Kazanowski Palace

The Kazanowski Palace (), also known as the Radziejowski Palace, was a large palace in Warsaw, occupying the place where the Charitable Center "Res Sacra Miser" stands today.
History.
When prince Władysław Vasa (future King Władysław IV of Poland) became an adolescent, his father Sigismund III Vasa bought him a wooden mansion at the Krakowskie Przedmieście in Warsaw. Shortly after his return in 1628 from a journey to Western Europe the prince ordered a court architect to build him a new palace in the Italian style. Tencalla created one of the most wonderful palaces ever built in Warsaw.
In 1632, prince Władysław gave the palace to his favourite, Adam Kazanowski; this caused a serious misunderstanding with the King, and a special Sejm committee was appointed to determine the circumstances behind this gesture. In 1637, Kazanowski enlarged the building, holding to Tencalla's original designs. The new structure was a large four-storied palace with a garden, enormous terrace and central courtyard—alcove tops were decorated with gilded crowns.
The rich furnishings of the palace were described in 1646 by Jean Le Laboureur, a companion of the French Ambassador Extraordinaire to Poland, Madame de Guébriand. Le Laboureur was amazed by what he saw inside—a large statue of Bacchus made of pure silver sitting on a barrel with wheels (that served as a wine vessel during banquets), gilded wooden ceilings in the Venetian style, rooms filled with oil paintings, marble decorations, Flemish and oriental tapestries, oriental objects, furniture from Italy and Bavaria, silverware, a live bear inside a gilded cage in the courtyard, caged monkeys and a large collection of musical instruments belonging to Crown Court Marshal Kazanowski's private orchestra.
Le Laboureur later wrote:
Italy, which we visited after leaving Poland has nothing as magnificent and lordly. I admit that I was astonished, and it seemed that I had been transferred to an enchanted palace".
His patron Madame de Guébriand noted "the rooms [were] decorated with various cupboards of the most exquisite workmanship, and tables with the most beautiful objects in gold, silver and amber". Marshal Kazanowski, pleased with Madame de Guébriand delight at seeing the objects asked which items she would like to take back with her to France, and despite Madame's protests, he and his wife sent her several amber caskets".
Kazanowski also arranged a cabinet of curiosities ("Wunderkammer") in his palace that contained a large stuffed snake from Africa hanging from the ceiling, and an Indian sea turtle. The palace also had a terrace garden on the escarp side, and was notably famous not only because of its decadent furnishings, but also due to central heating and plumbing installed inside.
After Kazanowski's death the palace was passed on to his wife Elżbieta Słuszczanka, who some time later married Hieronim Radziejowski. At the time, she was the wealthiest woman in the Polish–Lithuanian Commonwealth. After Radziejowski was found guilty of treason against the King, she filed for divorce, which caused a small private war in Warsaw between Radziejowski and the Słuszka family who took the Kazanowski palace by force. Subsequently, Radziejowski was convicted and sentenced to the death penalty and had to escape the borders of the Commonwealth.
The opulent Kazanowski Palace was ransacked and burned down during the Deluge by the Swedes in 1656 and never rebuilt.


List of Indiana state historical markers in Floyd County

This is a list of the Indiana state historical markers in Floyd County.
This is intended to be a complete list of the official state historical markers placed in Floyd 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 18 historical markers located in Floyd County.


Zabawa coat of arms

Zabawa is a Polish coat of arms. It was used by several szlachta families in the times of the Polish–Lithuanian Commonwealth.
Notable bearers.
Notable bearers of this coat of arms include:
Zabawa coat of arms bearers.
Surname: Bruski, Bubelwic, Bubełwic, Drochecki, Dąbrowski, Koczeński, Koczyński, Koczywski, Kościelecki, Piasecki, Pierocki, Pirocki, Pirucki, Sokół, Spiczak Brzeziński, Szwyradzki, Węchadłowski, Włodek, Zabawski, Świradzki, Świraski.


