bros. did not actually litigate, or even threaten to litigate, but it did issue a formal inquiry to the Marx Brothers concerning the plot and script of the film.
The Marx Brothers exploited the situation for publicity, making it appear to the public that a frivolous lawsuit was in the works, and Groucho sent several open letters to Warner Bros. to get newspaper coverage. These letters were among those he donated to the Library of Congress, and he reprinted them in his book "The Groucho Letters," which he published in 1967. There is no evidence that Warner Brothers ever responded to any of Groucho’s letters.
In the end, the matter died without legal action, and the storyline of the film was changed to be a send-up of the genre rather than "Casablanca" specifically. Warner Bros. now owns the distribution rights to this film via Castle Hill Productions.


Ryangchonsa

The Ryangchon Buddhist Temple is located in Rakchol-li, Kowon County, South Hamgyong Province, North Korea.
The site was visited by Kim Jong-il on June 1, 2002, where he spoke of the importance of cultural preservation.
The temple consists of three buildings: Taeung Hall, Manse Pavilion and Muryangsu Hall, all of which were built in 753. The Taeung Hall was rebuilt in 1636 and Manse Pavilion in 1729. The Manse Pavilion is the biggest of the three. The Taeung Hall features detached paintings and a court dance painting on the inclined ceiling.


Lucas Cornelisz de Kock

Lucas Cornelisz de Kock or Kunst (1495–1552) was a Dutch Renaissance painter active in the Tudor court.
Biography.
De Kock was born and died in Leiden. According to Karel van Mander he was a pupil of his father, the painter Cornelis Engelbrechtsz and like his brothers Cornelis and Pieter, was taught to paint by him in Leiden. The little encouragement the art experienced at that time in his native country, obliged him, for the support of a numerous family, to exercise the occupation of a cook, and eventually induced him to visit England. In the time of Henry VIII of England he left for England with his wife and 7 or 8 children, and nothing more was heard of him, though a painting was brought to Leiden by a merchant named Hans de Hartoogh that seemed to be by his hand. He was made painter to the king. Later when the Earl of Leicester became governor and visited the Netherlands with some other Englishmen, they bought up many of his works to take them back to England, where they were sought after.
According to the RKD he was formerly considered to be the same person as "Luca d'Olanda", and is known today for historical allegories, drawings, and glass painting.
Van Mander mentions some of the works of this master at Leyden, among others, the 'Adulteress before Christ.' Of his works in England, the sixteen portraits of the Constables of Queenborough Castle, at Penshurst, are the most considerable; and though few of them can be original paintings, they possess great merit. At Hampton Court there are four small female portraits, probably copies, attributed to him.
Today some works of that are considered stylistically similar to works by Jan Wellens de Cock hang in the in Tiel.
References.
Attribution:


Karpion

Karpion was an ancient Greek architect and architectural theorist active in the fifth century BC. On the testimony of Vitruvius (7, praefatio 12) he and Iktinos co-authored a treatise on the proportions of the Parthenon, the major Periklean Temple of Athena on the Acropolis of Athens.


Coody

Coody is a surname of Irish origin. Notable people with the surname include:


Pellinaati Pramanalu

Pelli Naati Pramanalu ( promises made during marriage) is a 1959 Indian Telugu-language comedy film, produced and directed by K. V. Reddy under the Jayanthi Pictures banner. It stars Akkineni Nageswara Rao, Jamuna with music composed by Ghantasala. The film was simultaneously made in Tamil as Vaazhkai Oppandham () with M. N. Nambiar replacing R. Nageswara Rao's role. The film was remade in Telugu by S. V. Krishna Reddy as "Sardukupodaam Randi" (2001), starring Jagapati Babu and Soundarya.
Plot.
Bheemasena Rao (S. V. Ranga Rao) is a dignified and respectful man, he has a son, Captain Pratap (R. Nageswara Rao) who works in Military services and a daughter, Rukmini (Jamuna). Salahala Rao (Ramana Reddy), the close friend and relative to Bheemasena Rao is trying to arrange a marriage to Rukmini. Krishna Rao (Akkineni Nageswara Rao) is a distant relative of Salahala Rao. He was sent to meet Bheemasena Rao with a recommendation letter where they mistake him as a cook. After a few comic incidents, Krishna Rao & Rukmini falls in love. In the beginning, Bheemasena Rao is not willing to it because of Krishna Rao's status. Meanwhile, Pratap arrives, he explains his father that Krishna Rao is his close friend and a very nice guy. So, finally, they make the marriage arrangements which is performed in a social form when a political leader takes marriage vows "Pellinati Pramanalu" from them that they should not cheat each other. Krishna Rao starts a new family in the town and finds a job in Salahala Rao's company "Andalu - Alankaralu" owned by R. P. Nanda (Dr. Sivaramakrishnaiah). During the next seven years, they are blessed with three children. But after that Rukmini becomes busy with household responsibilities. Krishna Rao becomes fed-up with her behavior. Subsequently, he is attracted towards his Secretary Radha (Raja Sulochana). He even goes to her house during the absence of his wife. After knowing about the affair, Pratap & Salahala Rao plays a drama with the help of Radha and let Krishna Rao realize his mistake. Finally, the movie ends on a happy note with the marriage of Pratap & Radha.
Soundtrack.
Music composed by Ghantasala. Lyrics were written by Pingali Nagendra Rao.