Abydos, Egypt

Abydos (; Sahidic ') is one of the oldest cities of ancient Egypt, and also of the eighth nome in Upper Egypt. It is located about west of the Nile at latitude 26° 10' N, near the modern Egyptian towns of El Araba El Madfuna and El Balyana. In the ancient Egyptian language, the city was called Abdju"' ("ꜣbḏw" or "AbDw"). The English name "Abydos" comes from the Greek , a name borrowed by Greek geographers from the unrelated city of Abydos on the Hellespont.
Considered one of the most important archaeological sites in Egypt, the sacred city of Abydos was the site of many ancient temples, including Umm el-Qa'ab, a royal necropolis where early pharaohs were entombed. These tombs began to be seen as extremely significant burials and in later times it became desirable to be buried in the area, leading to the growth of the town's importance as a cult site.
Today, Abydos is notable for the memorial temple of Seti I, which contains an inscription from the Nineteenth Dynasty known to the modern world as the Abydos King List. It is a chronological list showing cartouches of most dynastic pharaohs of Egypt from Menes until Seti I's father, Ramesses I. It is also notable for the Abydos graffiti, ancient Phoenician and Aramaic graffiti found on the walls of the Temple of Seti I.
The Great Temple and most of the ancient town are buried under the modern buildings to the north of the Seti temple. Many of the original structures and the artifacts within them are considered irretrievable and lost; many may have been destroyed by the new construction.
History.
Most of Upper Egypt became unified under rulers from Abydos during the Naqada III period (3200–3000 BCE), at the expense of rival cities such as Hierakonpolis. The conflicts leading to the supremacy of Abydos may appear on numerous reliefs of the Naqada II period, such as the Gebel el-Arak Knife, or the frieze of Tomb 100 at Hierakonpolis.
Tombs and at least one temple of rulers of the Predynastic period have been found at Umm El Qa'ab including that of Narmer, dating to circa 3100 BCE. The temple and town continued to be rebuilt at intervals down to the times of the Thirtieth Dynasty, and the cemetery was in continuous use.
The pharaohs of the First Dynasty were buried in Abydos, including Narmer, who is regarded as the founder of the First Dynasty, and his successor, Aha. It was in this time period that the Abydos boats were constructed. Some pharaohs of the Second Dynasty were also buried in Abydos. The temple was renewed and enlarged by these pharaohs as well. Funerary enclosures, misinterpreted in modern times as great 'forts', were built on the desert behind the town by three kings of the Second Dynasty; the most complete is that of Khasekhemwy, the Shunet El Zebib.
From the Fifth Dynasty, the deity Khentiamentiu, "foremost of the Westerners", came to be seen as a manifestation of the dead pharaoh in the underworld. Pepi I (Sixth Dynasty) constructed a funerary chapel which evolved over the years into the Great Temple of Osiris, the ruins of which still exist within the town enclosure. Abydos became the centre of the worship of the Isis and Osiris cult.
During the First Intermediate Period, the principal deity of the area, Khentiamentiu, began to be seen as an aspect of Osiris, and the deities gradually merged and came to be regarded as one. Khentiamentiu's name became an epithet of Osiris. King Mentuhotep II was the first to build a royal chapel. In the Twelfth Dynasty a gigantic tomb was cut into the rock by Senusret III. Associated with this tomb was a cenotaph, a cult temple and a small town known as "Wah-Sut", that was used by the workers for these structures. Next to the cenotaph at least two kings of the Thirteenth Dynasty were buried (in tombs S9 and S10) as well as some rulers of the Second Intermediate Period, such as Senebkay. An indigenous line of kings, the Abydos Dynasty, may have ruled the region from Abydos at the time.
New construction during the Eighteenth Dynasty began with a large chapel of Ahmose I. The Pyramid of Ahmose I was also constructed at Abydos—the only pyramid in the area; very little of it remains today.
Thutmose III built a far larger temple, about . He also made a processional way leading past the side of the temple to the cemetery beyond, featuring a great gateway of granite.
Seti I, during the Nineteenth Dynasty, founded a temple to the south of the town in honor of the ancestral pharaohs of the early dynasties; this was finished by Ramesses II, who also built a lesser temple of his own. Merneptah added the Osireion, just to the north of the temple of Seti.
Ahmose II in the Twenty-sixth Dynasty rebuilt the temple again, and placed in it a large monolith shrine of red granite, finely wrought. The foundations of the successive temples were comprised within approximately . depth of the ruins discovered in modern times; these needed the closest examination to discriminate the various buildings, and were recorded by more than 4,000 measurements and 1,000 levellings.
The last building added was a new temple of Nectanebo I, built in the Thirtieth Dynasty. From the Ptolemaic times of the Greek occupancy of Egypt, that began three hundred years before the Roman occupancy that followed, the structures began to decay and no later works are known.
Cult centre.
From earliest times, Abydos was a cult centre, first of the local deity, Khentiamentiu, and from the end of the Old Kingdom, the rising cult of Osiris. A tradition developed that the Early Dynastic cemetery was the burial place of Osiris and the tomb of Djer was reinterpreted as that of Osiris.
Decorations in tombs throughout Egypt, such as the one displayed to the right, record pilgrimages to Abydos by wealthy families.
Great Osiris Temple.
From the First Dynasty to the Twenty-sixth Dynasty, nine or ten temples were successively built on one site at Abydos. The first was an enclosure, about , enclosed by a thin wall of unbaked bricks. Incorporating one wall of this first structure, the second temple of about square was built with walls about thick. An outer "temenos" (enclosure) wall surrounded the grounds. This outer wall was made wider some time around the Second or Third Dynasty. The old temple entirely vanished in the Fourth Dynasty, and a smaller building was erected behind it, enclosing a wide hearth of black ashes. Pottery models of offerings are found in these ashes and were probably the substitutes for live sacrifices decreed by Khufu (or Cheops) in his temple reforms.
At an undetermined date, a great clearance of temple offerings had been made and the modern discovery of a chamber into which they were gathered yielded the fine ivory carvings and the glazed figures and tiles that demonstrate the splendid work of the First Dynasty. A vase of Menes with purple hieroglyphs inlaid into a green glaze and tiles with relief figures are the most important pieces found. The Khufu Statuette in ivory, found in the stone chamber of the temple, gives the only portrait of this great pharaoh.
The temple was entirely rebuilt on a larger scale by Pepi I in the Sixth Dynasty. He placed a great stone gateway to the "temenos", an outer wall and gateway, with a colonnade between the gates. His temple was about inside, with stone gateways front and back, showing that it was of the processional type. In the Eleventh Dynasty Mentuhotep I added a colonnade and altars. Soon after, Mentuhotep II entirely rebuilt the temple, laying a stone pavement over the area, about square. He also added subsidiary chambers. Soon thereafter, in the Twelfth Dynasty, Senusret I laid massive foundations of stone over the pavement of his predecessor. A great "temenos" was laid out enclosing a much larger area and the new temple itself was about three times the earlier size.
Brewery.
On 14 February 2021, Egyptian and American archaeologists discovered what could be the oldest brewery in the world dating from around 3100 BCE at the reign of King Narmer. Dr. Matthew Adams, one of the leaders of the mission, stated that it was used to make beer for royal rituals.
Main sites.
Temple of Seti I.
The temple of Seti I was built on entirely new ground half a mile to the south of the long series of temples just described. This surviving building is best known as the Great Temple of Abydos, being nearly complete and an impressive sight. A principal purpose of the temple was to serve as a memorial to king Seti I, as well as to show reverence for the early pharaohs, which is incorporated within as part of the "Rite of the Ancestors".
The long list of the pharaohs of the principal dynasties—recognized by Seti—are carved on a wall and known as the "Abydos King List" (showing the cartouche name of many dynastic pharaohs of Egypt from the first, Narmer or Menes, until Seti's time). There were significant names deliberately left off of the list. So rare, as an almost complete list of pharaoh names, the Table of Abydos, rediscovered by William John Bankes, has been called the "Rosetta Stone" of Egyptian archaeology, analogous to the Rosetta Stone for Egyptian writing, beyond the Narmer Palette.
There were also seven chapels built for the worship of the pharaoh and principal deities. These included three chapels for the "state" deities Ptah, Re-Horakhty, and (centrally positioned) Amun and the challenge for the Abydos triad of Osiris, Isis and Horus. The rites recorded in the deity chapels represent the first complete form known of the Daily Ritual, which was performed daily in temples across Egypt throughout the pharaonic period. At the back of the temple is an enigmatic structure known as the Osireion, which served as a cenotaph for Seti-Osiris, and is thought to be connected with the worship of Osiris as an "Osiris tomb". It is possible that from those chambers was led out the great Hypogeum for the celebration of the Osiris mysteries, built by Merenptah. The temple was originally long, but the forecourts are scarcely recognizable, and the part still in good condition is about
 long and wide, including the wing at the side. Magazines for food and offerings storage were built to either side of the forecourts, as well as a small palace for the king and his retinue, to the southeast of the first forecourt (Ghazouli, The Palace and Magazines Attached to the Temple of Sety I at Abydos and the Facade of This Temple. ASAE 58 (1959)).
Except for the list of pharaohs and a panegyric on Ramesses II, the subjects are not historical, but religious in nature, dedicated to the transformation of the king after his death. The temple reliefs are celebrated for their delicacy and artistic refinement, utilizing both the archaism of earlier dynasties with the vibrancy of late 18th Dynasty reliefs. The sculptures had been published mostly in hand copy, not facsimile, by Auguste Mariette in his "Abydos", I. The temple has been partially recorded epigraphically by Amice Calverley and Myrtle Broome in their 4 volume publication of "The Temple of King Sethos I at Abydos" (1933–1958).
Osireion.
The Osirion or Osireon is an ancient Egyptian temple. It is located to the rear of the temple of Seti I. It is an integral part of Seti I's funeral complex and is built to resemble an 18th Dynasty Valley of the Kings tomb.
Helicopter hieroglyphs.
Some of the hieroglyphs carved over an arch on the site have been interpreted in esoteric and "ufological" circles as depicting modern technology.
The "helicopter" image is the result of carved stone being re-used over time. The initial carving was made during the reign of Seti I and translates to "He who repulses the nine [enemies of Egypt]". This carving was later filled in with plaster and re-carved during the reign of Ramesses II with the title "He who protects Egypt and overthrows the foreign countries". Over time, the plaster has eroded away, leaving both inscriptions partially visible and creating a palimpsest-like effect of overlapping hieroglyphs.
Ramesses II temple.
The adjacent temple of Ramesses II was much smaller and simpler in plan, but it had a fine historical series of scenes around the outside that lauded his achievements, of which the lower parts remain. The outside of the temple was decorated with scenes of the Battle of Kadesh. His list of pharaohs, similar to that of Seti I, formerly stood here; the fragments were removed by the French consul and sold to the British Museum.
Umm El Qa'ab.
The royal necropolises of the earliest dynasties were placed about a mile into the great desert plain, in a place now known as Umm El Qa'ab "The Mother of Pots" because of the shards remaining from all of the devotional objects left by religious pilgrims.
The earliest burial is about inside, a pit lined with brick walls and originally roofed with timber and matting. Other tombs also built before Menes are . The probable tomb of Menes is of the latter size. Afterwards, the tombs increased in size and complexity. The tomb-pit was surrounded by chambers to hold offerings, the sepulchre being a great wooden chamber in the midst of the brick-lined pit. Rows of small pits, tombs for the servants of the pharaoh, surrounded the royal chamber, many dozens of such burials being usual. Some of the offerings included sacrificed animals, such as the asses found in the tomb of Merneith. Evidence of human sacrifice exists in the early tombs, such as the 118 servants in the tomb of Merneith, but this practice was changed later into symbolic offerings.
By the end of the Second Dynasty the type of tomb constructed changed to a long passage with chambers on either side, the royal burial being in the middle of the length. The greatest of these tombs with its dependencies, covered a space of over , however it is possible for this to have been several tombs which abutted one another during construction; the Egyptians had no means of mapping the positioning of the tombs. The contents of the tombs have been nearly destroyed by successive plunderers; but enough remained to show that rich jewellery was placed on the mummies, a profusion of vases of hard and valuable stones from the royal table service stood about the body, the store-rooms were filled with great jars of wine, perfumed ointments, and other supplies, and tablets of ivory and of ebony were engraved with a record of the yearly annals of the reigns. The seals of various officials, of which over 200 varieties have been found, give an insight into the public arrangements.
A cemetery for private persons was put into use during the First Dynasty, with some pit-tombs in the town. It was extensive in the Twelfth and Thirteenth Dynasties and contained many rich tombs. A large number of fine tombs were made in the Eighteenth to Twentieth Dynasties, and members of later dynasties continued to bury their dead here until the Roman period. Many hundreds of funeral steles were removed by Auguste Mariette's workmen, without any details of the burials being noted. Later excavations have been recorded by Edward R. Ayrton, Abydos, iii.; Maclver, "El Amrah and Abydos"; and Garstang, "El Arabah".
"Forts".
Some of the tomb structures, referred to as "forts" by modern researchers, lay behind the town. Known as Shunet ez Zebib, it is about over all, and one still stands high. It was built by Khasekhemwy, the last pharaoh of the Second Dynasty. Another structure nearly as large adjoined it, and probably is older than that of Khasekhemwy. A third "fort" of a squarer form is now occupied by a convent of the Coptic Orthodox Church of Alexandria; its age cannot be ascertained.
Kom El Sultan.
The area now known as Kom El Sultan is a big mudbrick structure, the purpose of which is not clear and thought to have been at the original settlement area, dated to the Early Dynastic Period. The structure includes the early temple of Osiris.


List of School Rumble character image albums

The following character image albums are from the anime series "School Rumble". Each largely follows the same track layout, and has songs sung by the voice actors for the respective character and drama tracks including other characters' voice actors. Seven of the albums are for female characters: the female protagonist Tenma Tsukamoto, the supporting characters Yakumo Tsukamoto, Mikoto Suo, Eri Sawachika, and Akira Takano, and two minor characters, Karen Ichijou and Sarah Adiemus. The male protagonist of the series, Kenji Harima, is the only male character to have an image album, making a total of eight.
Tenma Tsukamoto.
 is the first character image album.
Yakumo Tsukamoto.
 is the second character image album.
Mikoto Suou.
 is the third character image album.
Eri Sawachika.
 is the fourth character image album. There are two versions, a Limited Edition and a Regular Edition.
Akira Takano.
 is the fifth character image album.
Karen Ichijou.
 is the sixth character image album.
Sarah Adiemus.
 is the seventh character image album.
Kenji Harima.
 is the eighth character image album. There are two versions, a Limited Edition and a Regular Edition.


List of Indiana state historical markers in Tippecanoe County

This is a list of the Indiana state historical markers in Tippecanoe County.
This is intended to be a complete list of the official state historical markers placed in Tippecanoe 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 10 historical markers located in Tippecanoe County.


The Rider of the King Log

The Rider of the King Log is a lost 1921 American silent action film directed by Harry O. Hoyt and starring Frank Sheridan, Irene Boyle, and Richard Travers.