Hannya-ji

 is a Buddhist temple of the Shingon Ritsu sect in Nara, Japan. Its foundation is variously dated, but mention in a document in the Shōsōin provides a terminus ante quem of the mid-eighth century.
Name.
"Hannya" is a phonetic rendering of prajñā, the Sanskrit term for wisdom or insight.
History.
According to temple tradition, Ekan, a monk from Goguryeo, founded the monastic complex of on the site in 629. Emperor Shōmu is then said to have bestowed upon it, in 735, six hundred volumes of the Daihannyaharamitta-kyō, in gold on indigo paper, along with a sotōba and the name Hannya-ji.
According to "The Tale of the Heike", during the Genpei War, Taira no Kiyomori dispatched Taira no Shigehira to lead the attack on Nara, in 1180. The defenders, many of them monks, took up position on Narazaka and at Hannya-ji. When the fighting continued into the night, Shigehira ordered torches to be lit, and one of his men set fire to a nearby house. Fanned by strong winds, the flames spread as far as Tōdai-ji and Kōfuku-ji. Later Shigehira's head was nailed in front of the Hannya-ji torii, since this is where he had stood when the temples burned.
Architecture.
Rōmon.
The rōmon or "tower gate" is a National Treasure. Dated to the second half of the thirteenth century, perhaps to the Bun'ei era, it is unusual in having only one entrance, its narrowness precluding the standard three; a three bay form is adopted in the upper level.
Hondō.
The hondō with hip-and-gable roof dates from Kanbun 7 (1667) and has been designated a Prefectural Cultural Property.
Kyōzō.
The three-by-two bay kyōzō or repository for sutras, temple chronicles, and the like, dates from the second half of the Kamakura period and is an Important Cultural Property.
Tō.
The thirteen-storey stone pagoda dates from 1253 and is an Important Cultural Property.
Treasures.
Important Cultural Properties include the "hengaku" or plaque bearing the temple's name, from the Heian period; a reliquary of the Kamakura period; a pair of kasatōba from 1261; a wooden Monju Bosatsu riding on a lion of 1324; a bronze Yakushi Nyorai of the Heian period; a prayer text by Eison of 1269; and a collection of objects from inside the stone tō, dating from the Nara period to the Meiji period as well as from Southern Song China, uncovered in 1964. There are also statues from the Edo period of Fudō Myōō, the Four Heavenly Kings, Kōbō Daishi, and Kōshō Daishi (Eison), as well as a series of thirteen stone images of Kannon.


Gregory Diaz IV

Gregory Diaz IV (born May 2, 2005) is an American actor, singer and dancer. Diaz is known for his role as "Quentin" in the Netflix series "Unbreakable Kimmy Schmidt" and he also appeared in the 2016 film "Carrie Pilby". He can be seen next in the Warner Bros musical film "In the Heights" directed by Jon M. Chu which is set for a theatrical release on June 11, 2021.
Early life and education.
Diaz was born and raised in Manhattan, New York City, and is of Puerto Rican descent. He attended Professional Performing Arts High School for one semester before transferring to Dwight Global Online.
Career.
In 2015, Diaz was cast as Obnoxious Kid #1 in "Carrie Pilby". In 2016, Diaz joined the revival and first all-kid professional cast of "You're a Good Man, Charlie Brown" as Schroeder at the York Theater. Diaz went on to join the closing cast Broadway production of "Matilda the Musical" as a Bruce swing. Early in 2017, Diaz was cast as Tommy in the last U.S. tour production of "Matilda the Musical".
Diaz played the role of boy in January 2018 in the production of "Zurich" at NYTW, and earned a nomination for Outstanding ensemble at the New York Innovative Theatre Awards - Home. In March 2018, Diaz appeared in the Netflix series "Unbreakable Kimmy Schmidt" as Quentin. Diaz was cast as lead role Pedro in May 2018 in the production of "Pedro Pan" at the Acorn theatre. He won a NYMF Performance award.
In June 2018, it was announced that Diaz had been cast as Luis Acosta in the comedy film "Vampires vs. the Bronx". In December 2019, Diaz made a guest starring appearance in NBC's series "New Amsterdam".