Ximena Escalante

Ximena Escalante (born 1964) is a Mexican dramatist who is known for her works reinterpreting ancient Greek and other texts along with those examining the creative process of more modern writers. Born into a theatrical family in Mexico City, she first wanted to be an actress but began writing when she was 16. All of her plays have been staged and most have been published both in Mexico and abroad. Her work has been translated into multiple languages and is regularly invited to events such as the HotInk, the Salon du Livre-Paris, the Miami International Book Fair, the Festival Internacional del Libro in Guadalajara and at The Banff Center and the Rockfeller Foundation. In 2009, she was named an “artistic creator” with Mexico’s Sistema Nacional de Creadores.
Life.
Escalante was born in Mexico City in 1964. She is the granddaughter of director and producer Alvaro Custodio, who founded the Teatro Clásico de México in the 1960s.
Because of her family’s theatrical background, she wanted to become an actress when she was very young, but was told that she did not have the talent for this. However, her upbringing in the upper-class Condesa neighborhood in Condesa shaped her perspective on human relations, having contact with artists and intellectuals and spend time at the movies with the children of Alejandro Jodorowsky. However, despite this and the fact that she has written screenplays, she goes to the movies today infrequently.
At age 16 she began to write stories and novels and created her first play at that time. She entered a class taught by Hugo Argüelles and at the same time studied directing with Ludwick Margules. She then received a diploma from the Escuela de Escritores. She also took workshops with José Luis Alonso de Santos, William Layton and Juan José Gurrola.
She went to Spain to study her bachelors at the Real Escuela Superior de Arte Dramático (RESAD), majoring in writing and criticism, receiving scholarships from FONCA, the Sistema Nacional de Creadores (Jóvenes Creadores) and the Spanish Ministry of Culture and Science. Since then she has combined literature theory can criticism with her creative work.
Escalante has two children and her house in Mexico City is filled with momentos from her career and travels, such as photos of artists and posters from her plays. When asked to describe herself she replied:
 How am I? I am obsessed with ideas, with themes, with people: once I have begun with an obsession, I go where it takes me. I am very intense, too. I have taken many risks and I don't care. A sense of humor in myself and in others is important to me. I like food greatly. I don’t like people who do not appreciate eating. I am very sensual, I like pleasure and I share this with my friends and children. I am quite impatient and intolerant, and I like mariachi a lot.
I try to lead a spiritual life. I spent many years studying Sufism. I love traveling because it allows me to see places, people, theaters, books, lovers and a wonderful world. I have a difficult personality, at the same time I need much love and sweetness. I have practiced Shaolinquan and I tend to be melancholy.
I have in me a strong struggle between my need to be alone and to be in the world. I spent many hours in fiction since my childhood and adolescence. Since childhood I have been this way. My brothers and sisters said and still say that I was autistic. Reality is not easy and I deal with it through paper and resolving things.
Career.
Escalante says she is a slow writer and says only in the later career has she become more productive. However, almost all of her work has been published, and all of her plays have been staged. Her works have been translated into English, French, German, Greek, Dutch, Italian and Portuguese and have been staged in New York, Washington, Ohio, Miami, Montreal, Ottawa, Banff, Paris, Lyon, Cannes, Venice, Rome, Amsterdam, Rotterdam, Antwerp, Udine, Athens, Buenos Aires, Santiago de Chile and Madrid. In Mexico, her work has been directed by the likes of Mauricio García Lozano and Francisco Franco. Escalante worked with the Nouveau Théâtre du 8 theater company in Lyon, France from 2011 to 2013 to produce a series of four plays.
The playwright has worked on various publications researched theatrical production and theory. She wrote a theater column for the newspaper Reforma from 2000 to 2006 and has written for publications associated with RESAD and UNAM.
Escalante has participated in various workshops in writing and theatrical production and gives classes in dramatic literature in various institutions. She runs a theater workshop open to all ages, with one of her students, Pablo Iván García, winning the Mexicali Fine Arts Prize in 2010, for his play Micro dermo abrasión.
In 2009-2012 period, Escalante was named an “Artistic Creator” of the Sistema Nacional de Creadores. She has been invited on various occasions to the Pen Voices Festival in New York. Her works have been presented at HotInk, the Salon du Livre-Paris, the Miami International Book Fair, the Festival Internacional del Libro in Guadalajara, The Banff Center and at the Rockfeller Foundation.
Artistry.
While Escalante has written movie and television scripts including screenplays with Alfonso Arau and Rafael Montero, she has focused her career mostly on writing plays.
Much of Escalante’s work is based on classic myths and stories from the Classical Greece, (especially those of Sophocles, Aeschylus and Euripides) either reinterpreting them or working with characters and other elements, especially those she considers to be relevant to contemporary life. Female characters such as Phaedra, Electra, Andromache, Salome and Lilith are often the focus.
In addition to works based on ancient literature, Escalante has also created works dealing with the creative struggles of more modern writers, such as Shakespeare, Tennessee Williams, Colette, Sor Juana Inés de la Cruz. She even wrote one about painter Frida Kahlo.
In general Escalante’s works are tragedies which touch on love, passion and sexuality and the conflicts they generate. However, she does add touches of humor. Plays of this type include "Fedra y otras griegas" (2002), "Colette" (2005), "Las relaciones (sexuales) de Shakespeare (y Marlowe)" (2012) and "Tennessee en cuerpo y alma" (2012) . She believes it is inevitable to have plays be at least somewhat autobiographical.


List of Indiana state historical markers in Monroe County

This is a list of the Indiana state historical markers in Monroe County.
This is intended to be a complete list of the official state historical markers placed in Monroe 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 8 historical markers located in Monroe County.


Dangerous to Men

Dangerous to Men is a lost 1920 American silent comedy film directed by William C. Dowland and starring Viola Dana. It was distributed through Metro Pictures. The working title was "Eliza Comes to Stay".


Nora Naranjo Morse

Nora Naranjo Morse (born 1953) is a Native American artist and poet. She currently resides in Espanola, New Mexico just north of Santa Fe and is a member of the Santa Clara Pueblo. Her work can be found in several museum collections including the Heard Museum in Phoenix, Arizona, the Minneapolis Institute of Art in Minnesota, and the National Museum of the American Indian in Washington, DC, where her hand-built sculpture piece, "Always Becoming", was selected from more than 55 entries submitted by Native artists as the winner of an outdoor sculpture competition held in 2005. In 2014, she was honored with a NACF Artist Fellowship for Visual Arts and was selected to prepare temporal public art for the 5x5 Project by curator Lance Fung.
Early life and education.
Nora Naranjo Morse was born in 1953 in Santa Clara Pueblo, in Northern New Mexico. She is the daughter of potter Rose Naranjo, and a member of the Santa Clare Pueblo Tribe. Morse graduated from Taos High School in Taos, New Mexico in 1971 and received a bachelor's degree in university studies from Sante Fe College in 1980. She received an honorary Doctorate from Skidmore College in 2007.
Work.
Morse's earlier sculpting work was made using clay. Inspired by the ancient traditions of making Pueblo Clowns, she created her own character named "Pearlene". She wrote adventures about this character in "Mud Women", a book of her own poetry. In her later work, Morse commented on Indian Stereotypes as well as raising questions within her own community. Some of her most well-known installations include "Sugared Up: A Waffle Garden (1999); I've Been Bingo-ed by My Baby!: A story of love lust, and loss on the rez... (2009); and A Pueblo Woman's Clothesline (1995)."
Collections.
Morse's earthwork project, "Numbe Wahgeh", is in the collection of the 1% for Art Program of the city of Albuquerque.
Her work, "Our Homes, Ourselves", is in the collection of the Minneapolis Institute of Art.
Other works by Morse are in the collections of the Albuquerque Museum, the Heard Museum, and the National Museum of the American Indian of the Smithsonian Institution.
Quote.
"There is no word for art in the Tewa language ... There is though the concept for an artful life, filled with inspiration and fueled by labor and thoughtful approach."
Exhibits.
Morse's work was featured in the "Hearts of Our People: Native Women Artists", (2019), Minneapolis Institute of Art, Minneapolis, Minnesota, United States. She has also shown at the Heard Museum, the Wheelwright Museum, the White House, and the Canadian Museum of Civilization.
Honors and awards.
In 2003, Morse received a Contemporary Art Fellowship for her project Path Breakers from the Eiteljorg Museum of American Indians and Western Art. In 1993, she received a Dubin Fellowship from the School of American Research. In 1982, she was awarded a fellowship from the Southwestern Association on Indian Affairs.


The Fire Detective

The Fire Detective is a 1929 American adventure film serial directed by Spencer Gordon Bennet and Thomas Storey. The film is considered to be lost.


Ithihasa

Ithihasa is a 2014 Indian Malayalam-language fantasy comedy film written by Aneesh Lee Ashok and directed by Binu Sadanandan. The film tells the story of body swapping between a conservative young software professional Janaki (Anusree) and an easy going young petty thief, Alvy (Shine Tom Chacko). The music was composed by Deepak Dev.
The film received positive reviews from critics. It turned out to be a sleeper hit and was especially praised for the humour. It is inspired from the 2002 Hollywood film "The Hot Chick"
Plot.
The story, set in Cochin is about the body swapping of a petty thief Alvy (Shine Tom Chacko) and a conservative software professional Janaki (Anusree). Alvy, a thief and his friend Vikki (Balu Varghese) come in possession of a pair of stolen magic rings. One of the rings is lost and makes its way to Janaki, who wins it in a game from a shopping centre. At night both try their respective rings. The next day they realize that they are in different bodies - Alvy wakes up in Janaki's body and vice versa. Janaki's friends try to find a cure for this but fails. Alvy and Vikki enjoy their days and Janaki and her friends enjoys their day when both of them comes face to face. The next day Janaki's mother & grandmother arrive at her home to see her & they bring Alvy to impersonate as Janaki. Gradually they fall in love with each other. One day they get a call saying that they can get help from a historian (Joy Mathew).
They reveal their situation and he asks them to think about anything that happened to them in last 15 days. They reveal that they got a ring as a gift. Janaki(in Alvy's body) shows a picture of the ring, and the historian reveals that the ring swaps the bodies of the wearers, and they have to change back within 15 days (today before the sunset being the last day) or they will be like this forever. Both of them find the rings, but before putting it on, Janaki (in Alvy's body) gets kidnapped by some men speaking Hindi. Alvy (in Janaki's body) comes to beat them up, but the bad guys overpower her. Vikki pickpockets the ring from the leader and gives it to the pair. They put on the rings and switch back their original bodies . Alvy fights the villains while Vikki calls the police, who arrive and arrest them. In the post credits scene, the 2 robbers who stole the rings from the museum steal them again, but this time they try them on and swap bodies with each other.
Production.
The film marked the directorial debut of Binu S. Kalady, a wedding photographer who also has a couple of ad films to his credit. Most of the crew members also did not have any experience in cinema. Binu says, "All we had was optimism. We were a bunch of photographers whose only association with cinema was as an audience. But, I had unbridled passion for movies and that’s how I decided to do a movie. I spent almost a year on another project, but couldn’t get a producer. Then my friends suggested I come up with a more cost-effective project so that we could pump in the money ourselves. That’s when I zeroed in on Ithihasa."
The film centers on body swapping, a theme that has been explored earlier in many films. The director says: "This thread has been explored earlier in Hollywood, as in "It’s a Boy Girl Thing". Another film featuring a story on body swapping was "Freaky Friday". We used this thread to develop into a story suited for the Indian audience." According to some reviewers, the film is loosely based on the 2002 Hollywood film "The Hot Chick".
Binu said in an interview that actors and actresses whom he initially approached rejected the script saying the story was too unbelievable. Later he signed Shine Tom Chacko and Anusree as the lead pair. Binu had interacted with Shine Tom Chacko earlier and was confident he could do the lead character. But even the crew themselves were apprehensive about his choice of actress, Anusree. However, Binu was convinced "though she herself wasn't". For Shine Tom Chacko, who has worked in 15 films, "Ithihasa" was the first in a lead role. He says: "The director had approached me for a short film, but the project did not take off due to some reason. He had narrated the thread of Ithihasa then. There is a Hollywood film, The Hot Chick, with a similar storyline; Binu was confident about the subject and so I agreed to do it." Recalling the efforts that went into be the character, Shine said in an interview that playing a woman was quite challenging but being a keen observer of women from childhood helped him to become the character effortlessly. The film was made with a minimal budget of .
Music.
All lyrics written by B. K. Harinarayanan, all music composed by Deepak Dev. Music released on East Coast. The soundtrack received positive reviews. "The Times of India" wrote: "Blending melody and peppiness with smooth lyrics, composer Deepak Dev and lyricist Harinarayanan dish out a standard album and it makes for a pleasant listen. Itihasa has three songs, which are catchy and hummable."
Reception.
Critical response.
The film received positive reviews from critics and audiences. "The Hindu" wrote: "this small film does entertain in parts and is a better watch than the ones coming branded as ‘comedy’." "The Times of India" rated the film 3/5 and said, "the director has done a decent job and the film, with all its absurdity, makes for a cute, light-hearted entertainer." Rediff.com gave 2.5/5 rating and said, "The storyline sounds simple and thin but the way it is presented makes Ithihasa worth watching." Sify.com gave the verdict as "watchable" and said, "Ithihasa is far from perfect but this one is a genuine attempt from a bunch of newcomers." Nowrunning.com rated the film 2.5/5 and wrote: "'Ithihasa' may not surprise or leave you awestruck. It is a simple humorous tale with the infusion of a bit of fantasy."
Box office.
"Ithihasa" turned out to be a sleeper hit, and was lauded as one of the best comedies in the recent times. The DVD of the film was released on the first week of December. It collected in 52 days of its release, turning out to be one of the highest-grossing film in Malayalam in 2014.


Sebilj in Sarajevo

The Sebilj is an Ottoman-style wooden fountain (sebil) in the centre of Baščaršija square in Sarajevo built by Mehmed Pasha Kukavica in 1753. It was relocated by Austrian architect Alexander Wittek in 1891.
Replicas.
A multi-national collaborative public arts project created a life-size contemporary interpretation of the famous public fountain and landmark in Birmingham, using traditional Bosnian design and craft techniques and combined with modern digital technology.
There is a replica of Sarajevo's Sebilj in Belgrade, Serbia, donated by the city of Sarajevo in 1989. Another replica in St. Louis, Missouri, in the United States, was donated by the Bosnian community to the city of St. Louis for the city's 250th birthday. A third replica is in Novi Pazar, also a gift from the city of Sarajevo.
In 2018, another replica of the Sebilj has been completed in the city of Rožaje, Montenegro.


The Angel of Broadway

The Angel of Broadway was a 1927 American silent drama film produced by Cecil B. DeMille and distributed by Pathé Exchange. It was directed by Lois Weber and starred Leatrice Joy. The film is now considered lost.


Guilliam van Deynum

Guilliam van Deynum or Guilliam van Deynen (Antwerp, c. 1575 - Brussels, after 1624) was a Flemish painter, illuminator and miniaturist. He was mainly a portrait artist. After training in Antwerp he spent in the early 17th century a decade in Genoa where he was a successful portrait painter. He returned to Flanders where he worked in Brussels as a portrait painter to the Governors of the Habsburg Netherlands Archduke Albert and the Infanta Isabella.
Life.
Guilliam van Deynum was born around 1575 in Antwerp. He is believed to be identical with the Gilliam van Deynen (or van Deynum) who was registered in the Antwerp Guild of Saint Luke in 1596. The name of his teacher is not recorded. He had a brother called Antoni (or Antoon) who was a pupil of Frans Francken the Elder in 1595 and became a master of the Guild in the guild year 1616-1617.
Van Deynum arrived in Genoa in 1602 in the company of two brothers, one of whom was the Antoni mentioned earlier and another of whom the name has not been preserved. He must have achieved success early on as he painted a portrait of the local not long after his arrival. It is known that he was the victim of an assault in 1606 and that in 1607 he was imprisoned for non-payment in a case concerning his activity as an art dealer. The (Palazzo Bianco, Genoa) dated 1610 is the latest dated painting attributed to the period of his residence in Genoa. He is believed to have remained in Genoa until 1613.
Between 1613 and 1614 he is documented in Brussels when the Archdukes Albert and Isabella commissioned two miniatures with their weapons and scenes of the 'Circumcision' and the 'Resurrection'. These works were sent on 10 May 1614 to Philip II, Duke of Stettin and Pomerania, who had requested these works in May 1613. On 20 May 1614, 10 days after the miniatures were delivered, van Deynum formally entered the service of the Archdukes and was named an illuminator of the Brussels court.
After some time van Deynum came into conflict with the Brussels Guild of Saint Luke. As long as he solely worked for the Archdukes he was free from the local Guild requirements. However, once he started to work for private patrons, the Guild protested and the Guild's deacon fined van Deynum. Van Deynum refused to pay and was then sued before the Magistrate's court. The court requested he either join the Guild or cease to work as an artist. He appealed the verdict to the Council of Brabant, which confirmed the court's ruling. He then took his case to the Archdukes who supported him. By letters executed in Ghent on 31 July 1618 they exempted him from the obligation to join the painter's Guild and relieved him of all his obligations towards the Guild. Van Deynum is documented working on private commissions for Charles d'Arenberg and Anne de Croy in Enghien around 1614-1617. He collaborated with Servaes de Coulx and Jacob van der Laemen on the (Enghien, convent of the Capuchins). His contribution to this work was probably limited to the portraits in the background.
The last mention of his work at the court of Brussels is in the year 1624. It is not known when or where he died.
Work.
The known oeuvre of van Deynum is limited to about 10 works. Van Deynum painted portraits and history paintings. Due to confusion with the still life painter G. van Deynum, some still lifes have erroneously been attributed to the artist. He was an oil on canvas painter as well as a miniature painter and illuminator who worked with gouache on parchment. The work of the artist is still not very well studied and understood. The signed and dated (1610, Palazzo Bianco, Genoa) plays an important role in identifying his oeuvre.
The "Portrait of a Genovese lady in a black dress" of 1610 shows his work to be strongly linked to the forms of expression of the end of the 16th century and to closely follow the cold and impersonal approach of Frans Pourbus the Elder. His style of portrait painting is situated in the so-called international style of painting. At the time van Deynum painted the "Portrait of a Genovese lady in a black dress" in Genoa, the city was in a period of transition, during which, before the arrival of Anthony van Dyck in 1621, he and other Flemish artists introduced a form of delicate and sincere naturalism in the rigid late 16th century schemes.
Apart from three female portraits and one male portrait given to the artist, the best known works of the artist are a miniature representing (private collection) and a painting depicting (private collection).
The portrait of doge Agostino Doria and his family of 1604 was likely painted for the private use of the doge as Genoese law did not allow the doges to commission public pictures of themselves to show off their achievements. The painting shows in the foreground the doge, his wife and their four children sitting on a large terrace next to a classicizing building, and offering in the back a view over the Ligurian coastline. Behind three columns in the back, six other figures appear to be peering in at the doge's family. They include on the left the doge's nephew and the painter van Deynum himself and on the right two bearded guards with halberds. There is also a bearded black African man dressed in a green outfit with white collar and lace trimming. The face appears to be the likeness of a particular individual. It is not clear what the role of this figure is. He is likely not a guard nor a page. It is not clear whether he is linked to the character dressed in a gaudy red outfit with a large ruffed collar and moronic grin next to him. They could be court entertainers, but the expression of the African man seems to be too serious for this.
The painting of the "Archduke of Austria and Isabella of Austria at a reception ball in Genoa" was painted in collaboration with his brother Antoni. The painting consists of two planes: on the foreground is shown a lively gathering of elegantly dressed people in distinctive poses while in the back there is a wide landscape occupying three quarters of the composition. On the mountain in the distance a profile of Genoa is depicted. It is possible that Guilliam was responsible for the portraits, which are very delicately rendered with a lot of detail while the collar and other parts which do not display the same lightness of touch were executed by Antoni.
External links.


Prudence the Pirate

Prudence the Pirate is a lost 1916 American silent comedy drama film directed by William Parke and starring Gladys Hulette. It was produced by Thanhouser Company's Gold Rooster Plays and released through Pathé Exchange.