Orders, decorations, and medals of Turkmenistan

State awards of Turkmenistan include the orders, decorations, and medals. The following is a list of these awards of Turkmenistan.
Types of State Awards.
Highest awards.
The title of "Türkmenistanyň Gahrymany" (Hero of Turkmenistan) is the highest degree of distinction of Turkmenistan and is assigned only to citizens of Turkmenistan for particularly outstanding services to the state and society.
Order.
By seniority:


Heritage Foundation Pakistan

Heritage Foundation of Pakistan is a Pakistani heritage and humanitarian aid organization founded by Yasmeen Lari and Suhail Zaheer Lari in 1980.
The organization's mission is "to document and conserve the traditional and historic built environment of Pakistan; create an awareness of Pakistan’s rich and diverse historic architecture and art; and to promote cultural heritage for social integration, peace and development."
Saving cultural heritage buildings.
In 1984, when there were plans to demolish the historically significant Hindu Gymkhana, Karachi building because it had somewhat deteriorated due to lack of maintenance, Heritage Foundation Pakistan intervened to save it. After that, the building was designated as a Protected Sindh Cultural Heritage building and is still being used as a facility that houses the National Academy of Performing Arts .
Awards.
In 2002, the Heritage Foundation of Pakistan received the Recognition Award from the United Nations System in Pakistan for its commitment to "documentation and conservation of heritage and environment of traditional and historical centers of Pakistan."


Igloolik Island

Igloolik Island is a small island in the Qikiqtaaluk Region of Nunavut, Canada. It is located in the Foxe Basin, very close to the Melville Peninsula (and to a lesser degree, Baffin Island), and it is often thought to be a part of the peninsula. It forms part of the Arctic Archipelago.
The word "Igloolik" (Inuktitut: "there is an igloo here") comes from "iglu" (meaning: "house"/"building") and refers to the sod houses (qarmaq) that were originally in the area. Inuit and their ancestors have inhabited the island since 2000 BC. The archaeological sites on the island, which show a sequence up to 1000 AD, were designated a National Historic Site of Canada in 1978.
There is only one community on the island, also named Igloolik.
Qikiqtaarjuk.
On the north of Igloolik Island at is a peninsula called Qikiqtaarjuk (Inuktitut syllabics: "ᕿᑭᖅᑖᕐᔪᒃ", English: "little island"). About 400 – 500 years ago Qikiqtaarjuk was a separate island but due to isostatic rebound it became part of the main island. "Inuit Qaujimajatuqangit" (traditional knowledge) says that prior to that there was an even smaller island called "Puqtuniq" from which the waters receded forming Qikiqtaarjuk. Qikiqtaarjuk is associated with several Inuit legends and stories and was the place from where Atanarjuat starts his run.


List of Madlax albums

"Madlax" is a 26-episode anime television series produced in 2004 by the Bee Train animation studio. Its original soundtrack was created by the well-known composer Yuki Kajiura, partly in collaboration with Yuuka Nanri (as part of FictionJunction Yuuka). Two OST albums and two singles were released by Victor Entertainment in the same year.
"Madlax" OST I.
Track listing
"Madlax" OST II.
Track listing