The Empress (hotel)

The Fairmont Empress, formerly and commonly referred to as The Empress, is one of the oldest hotels in Victoria, British Columbia, Canada. Located on 721 Government Street, it is situated in Downtown Victoria, facing the city's Inner Harbour. The hotel was designed by Francis Rattenbury, and was built by Canadian Pacific Hotels, a division of the Canadian Pacific Railway company. The hotel is presently managed by Fairmont Hotels and Resorts, part of AccorHotels since 2016. It is owned by Nat and Flora Bosa of Vancouver.
Opened on 20 January 1908, the Châteauesque-styled building is considered one of Canada's grand railway hotels. Since its opening, the hotel has undergone two expansions, the first from 1910 to 1912, and a second expansion in 1928. The building was designated as a National Historic Site of Canada on January 1981. The Empress underwent a significant restoration between 2015 and 2017, which cost more than $60M. The hotel commemorated the restoration efforts on 28 June 2017.
Location.
The Fairmont Empress sits at 721 Government Street, at the southern end of Downtown Victoria, the central business district for Victoria, British Columbia. The hotel property is bounded by Humboldt Street to the north, Belleville Street to the south, and Government Street to the west. To the east of the hotel is the Victoria Conference Centre, a conference centre connected to the hotel via the conservatory in 1989. The hotel provides catering for the conference centre. The conference centre and hotel are bounded by Douglas Street on the east.
Located at the southern end of Downtown Victoria on Government Street, the hotel is situated close to the British Columbia Parliament Buildings. The hotel is also situated closely to the city's Inner Harbour, a major tourist attraction located west of the hotel, across Government Street. Other major attractions located adjacent to the hotel include the Maritime Museum of British Columbia and the Victoria Bug Zoo, both located north of the hotel, across Humboldt Street.
The hotel building was designated as a National Historic Site of Canada by Parks Canada. The hotel was designated a National Historic Site on 15 January 1981 for its contribution to the development of the Chateauesque style of architecture.
Design.
Architecture.
Shortly after acquiring the property, Canadian Pacific Hotels, a division of Canadian Pacific Railway, announced its plan to construct a new hotel, similar to the company's other Chateauesque grand railway hotels. Designed by Francis Rattenbury, the hotel was built from 1904 to 1908. Rattenbury's initial plans featured a seven-story hotel similar to the Chateau Frontenac in Quebec City. Incorporating elements of French Renaissance architecture, his designs featured an enormous entrance hall, and a glass-roofed palm garden decorated in a Chinese motif. After months of delays, Rattenbury was relieved as the building's architect on 5 December 1907, with design responsibilities falling to William Sutherland Maxwell, the chief architect for Canadian Pacific Railway.
Like most Chateauesque hotels, the Empress incorporates stone and brick cladding, steep pitched copper roofs, ornate neo-Gothic dormers and gables, and polygonal turrets. However, the design of the hotel also deviates from earlier Chateauesque hotels owned by the company, incorporating elements from contemporary architectural styles into its design. The hotel's porch featured elements of Tudor architecture, the main roof of the hotel was designed in a Second Empire style with a flat top and iron railings. The building features an asymmetrical floor plan, with an interior featuring arcaded central loggia, and projecting pavilions accented by oriel windows.
The Empress was enlarged twice since it opened, with William Sutherland Maxwell designing the building's first expansion, from 1910 to 1912. The building's second expansion was completed in 1928. Much of the building's exterior brick was covered in an overgrowth of ivy, until renovations from 2014 to 2017 saw the bricks repointed and the ivy removed. The removal of the plants was done in order to prevent damage to the bricks, as well as preventing animals from living within the overgrowth.
Facilities.
The Empress includes 464 guest rooms and suites spread throughout the hotel building.
A number of rooms at The Empress are also used by restaurants and other food-based services. Restaurants located within the restaurant include the "Lobby Lounge", "Q at the Empress Restaurant", and the "Q Bar". The restaurants were all redesigned in 2017 by the Puccini Group, a San Francisco-based interior design firm. The restaurants features a purple, hardwood floor, and textured-fabric chandeliers. The hotel's afternoon tea service is held at the "Lobby Lounge".
The Willow Stream Spa is a spa facility located within the hotel. It includes a Finnish sauna, steam inhalation room, and mineral pool. The hotel also operates a fitness centre with an indoor pools, and a hot tub.
History.
The Chateauesque was designed by Francis Rattenbury for Canadian Pacific Hotels as a terminus hotel for Canadian Pacific's steamship line, whose main terminal was just a block away. The hotel was to serve business people and visitors to Victoria, but later as Canadian Pacific ceased its passenger services to the city, the hotel was successfully remarketed as a resort to tourists. Victoria emerged as a tourist destination beginning in the mid-to-late 1920s.
The hotel was built between 1904 and 1908, opening for service in that year. Additional wings were added between 1909 and 1914, and in 1928. In 1919, Edward, Prince of Wales attended a gala at the hotel's Crystal Ballroom.
In the 1930s, Shirley Temple arrived accompanied by her parents amid rumours that she had fled from California because of kidnapping threats, a story borne from the presence of two huge bodyguards who took the room opposite hers and always left their door open. On May 30, 1939, King George VI and Queen Elizabeth attended a luncheon at the Empress during their 1939 royal tour of Canada.
Until 1960 the hotel did not have a sign above the front entrance. In 1965, debate to tear down The Empress to make room for a more modern, functional high-rise hotel surfaced. One local newspaper warned that, "Without this splendid relic of the Edwardian era, literally tens of thousands of tourists will never return. This is the Mecca, this is the heart and soul of the city." However, on 10 June 1966, the hotel's ownership announced that they would not be demolished, but would embark on a $4 million renovation and refurbishment program, playfully dubbed Operation Teacup.
In 1989, over $45 million was spent in additional restoration known as The Royal Restoration. Guest rooms were renovated, and a health club, indoor swimming pool and guest reception were added. During these renovation, the engineering staff from the hotel confirmed that there was what has been described as a tunnel that ran from James Bay into the basement of the Empress. At high tide one was able to visit the basement and see the salt water flood the opening. It is not clear what the purpose was. Some have suggested that it was part of the hotel's waste management system and that at one time the sewage from the hotel was being flushed into James Bay.
In 1999, Canadian Pacific spun off Canadian Pacific Hotels, along with all its properties. The new company was renamed Fairmont Hotels & Resorts in an effort to reflect its growing global presence and ambitions. As such, all former CP Hotel properties were to be renamed and rebranded with the prefix 'Fairmont'. This led to a loud uproar and consternation by Victoria's newspapers and its citizens, a decision they viewed as sacrilege. Although the new name stuck, Fairmont made no changes to the hotel's original exterior signage, as a compromise to soothe local anxieties and respect its heritage.
Fairmont later sold the hotel on October 31, 2000, to the Legacy Hotels REIT for CAD $120 million. However, Fairmont has a long-term management agreement with Legacy Hotels, and as of August 2005, held an 11.14% ownership in this REIT. The hotel was sold again on June 27, 2014, to Vancouver-based owners, Nat and Flora Bosa. They invested more than $60 million in renovations. On May 2017, the first phase of restoration work and renovation was completed at the hotel. The renovations included redesigns of the guest rooms and suites, spa, dining facilities, and reception lobby.


Hydaburg Totem Park

The Hydaburg Totem Park is a city park in the small community of Hydaburg, Alaska, located on the western side of Prince of Wales Island in southeastern Alaska. The park, created in 1939, contains a collection of preserved and recreated totem poles, based on originals collected from small communities abandoned by the Haida people to form Hydaburg. The old totem poles were brought to the park by crews from the Civilian Conservation Corps, and were recreated and preserved under the guidance of Haida master carvers. The park has been the subject of a major restoration effort in the 2010s.
The park was listed on the National Register of Historic Places in 2006.


Casimir Pulaski Monument (Savannah, Georgia)

Casimir Pulaski Monument in Savannah, or Pulaski Monument on Monterey Square, is a 19th-century monument to Casimir Pulaski, located in Monterey Square, on Bull Street, Savannah, Georgia, not far from the battlefield where Pulaski lost his life during the siege of Savannah.
History.
Sources vary with regards to when the cornerstone for the monument was placed, with either 1825 (involving the presence of Gilbert du Motier, Marquis de Lafayette) or 1853 being given. Coulter notes that the Lafayette cornerstone was originally located at Chippewa Square, but the funding proved insufficient to erect the monument at that time, and in 1853 it was moved to the Monterey Square, where the monument would be erected. Construction of the monument at Monterey Square began after funding (approximately $17,000) was finally secured. The cornerstone was relaid on October 11, 1853 (anniversary of Pulaski's death). Nash notes it was unveiled in 1856; Knight, however, notes that the statue was dedicated on January 9, 1855. The monument is said, according to Knight, to have been "considered at the time one of the most elegant memorials in America." Alongside the monument, a body alleged to be Pulaski's was buried in it (recent genetic reexaminations of the body are conclusive that this was Pulaski).
Szczygielski notes that already on October 29, 1779 (Pulaski died on October 11 that year) the United States Congress passed a resolution that a monument should be dedicated to him. The Savannah monument, built over half a century later, was the first monument dedicated to Pulaski in the United States.
Work on restoration of the monument began in 1995.
Description.
The monument is made from Italian marble, with smaller elements of granite. It is tall. The monument has a bronze bas relief of mounted Pulaski, and is topped with a statue of Liberty, with the stars and stripes banner. The monument was designed by Robert Launitz. The bas relief was designed by Henryk Dmochowski, and shows the moment of Pulaski's death. Additional elements present on the monument include the coat of arms of Poland and the coat of arms of Georgia.
Inscription on the monument reads: "Pulaski, the Heroic Pole, who fell mortally wounded, fighting for American Liberty at the siege of Savannah, October 9, 1779."