Brooks Aqueduct

The Brooks Aqueduct is a defunct aqueduct, historic site and museum originally built by the irrigation division of the Canadian Pacific Railway Company during the early 1910's located in Southern Alberta, Canada. The aqueduct was intended to irrigate a section of southeastern Alberta by diverting water east from Lake Newell from 1914 to 1979, and is located approximately 8 kilometres south of the City of Brooks. The main section of the aqueduct spans a 3.2 km valley at an average elevation of 20 metres. The structure has been designated a National Historic Site with an interpretive centre constructed nearby for tourists.
History.
The Brooks Aqueduct was conceived by the Canadian Pacific Railway as a mechanism to irrigate a portion of the Palliser's Triangle in southern Alberta. Canadian Pacific would receive a 3-million acre block of land between Calgary and Medicine Hat as a payment for the completion of the cross-Continental railway, which was divided into the Western, Central and Eastern sections. The Eastern section of the land grant provided access to the Bow River and the reservoir at the Bassano Dam, which was fed to agricultural operations through a series of canals and irrigation projects built by Canadian Pacific. Hugh B. Muckleston, the Assistant Chief Engineer for the Department of Natural Resources for Canadian Pacific was the first to envision to Brooks Aqueduct, noting an earthen filled canal would be inconceivable given the terrain conditions. The decision was made to use reinforced Portland Cement with an open flume designed as a hydrostatic catenary curve. The design also incorporated expansion joints to allow for movement along the long aqueduct due to expansion and contraction with varying temperatures, the joints were made primarily of copper. The expansion joints were placed every 24-metres (80 feet) or fourth bent. In order to cross the Canadian Pacific Railway Main Line, a siphon was built which operated based on the Venturi principle approximately 40 feet under the railway tracks.
The firm of Grant, Smith & Co. & McDonnell of Vancouver was contracted to construct the Brooks Aqueduct between 1912-1914. At its completion in 1914, and beginning of operations in 1915 the CA$700,000, Brooks Aqueduct claimed to be the largest concrete structure in existence. The copper expansion joints had significant leaks following construction which caused damage to the concrete supports, this was mitigated by drainage ditches and efforts to reduce the leakage, furthermore the alkalinity of the water conveyed, combined with frost accumulation caused unavoidable deterioration to the concrete structure. Canadian Pacific would continue to refurbish the aqueduct through the 1920s and early 1930s, spraying gunnite over the rotting pedestals and flaking concrete shells. Following the completion of these upgrades in 1934 the Brooks Aqueduct was transferred to the Eastern Irrigation District, a farmer-owned entity formed under the "Irrigation Districts Act" in 1935, this was part of a larger divestment in the region by Canadian Pacific. The aqueduct was used for irrigation for about 30 years. Its original capacity was . and the 113,000 hectares of land which were provided with water led to a new wave of settlement.
In 1969, the Alberta and Canadian governments assumed the responsibility of maintaining the structure under the Prairie Farm Rehabilitation Administration. The Brooks Aqueduct and Bassano Dam were evaluated, and it was found that the Dam would require minor rehabilitation, while the Aqueduct was no longer suitable for operations. A series of earthen canals were constructed as a replacement for the aqueduct, and after evaluating the cost of demolishing the structure, the governments decided it would be more financially prudent to fenced the aqueduct off from the public.
Legacy.
The Brooks Aqueduct continues to stand to this day, although the structure itself is no longer structurally sound and has been fenced off since the 1970s. The Brooks Aqueduct and the immediate surrounding area was designated a National Historic Site of Canada on 18 November 1983 by the Government of Canada. The Brooks Aqueduct would later be designated a Provincial Historical Resource by the Government of Alberta on 20 July 2000.


Reveille (newspaper)

Reveille was a popular British weekly tabloid newspaper founded by Reg Hipwell during the Second World War and the post-war years.
Launched on 25 May 1940, it was originally the official newspaper of the Ex-Services' Allied Association. It was bought by the Mirror Group in 1947, after which it was printed and published by IPC Newspapers Ltd.
In the 1950s it increased its light-entertainment pages and would often run features on the Royalty.
During the 1960s and 1970s it became known as "Reveille Magazine" and would publish large double-page pop posters and also feature glamour models.
Author Rosemary Timperley wrote a great many articles for "Reveille" under her own name and pseudonyms. The crime fiction writer Michael Gilbert published a number of short stories in "Reveille", some of them featuring his series character Inspector Petrella.
In March 1973 it was renamed "New Reveille", the title being reverted to "Reveille" in March 1975. By the end of 1975 "Reveille" had shrunk from its previous 40 page size and had dropped the short story feature, becoming more concerned with television, films, and celebrities.
Its last issue appeared on 17 August 1979 and in September 1979 it merged with "Tit-Bits" magazine.