American Me

American Me is a 1992 American crime drama film produced and directed by Edward James Olmos, his first film as a director, and written by Floyd Mutrux and Desmond Nakano. Olmos also stars as the film's protagonist, Montoya Santana. Executive producers included record producer Lou Adler, screenwriter Mutrux, and Irwin Young. It depicts a fictionalized account of the founding and rise to power of the Mexican Mafia in the California prison system from the 1950s into the 1980s.
Plot.
The film depicts 30 years of Chicano gang life in Los Angeles. It focuses on Montoya Santana, a teen who forms a gang along with his friends J.D. and Mundo. They soon find themselves committing crimes and are arrested.
In juvenile hall, Santana murders a fellow inmate, who had raped him, and as a result has his sentence extended into Folsom State Prison after he turns 18.
A few years later, a now older Santana has becomes the leader of a powerful prison gang, La Eme. Upon his release he tries to relate his life experiences to the society that has changed so much since he left. La Eme has become a feared criminal organization beyond Folsom, selling drugs and committing murder.
Santana starts to see the error of his ways, but before he can take action he is sent back to prison for drug possession. There, he tells his former friend, lieutenant J.D., that he is no longer interested in leading La Eme. However, following a precedent set by Santana himself earlier in the film, his men murder him to show the other prison gangs that despite having no leader they are not weak. He is fatally stabbed and thrown off the balcony to his death.
Production.
Parts of the film were shot in Folsom State Prison and California Institution for Men. Shooting lasted for three weeks and included 800 inmates and guards, who appeared as extras. Scenes shot in Los Angeles included gang members as extras.
Reception.
Critical response.
Roger Ebert of the "Chicago Sun-Times" liked the reality that came through in the film and that it rang true: "What I felt watching "American Me," however, is that it is based on a true situation—on the reality that street gangs and prison, mixed with the drug sales that finance the process, work together to create a professional criminal class."
Janet Maslin writes in "The New York Times," "But Mr. Olmos's direction...is dark, slow and solemn, so much so that it diverts energy from the film's fundamental frankness. Violent as it is, "American Me" is seldom dramatic enough to bring its material to life."
Marjorie Baumgarten, a film critic for "The Austin Chronicle," wrote, ""American Me" is crafted with heart and conviction and intelligence. It demands no less of its audience. It insists that there are no quick fixes, but that solutions are of the utmost urgency."
The film was screened in the Un Certain Regard section at the 1992 Cannes Film Festival.
On Rotten Tomatoes the film has an approval rating of 78% based on reviews from 9 critics. On Metacritic the film has a score of 66% based on reviews from 11 critics, indicating "generally favorable reviews".
Box office.
The film opened in wide release in the United States on March 13, 1992 (830 screens). The opening weekend's gross was $3.4 million, and the total receipts for the first three weeks were $9.1 million. The film was in wide release for three weeks (seventeen days). In its widest release the film was featured in 830 theaters across the country. The final box office gross amounted to $13.1 million.
Controversy.
Mexican Mafia reaction.
Segments of the Mexican Mafia were enraged by the film, specifically, the lead character's rape as a juvenile and his death at the hands of his own followers at the end of his criminal career. Whether as retaliation over their depiction in the film, or as a routine criminal racket, Mexican Mafia member Joe "Pegleg" Morgan allegedly attempted to extort money from Olmos. Court documents show that Olmos was a victim in one extortion count contained in a 33-count federal indictment. According to reportage by CBS News weekly "60 Minutes", three consultants on this film were later murdered because of the depiction of a homosexual rape scene which offended the Mexican Mafia gangsters' machismo.
Actor Danny Trejo said in an interview that he was aware of 10 people having been murdered for their involvement with the film. The first killing occurred 12 days after the film's premiere when one of the film's consultants, Charles "Charlie Brown" Manriquez, a member of La Eme, was killed in Ramona Gardens, L.A.'s oldest public housing project.<ref name="upload/LA times American Me.doc">Katz, Jesse. article from June 13, 1993 "Los Angeles Times," upload/LA times American Me.doc</ref>
Another consultant to the film, 49-year-old grandmother Ana Lizarraga, commonly known as "The Gang Lady", was murdered when she was gunned down in her East Los Angeles driveway while unloading groceries. A federal indictment accused "La Eme" of ordering the 1992 murder of Lizarraga. Lizarraga was a former gang member who was, by the time she was killed, an anti-gang counselor. She played a grandmother in the film. Her murder occurred eight months after "American Me" was completed.
Soundtrack.
Since the film deals with a Latino subculture, the music included in the soundtrack was Latino oriented--late 1970s urban sounds and oldies from the 1950s.
The original soundtrack was released on April 28, 1992, by Virgin Records.
The CD contains ten tracks and includes songs performed by various artists including: Los Lobos, Santana, Ike & Tina Turner, Bobby Day, Kid Frost, War, and other performers.


Latakia

Latakia (, '; ) is the principal port city of Syria, as well as the capital of the Latakia Governorate. Historically, it has also been known as Laodicea in Syria or Laodicea ad Mare. In addition to serving as a port, the city is a manufacturing center for surrounding agricultural towns and villages. According to the 2004 official census, the population of the city is 383,786, Its population greatly increased as a result of the ongoing Syrian Civil War due to the influx of refugees from rebel held areas. It is the 4th-largest city in Syria after Aleppo, Damascus and Homs, and it borders Tartus to the south, Hama to the east, and Idlib to the north while Cape Apostolos Andreas, the most north-eastern tip of Cyprus is about away.
Although the site has been inhabited since the 2nd millennium BC, the city was founded in the 4th century BC under the rule of the Seleucid empire. Latakia was subsequently ruled by the Romans, then the Ummayads and Abbasids in the 8th–10th centuries of the Christian era. Under their rule, the Byzantines frequently attacked the city, periodically recapturing it before losing it again to the Arabs, particularly the Fatimids. Afterward, Latakia was ruled successively by the Seljuk Turks, Crusaders, Ayyubids, Mamluks, and the Ottomans. Following World War I, Latakia was assigned to the French mandate of Syria, in which it served as the capital of the autonomous territory of the Alawites. This autonomous territory became the Alawite State in 1922, proclaiming its independence a number of times until reintegrating into Syria in 1944.
Etymology.
Like many Seleucid cities, Latakia was named after a member of the ruling dynasty. First named "Laodikeia on the Coast" () by Seleucus I Nicator in honor of his mother, Laodice. In Latin, its name became "Laodicea ad Mare". The original name survives in its Arabic form as "al-Ladhiqiyyah" (), from which the French "Lattaquié" and English "Latakia" or "Lattakia" derive. To the Ottomans, it was known as Lazkiye.
History.
Ancient settlement and founding.
The location of Latakia, the Ras Ziyarah promontory, has a long history of occupation. The Phoenician city of Ramitha was located here. Stephanus of Byzantium writes that the city was named Ramitha (), then "Leukê Aktê" ("white coast") () and later Laodicea ().
The city was described in Strabo's "Geographica":
Roman rule.
Pompey the Great conquered the city along with most of Syria in the 1st century BC, and Julius Caesar declared the city a "free polis." The Roman emperor Septimius Severus rewarded the city with the title of "Metropolis" in the 2nd century AD, exempted it of the empire's taxation, fortified the city, made it for a few years the capital of Roman Syria and also built the city's famed Tetraporticus around the same time. Some Roman merchants moved to live in the city under Augustus, but the city was always culturally "Greek" influenced. Subsequently, a Roman road was built from southern Anatolia toward Berytus and Damascus, that greatly improved the commerce through the port of Laodicea.
The heretic Apollinarius was bishop of Lāŏdĭcḗa in the 4th century. The city minted coins from an early date, but decreasing in importance after the cities of Alexandria and Antioch flourished in coin minting and overshadowed other cities.
The city was also famed for its wine produced around the port's hills which were exported to all the empire.
During the split of the Roman Empire, it belonged to the Eastern Roman Empire. An earthquake damaged the city in 494, but the city was later reconstructed by Justinian I and made the capital of the Eastern Roman province of Theodorias from 528 AD until Muslim conquest around 637 AD.
Early Islamic era.
All of Syria, including the Roman province of Theodorias and its capital, Laodicea fell into Muslim rule after its attacked by a caliphate general, named 'Ubadah ibn al-Samit during the Muslim conquest of Syria in the 7th century. The city was renamed al-Lādhiqīyah (اللَّاذِقِيَّة) and switched rule from the Rashidun Caliphate, to the Umayyad Caliphate and finally to the Abbasid Caliphate in a span of 9 centuries, attached to the large province of Bilad Al-Sham (Greater Syria). Arab geographer, Al-Muqaddasi (d. 991), mentions al-Lādhiqīyah as belonging to the district of Hims (Homs).
Crusader, Ayyubid, and Mamluk rule.
The Mardaites controlled the region from to Jebel Aqra to northern Palestine, including Latakia in 705. However, they later withdrew from the city after an agreement with the Umayyad caliph Al-Walid I. Afterwards, the Mardaites sacked it in 719, but it was rebuilt by Umar II. The city lost its importance due its location on the border between the Byzantine Empire and the Abbasid Caliphate from 750 to 968. The Byzantine Empire recaptured the city in 970 by John I Tzimiskes, but it was lost to the Fatimids in 980. The Banu Munqidh managed to control the city until they were succeeded by the Seljuks during the reign of Malik-Shah I in 1086, despite a brief Byzantine control in 1074. Later on, Guynemer of Boulogne raided the city on 19 August 1097, with 28 ships coming from Cyprus during the First Crusade. In 1098, Raymond of Saint-Gilles captured the city, with the Byzantine fleet presence; hence, the city became contested between the crusaders and the Byzantines who controlled Latakia and Baniyas in the meantime.
After failed efforts by Bohemond I of Antioch to capture Latakia from the Byzantine Empire in 1099, and a brief control of the Genoese fleet in 1101, the city was taken in 1103 by forces under the command of Tancred of Hauteville, a veteran of the First Crusade and acting regent of the Principality of Antioch. Following the defeat of Antiochene forces at the Battle of Harran in 1104, the city was reoccupied by the Byzantines led by Admiral Cantacuzenus, however they would again lose the city. Despite a treaty in 1108 with Bohemond promising to return Latakia to the Byzantine Empire by 1110 it was firmly under the control of the Principality of Antioch, as it was called "La Liche". In 1126, the cities of Latakia and Jabala were the dowry of Princess Alice, daughter of King Baldwin II of Jerusalem, who later donated a house in Latakia to the Knights Hospitaller, which became their main base in the region. In April 1136, the city was sacked by Emir Sawar ibn Aytakin, governor of Aleppo, then it was struck by the 1157 Hama earthquake and the 1170 Syria earthquake.
This situation remained the same with the city serving as the primary port for the Principality until after the loss of Antioch itself to the Ayyubids, under the rule of Saladin on 23 July 1188. By 1260, the crusaders recaptured the city, until they were defeated by the Mamluks of Qalawun, on 20 April 1287.
In circa 1300, Arab geographer al-Dimashqi noted that Latakia had no running water and that trees were scarce, but the city's port was "a wonderful harbor... full of large ships". In 1332, the Moroccan traveller Ibn Battuta visited Latakia in his journeys.
During the late 14th and 15th century, Venetians had a consul in Latakia, due to the trade of cotton and silk from Persia. The city which was in despair was rebuilt after a visit by Qaitbay in 1477.
Ottoman rule.
Latakia became under the Ottoman control after the Battle of Marj Dabiq in 1516.
In 1888, when Wilayat Beirut was established, Latakia became its northernmost town.
In the Ottoman period, the region of Latakia became predominantly Alawi. The Turkmen also consisted a significant minority. The city itself, however, contained significant numbers of Sunni and Christian inhabitants. The landlords in the countryside tended to be Sunni and Orthodox Christians, while the peasants were mostly Alawi. Like the Druzes, who also had a special status before the end of World War I, the Alawis had a strained relationship with the Ottoman overlords. In fact, they were not even given the status of millet, although they enjoyed relative autonomy.
French Mandate period.
In 1920, Latakia fell under the French mandate, under which the Alawite State was established. The state was named after the locally-dominant Alawites, and became a French mandate territory after World War I. The French Mandate from the League of Nations began in 1920. The creation of the Alawite State as well as the other states of Syria under the French Mandate and the division it created was because the French hoped to focus on fragmenting the various groups in the region, so that the local population would not focus on the larger nationalist movement seeking to end colonial rule. Whatsoever, the French justified the creation of the Alawite state by citing the "backwardness" of the mountain-dwellers, religiously distinct from the surrounding Sunni population, and claimed that the division intended to protect the Alawi people from more-powerful majorities.
The division the French administration created in Syria didn't stop Alawites such as Sheikh Saleh al-Ali, who led the Syrian Revolt of 1919, to continue and protest French rule. Saleh al-Ali coordinated with the leaders of other anti-French revolts in the country, including the revolt of Ibrahim Hananu in the Aleppo countryside and Subhi Barakat's revolt in Antioch, but Saleh al-Ali's revolt was put down in 1921, and a French court-martial in Latakia sentenced Shaykh Saleh to death in absentia, and offered a reward of 100,000 francs for information on his whereabouts. After the French gave up trying to capturing Shaykh Saleh, a pardon was issued by General Henri Gouraud.
The state became part of the Syrian Federation in 1922, but left the federation again in 1924. In 1930 the Alawite State was renamed as the Government of Latakia, the only concession by the French to Arab nationalists until 1936. On 3 December 1936 (becoming effective in 1937), the Alawite state was re-incorporated into Syria as a concession by the French to the Nationalist Bloc (the ruling party of the semi-autonomous Syrian government).
There was a great deal of Alawite separatist sentiment in the region, but their political views could not be coordinated into a unified voice. There was also a great deal of factionalism amongst the Alawite tribes, and the Alawite State was incorporated into Syria with little organised resistance.
In 1942, the Latakia and Druze regions were returned to Syrian control, and by 1946, the French completely left Syria and a new independent government was created.
Modern era.
All but a few classical buildings have been destroyed, often by earthquakes; those remaining include a Roman triumphal arch and Corinthian columns known as the Colonnade of Bacchus. However, important remains from the city at Roman and Hellenistic periods including full body statues, Roman funerary art, and column capitals that once belonged to the ancient city, are found in its national museum.
An extensive port project was proposed in 1948, and construction work began on the Port of Latakia in 1950, aided by a US$6 million loan from Saudi Arabia. By 1951, the first stage of the construction was completed, and the port handled an increasing amount of Syria's overseas trade.
In August 1957, 4,000 Egyptian troops landed in Latakia under orders from Gamal Abdel Nasser after Turkish troops massed along the border with Syria, accusing it of harboring Turkish Communists.
A major highway linked Latakia with Aleppo and the Euphrates valley in 1968 and was supplemented by the completion of a railway line to Homs. The port became even more important after 1975, due to the troubled situation in Lebanon and the loss of Beirut and Tripoli as ports.
In 1973, during the October War (Yom Kippur War), the naval Battle of Latakia between Israel and Syria was fought just offshore from Latakia. The battle was the first to be fought using missiles and ECM (electronic countermeasures).
In 1987, the city hosted the tenth round of the Mediterranean Games, with the opening ceremony hosted by Hafez al-Assad in the Latakia Sports City, a sports complex designed specifically to host the games, with the Latakia Sports City Stadium serving as the main venue for the games.
In 1994, the city's population reached 303,000, with that number significantly rising to 383,786 in 2004. Although population assessment in recent years have become difficult due to the ongoing civil war, the city's population is estimated to have rose drastically due to the influx of refugees from the cities of Aleppo, Idlib and other cities held by rebels and extremist terrorists which have been affected by the ongoing war.
Syrian Civil War.
During the Syrian Civil War, Latakia had been a site of protest activity since March 2011. The Syrian government claimed 12 were killed there in clashes in late March, leading to the deployment of the military to restrict movement into and out of the city. Hundreds of Syrians were reportedly arrested, and by late July, activists in Latakia were telling foreign media they feared a more violent crackdown was coming. Protests continued despite the increased security presence and arrests. Several civilians were allegedly killed in confrontations with security officers during this early period of the siege. On 13 August 2011, the Syrian Army and Syrian Navy launched an operation where more than 20 tanks and APCs rolled into the Alawi stronghold. The city was also attacked by the Syrian army on the 14 August 2011. Activists claimed that 25 people died during the attack.
Latakia is the home of Russia's largest foreign electronic eavesdropping facility. Khmeimim Air Base is an airbase near Latakia converted to use by the Russian military in 2015.
The city has been relatively calm and secure during the civil war, with electricity and water returning as of 2017, and Russian air force constantly patrolling the city and surrounding localities.
In November 2016, al-Manara university, a private university, was founded in the city under the patronage of the Syrian Prime Minister, Imad Khamis and Syrian First Lady Asma al-Assad. Its faculties as of 2017 include Pharmacy and Health, Engineering and Business.
In September 2017, following the Syrian Arab Army's lift of ISIL's 3 year long siege over the city of Deir ez-Zor and the entire liberation of the city and surrounding villages in a successful offensive, 125 tons of citrus were sent in convoys from Latakia as a gift to the people of the city to celebrate the breaking of the devastating siege, with many more batches to be sent to the surrounding localities.
Russian president Vladimir Putin, accompanied by his Syrian counterpart Bashar al-Assad visited the Khmeimim airbase, Russia's main military base in Syria, located just outside Latakia near Jableh on 11 December 2017. Declaring victory over ISIL, and announcing a partial military withdrawal from Syria, but with continuing Russian presence, as the Khmeimim airbase and the Russian naval facility in Tartus would still be operated by Russian forces.
In celebration of Christmas and the New Year, forces from the Khmeimim-based Russian Coordination Center distributed school bags, stationery and milk to the children of fallen soldiers in the Ghassan Zwan School and to the children of the Russian community in Latakia and the surrounding countryside.
Geography.
Latakia is located north-west of Damascus, south-west from Aleppo, north-west of Homs, and north of Tartus. Nearby towns and villages include Kasab to the north, Al-Haffah, Slinfah and Qardaha to the east in the Coastal Mountain Range, and Jableh and Baniyas to the south.
Latakia is the capital of the Latakia Governorate, in western Syria, bordering Turkey to the north. The governorate has a reported area of either or . Latakia is the administrative centre of the Latakia District that occupies the northern portion of the Latakia Governorate.
Nahr al-Kabir al-Shamali flows into the Mediterranean Sea south of Latakia.
Climate.
Under Köppen's climate classification, Latakia has a hot-summer Mediterranean climate ("Csa"). Latakia's wettest months are December and January, where average precipitation is around 160 mm. The city's driest month, July, only has on average about of rain, despite being rather humid. Average high temperatures in the city range from around in January to around in August. Latakia on average receives around of rainfall annually.
Demographics.
One of the first censuses was in 1825, which recorded that there were 6,000–8,000 Muslims, 1,000 Greek Orthodox Christians, 30 Armenian Christians, 30 Maronite Catholics, and 30 Jews. At the beginning of the 20th century, Latakia had a population of roughly 7,000 inhabitants; however, the Journal of the Society of Arts recorded a population of 25,000 in 1905. In a 1992 estimate, Latakia had a population of 284,000, rising to 303,000 in the 1994 census. The city's population continued to rise, reaching an estimated 402,000 residents in 2002.
Latakia was historically a Sunni city, however the Alawatization process under Hafez al Asaad led to many Alawites moving from the rural hinterland into the city. In 2010 Latakia City was 50% Alawite, 40% Sunni and 10% Christian, however, the rural hinterland has an Alawite majority of roughly 70%, with Christians making up 14%, Sunni Muslims making up 12%, and Ismailis representing the remaining 2%. The city serves as the capital of the Alawite population and is a major cultural center for the religion. Throughout the 1980s and 1990s, large numbers of Alawites from the area emigrated to the country's capital Damascus. Of the Christians, a sizable Antiochian Greek population exists in Latakia, and their diocese in the city has the largest congregation of the Greek Orthodox Church of Antioch. There is also an Armenian community of 3,500 in the city. The entire population speaks Arabic, mostly in the North Levantine dialect.
Within the city boundaries is the "unofficial" Latakia camp, established in 1956, which has a population of 6,354 Palestinian refugees, mostly from Jaffa and the Galilee.
Economy.
The Port of Latakia (Arabic: ميناء اللاذقية) is the main seaport in Syria. It was established on the 12th of February, 1950, and has boosted the city's importance ever since. The port's imported cargo include clothing, construction materials, vehicles, furniture, minerals, tobacco, cotton, and food supplies such as lintels, onions, wheat, barley, dates, grains and figs, and in 2008, the port handled about 8 million tons of cargo.
The largest area of the port with 43 hectares occupies the container terminal. The storage capacity is up to 17,000 containers. Latakia was connected to six ferry lines to Alexandria (Egypt), Izmir (Turkey) and Beirut (Lebanon). It is not known whether the lines still exist in the Syrian civil war, which has been going on since 2011.
The marina Latakia has 150 berths for ships up to a maximum length of 25 meters and 4 meters draught. The Syrian Navy has one of four bases in Latakia.
Latakia has an extensive agricultural hinterland. Exports include bitumen (asphalt), cereals, cotton, fruits, eggs, vegetable oil, pottery, and tobacco. Cotton ginning, vegetable-oil processing, tanning, and sponge fishing serve as local industries for the city.
The Cote d'Azur Beach of Latakia is Syria's premier coastal resort, and offers water skiing, jet skiing, and windsurfing. The city contains eight hotels, two of which have five-star ratings; both the Cote d'Azur de Cham Hotel and Lé Meridien Lattiquie Hotel are located north of the city, at Cote d'Azur. The latter hotel has 274 rooms and is the only international hotel in the city.
Compared to other Syrian cities, window shopping and evening strolls in the markets is considered a favorite pastime in Latakia. Numerous designer-label stores line 8 Azar Street, and the heart of the city's shopping area is the series of blocks enclosed by 8 Azar Street, Yarmouk Street, and Saad Zaghloul Street in the city center. Cinemas in Latakia include Ugarit Cinema, al-Kindi, and a smaller theater off al-Moutanabbi Street.
Culture.
Museums.
The National Museum of Latakia was built in 1986 near the seafront of the city. It formerly housed the residence of the Governor of the Alawite State and was originally a 16th-century Ottoman "khan" ("caravansary") known as Khan al-Dukhan, meaning "The "Khan" of Smoke", as it served the tobacco trade. The "khan" historically served not only as an inn, but also contained private residences. The exhibits include inscribed tablets from Ugarit, ancient jewellery, coins, figurines, ceramics, pottery, and early Arab and Crusader-era chain-mail suits and swords.
However, since the outbreak of the Syrian Civil War in 2011, the museum had been temporarily closed, to protect the museum's exhibits from the trafficking and looting, which became common during recent years, that the Museums of Palmyra, Deir ez-Zor and Raqqa suffered from. However, the museum's gardens are still open to the public, and contain many column capitals, ornaments, funerary tombs and statues which still can be viewed by the public.
Sport.
Latakia is the home city of three football clubs: Teshrin Sports Club was founded in 1947, Hutteen Sports Club was founded in 1945. and Tadamon SC was founded in 1980. All teams are based in the al-Assad Stadium, which carries a capacity of 28,000 people. Just north of the city is the Latakia Sports City complex, which was built in 1987 to host the 1987 Mediterranean Games.
Latakia tobacco.
Latakia tobacco is a specially prepared tobacco originally produced in Syria and named after the port city of Latakia. Now the tobacco is mainly produced in Cyprus. It is cured over a stone pine or oak wood fire, which gives it an intense smokey-peppery taste and smell. Rarely smoked straight, it is used as a "condiment" or "blender" (a basic tobacco mixed with other tobaccos to create a blend), especially in English, Balkan, and some American Classic blends.
Education.
The University of Latakia was founded in May 1971, and later renamed Tishreen University ("October University") in 1976 to commemorate the October War of 1973. The university first had only 3 faculties, Literature, Science and Agriculture and only an enrollment of 983 students during its founding, but that number largely grew throughout the years to reach more than 70,000 students, making the Tishreen University the 3rd largest in Syria, with the number of its faculties rising to 17, including Medicine, Pharmacy, Dentistry, Science, Nursing, Education, Agriculture, Law, History, Electrical and Technical Engineering and Arts, among others. The city also houses a branch of the Arab Academy for Science and Technology and Maritime Transport.
One of the oldest schools in Latakia, a previous military barracks built during the French Mandate of Syria and Lebanon is named after Jules Jammal, an Arab Christian military officer who blew himself up in a suicide attack on a French ship.
On 26 November 2016, al-Manara University, a private university, was founded under the patronage of Imad Khamis, the Prime Minister of Syria. Its faculties as of 2017 include Pharmacy and Health, Engineering and Business.
Local infrastructure.
Landmarks.
The modern city still exhibits faint traces of its former importance, notwithstanding the frequent earthquakes with which it has been visited. The marina is built upon foundations of ancient columns, and there are in the town an old gateway and other antiquities, as also sarcophagi and sepulchral caves in the neighbourhood. This gateway is a remarkable triumphal arch at the southeast corner of the town, almost entire: it is built with four entrances, like the Forum Jani at Rome. It is conjectured that this arch was built in honour of Lucius Verus, or of Septimius Severus. Fragments of Greek and Latin inscriptions are dispersed all over the ruins, but entirely defaced.
Notable points of interest in the nearby area include the massive Saladin's Castle and the ruins of Ugarit, where some of the earliest alphabetic writings have been found. There are also several popular beaches. There are numerous mosques in Latakia, including the 13th-century Great Mosque and the 18th-century Jadid Mosque constructed by Suleiman Pasha Azem.
Latakia has consulates general of Finland and France, and honorary consulates of Greece and Romania.
Healthcare.
The Syrian government operates three major public hospitals in Latakia, Al-Assad Hospital, The National Hospital and The Tishreen University Hospital, with other private hospitals working for private gain. one of the famous hospitals is bahrou hospital.
Transportation.
Roads link Latakia to Aleppo, Beirut, Homs, and Tripoli. The main commercial coastal road of the city is Jamal Abdel Nasser Street, named after former Egyptian president Gamal Abdel Nasser. Lined with hotels, restaurants and the city museum, the street begins in central Latakia along the Mediterranean coast and ends at Hitteen Square. From the square, it branches southwest into al-Maghreb al-Arabi Street, south into 8 Azar Street, which continues south to form Baghdad Avenue—the main north–south road—branching into Beirut Street and Nadim Hassan Street along the southern coastline. From the southern portion of Jamal Abdel Nasser Street branch off al-Yarmouk Street and al-Quds Street, the latter which ends at al-Yaman Square in western Latakia, it continues west into Abdel Qader al-Husseini Street. North from al-Yaman Square Souria Avenue and south of the square is al-Ourouba Street. Souria Avenue ends in al-Jumhouriah Square, then continues north as al-Jumhouriah Street.
Much of the city is accessible by taxi and other forms of public transportation. Buses transport people to various Syrian, Lebanese, and Turkish cities, including Aleppo, Damascus, Deir ez-Zor, Palmyra, Tripoli, Beirut, Safita, Hims, Hama, Antakya, and Tartous. The "luxury" Garagat Pullman Bus Station is located on Abdel Qader al-Husseini Street, and at least a dozen private companies are based at the station. On the same street is the older Hob-Hob Bus Station that operates a "depart when full" basis to Damascus and Aleppo. Local microbuses run between al-Yaman Square and the city center, as well as between the station on al-Jalaa Street and the city center. There is also a microbus station with buses departing to Qalaat Salah ed-Din, Qardaha, Kassab, and Jableh.
Latakia's railway station is located on al-Yaman Square. Chemins de Fer Syriens operated services, including two daily runs to Aleppo and one weekly run to Damascus via Tartous. In 2005, approximately 512,167 passengers departed from Latakia's railway station.
The Bassel Al-Assad International Airport is located south of Latakia and serves as a national and regional airport with regular flights to Sharjah, Jeddah, Riyadh and Cairo. The Port of Latakia is also a link in six organized cruises between Alexandria, İzmir and Beirut. In addition, there are irregular ferry services to Cyprus. In 2005, approximately 27,939 passengers used the port.