Commandery

In the Middle Ages, a commandery (rarely commandry) was the smallest administrative division of the European landed properties of a military order. It was also the name of the house where the knights of the commandery lived. The word is also applied to the emoluments granted to a commander. They were the equivalent for those orders to a monastic grange. The knight in charge of a commandery was a commander.
Etymology.
The word derives from French "commanderie" or "commenderie", from mediaeval Latin "commendaria" or "commenda", meaning "a trust or charge", originally one held "in commendam".
Originally, commandries were benefices, particularly in the Church, held "in commendam". Mediaeval military orders adopted monastic organizational structures and commandries were divisions of the Order of Knights of St. John of Jerusalem, and later the Order of Teutonic Knights and other knightly orders were organized along similar lines. The property of the order was divided into "priorates" (or priories), subdivided into "bailiwicks," which in turn were divided into "commanderies" or ""commendæ"; these were placed in charge of a "commendator"" or commander. The word is also applied to the emoluments granted to a commander of a military order of knights.
A commandry of the Teutonic Knights, each headed by a "Komtur", was known as a "Komturei" or "Kommende". The equivalents among the Knights Templar were "preceptor" and "preceptory". In 1540, the possessions in England of the Knights Hospitaller - the commanderies to which the English term first referred - were seized as crown property.
Usage.
Medieval.
In the Near East and throughout Europe:


Cornelis Molenaer

Cornelis Molenaer or Cornelis Molenaar (born c. 1540 - 1589 was a Flemish Renaissance painter known for his landscapes with biblical scenes.
Biography.
Molenaer was born and died in Antwerp. According to Karel van Mander he was called "Schele Neel", or "cross-eyed Neel". He was a good landscape painter with little feeling for figures. He hired himself out for a day's wages (one daalder) and could paint a complete landscape in one day in the "watercolor way", without a maulstick. For a grassy field he charged 7 stuivers.
According to van Mander, Molenaer enjoyed drinking. Works in progress at home were seldom finished, which is perhaps why he became a wage-earner, so that patrons could keep an eye on his work. The painter Jan Nagel was his follower but this painter could not match his style of landscapes, but was better at figures.
His son Jan de Meuleneer was a genre painter and his grandson Pieter Meulener was a prominent battle and landscape painter.
Work.
Only a few works of this artist are known, all representing landscapes with a scene from the bible. A composition called , which is monogrammed "C M" is in the collection of the Gemäldegalerie, Berlin. It portrays a wide wooded landscape with a village in the distance and various scenes. In one scene an old man is helping a naked man lying on the ground. In another scene a couple is being attacked by soldiers who try to defend themselves, the woman more vigorously than the man. Some villagers nearby appear concerned in contrast to a Catholic priest who passes by unconcerned by the plight of the plight of the other people in the composition. This was clearly intended as a criticism of the Catholic church.
He collaborated with other local artists such as Gillis Coignet and Gillis Mostaert for whom he painted the landscapes.


Sacrosanctum Concilium

Sacrosanctum Concilium, the Constitution on the Sacred Liturgy, is one of the constitutions of the Second Vatican Council. It was approved by the assembled bishops by a vote of 2,147 to 4 and promulgated by Pope Paul VI on 4 December 1963. The main aim was to achieve greater lay participation in the Catholic Church's liturgy. The title is taken from the opening lines of the document and means "this Sacred Council".
Contents.
"The numbers given correspond to section numbers within the text."
Title and purpose.
As is customary with Catholic documents, the name of this constitution, "Sacred Council" in Latin, is taken from the first line ("incipit") of the document:
Participation of the laity.
One of the first issues considered by the council, and the matter that had the most immediate effect on the lives of individual Catholics, was the renewal of the liturgy. The central idea was that there ought to be greater lay participation in the liturgy.
Popes Pius X, Pius XI, and Pius XII consistently asked that the people be taught how to chant the responses at Mass and that they learn the prayers of the Mass in order to participate intelligently. Now the bishops decreed that: "To promote active participation, the people should be encouraged to take part by means of acclamations, responses, psalmody, antiphons, and songs." Composers should "produce compositions which ... [provide] for the active participation of the entire assembly of the faithful."
After centuries when, with the Mass in Latin, Catholic piety centred around popular devotions, the bishops decreed that "Popular devotions ... should be so drawn up that they harmonize with the liturgical seasons, accord with the sacred liturgy, are in some fashion derived from it, and lead the people to it, since, in fact, the liturgy by its very nature far surpasses any of them."
On 24 August 2017 Pope Francis emphasized that "the reform of the liturgy is irreversible" and called for continued efforts to implement the reforms, repeating what Pope Paul VI had said one year before he died: "The time has come, now, to definitely leave aside the disruptive ferments, equally pernicious in one sense or the other, and to implement fully, according to its right inspiring criteria, the reform approved by us in application of the decisions of the council."
Consilium.
The council fathers established guidelines to govern the renewal of the liturgy, which included, allowed, and encouraged greater use of the vernacular (native language) in addition to Latin, particularly for the biblical readings and other prayers. Implementation of the council's directives on the liturgy was to be carried out under the authority of Pope Paul VI by a special papal commission, later incorporated in the Congregation for Divine Worship and the Discipline of the Sacraments, and, in the areas entrusted to them, by national conferences of bishops, which, if they had a shared language, were expected to collaborate in producing a common translation.


Vira Lozinsky

Vira Lozinsky (born 1974) is an Israeli-Moldovan musician and Yiddish language singer.
Biography.
Vira Lozinsky was born in 1974 in Bălți, Moldova (Bessarabia) to a family of Jewish artists. As a child, Vira studied music and played the violin at the city music school. She participated in the local Yiddish theater led by her father Mikhoel Felsenbaum. She was exposed at an early age to the cultures and musical styles of the many ethnic groups living in Moldova: Moldovans, Romanians, Jews, Roma, Russians and others. Her repertoire includes new material written mainly by her father, Mikhoel Felsenbaum, as well as classical Yiddish folk songs, Romanian folk songs translated to Yiddish, songs of classical and modern Yiddish poets.
After immigrating to Israel at age 16, she pursued Yiddish and Musicology studies in Bar Ilan University, and vocal studies in the Rimon School of Jazz and Contemporary Music in Ramat HaSharon.
Vira Lozinsky has toured several countries and participated in klezmer events in Israel, Europe, and the Americas.


American Musical and Dramatic Academy

The American Musical and Dramatic Academy (AMDA) is a private college conservatory for the performing arts located in New York City and Los Angeles, California. The conservatory offers both Bachelor of Fine Arts degrees and two-year Certificates in Professional Performance. Programs are offered in Acting, Musical Theatre, Dance and Performing Arts. It is accredited by the National Association of Schools of Theatre.
History.
AMDA was founded in 1964 by Philip Burton along with other people from the New York theatre community. The school established itself as a part of the New York performing arts community and garnered early support from members of the Broadway theatre such as Sammy Davis Jr., Dina Merrill and Carol Channing.
By 1970, the school had outgrown its original location on East 23rd Street and moved into a new building on Bleecker Street in Greenwich Village. A few years later, further growth prompted a move to the Ansonia Building. In the 1990s a second location, which is now the principal location of AMDA New York, was opened near Lincoln Center.
In 2003 the school expanded west by opening AMDA Los Angeles in the Vine Tower Building. AMDA is the only BFA-granting performing arts college with campuses in both New York and Los Angeles.
Campuses.
The New York City campus is located on the Upper West Side of Manhattan. The principal facility is located at 211 West 61st Street, directly behind Lincoln Center. The other half of the campus is located at the Ansonia building, on West 73rd Street.
AMDA's New York campus features a theatre for learning, skill development and performance. The Ansonia Building features a 100-seat, black box–style theatre equipped with two dressing rooms, a costume shop, a workshop, and backstage space and prop storage. AMDA's New York performing arts library holds a collection of scripts, scores, DVDs and other research material. Additional facilities include rehearsal space, film, TV and editing facilities, computer labs and the AMDA Student Store.
The Los Angeles campus is located in the Hollywood Entertainment District, with its principal facility in the Vine Tower Building.
AMDA's Los Angeles campus features four main theatres for learning, skill development and performance including a black box theatre, two laboratory theatres, and an outdoor amphitheater. Other facilities include rehearsal space, film, TV and editing facilities, library, the AMDA Café, and the campus piazza.


Shabat

Shabat is a surname. People with the name include:


Salim Baba

Salim Baba is a 2007 American short documentary film directed by Tim Sternberg. It was nominated for an Academy Award for Best Documentary Short.
Content.
The film follows Salim Muhammad, a 55-year-old man who lives in Kolkata with his wife and children. Since the age of ten he has supported himself by screening discarded film scraps for area children. He uses a hand-cranked projector that he inherited from his father. A businessman as well as a cinephile, Salim runs his projector with his sons. He hopes that they will carry on this tradition.
Production.
"Salim Baba" was co-produced by Ropa Vieja Films and Paradox Smoke Productions, with a grant from the Urban Arts Initiative and financial support from the Independent Feature Project. The film was presented as part of Maryland Film Festival's Opening Night shorts program on the evening of May 1, 2008.