MF Doom production discography

The following list is a discography of production by MF DOOM, a US-based English hip hop record producer and rapper. It includes a list of songs produced, co-produced and remixed by year, album and title.


Jacob Bickler

Jacob Bickler (November 29, 1849 – April 30, 1902) was a scholar, educator and president of the Texas State Teacher's Association. He was founder of the boys' Texas German and English Academy and the co-educational Bickler Academy, both located in Austin, Texas. In 1969, Recorded Historic Texas Landmark 6438 was placed at the site of the Goodman Building, noting the location on the second floor of Jacob Bickler's German and English academy.
Early life.
Jacob Bickler was born on November 20, 1849, in Bad Sobernheim in Rhineland-Palatinate, Germany to Peter Bickler and his wife Katherine Schöffling Bickler. He received his early education in the public schools of Bad Sobernheim. Peter Bickler married a second time and moved to Milwaukee, Wisconsin where the teenage Jacob joined the new couple in 1863. From 1863–1867, young Bickler attended Milwaukee high schools and Milwaukee Markham Academy College Preparatory School. In 1870, Bickler earned his Bachelor of Arts in Pedagogics from the University of Wisconsin. He became fluent in six languages. From 1871–1872, Bicker was a Principal in the educational system of La Crosse, Wisconsin.
Texas.
On December 24, 1872, Jacob Bickler moved to Austin, Texas and joined his uncle his Philip Bickler in teaching at the Bickler German-English Academy, where artist Carl G. von Iwonski had also once taught. Land Commissioner Jacob Kuechler appointed Bickler assistant draftsman and calculator in the Texas General Land Office on April 1, 1873. On January 24, 1874, the date of Bickler's wedding, he resigned from the Texas General Land Office to resume his teaching career.
In 1876, Bickler founded the Texas German and English Academy in Austin, a boys' school that remained in operation until 1902. In 1880, the Wahrenberger House in Austin was leased to Bickler. He operated the Academy at this house. According to the Texas Historical Commission, the school was located here until 1886. However, conflicting information states that the Academy was located in the Texas Military Institute Castle in Austin from 1884–1887. It is conceivable that Bickler started the Academy in the Wahrenberger House and kept his headquarters there, while moving the institute to the larger location as enrollment grew. In 1887, Bickler was elected president of the Texas State Teachers Association. Bickler served as superintent of Galveston public schools 1887–1892. In 1892, he founded the co-educational Bickler Academy in Austin, which was located in the Goodman Building until 1897. In 1969, Recorded Historic Texas Landmark 6438 was placed at the site of the Goodman Building, noting the location on the second floor of Jacob Bickler's German and English academy. In summer months, Bickler taught classes at both Fredericksburg and Mason.
Bickler was a member of the summer faculty at the University of Texas. He was a leading proponent for establishment of the 1891 College of Education at the University.
Personal life and death.
On January 24, 1874, Bickler married Martha Lungkwitz, daughter of artist Hermann Lungkwitz. The couple had nine children, eight of whom survived infancy.
Jacob Bickler died in Austin on April 30, 1902, and is buried in Oakwood Cemetery in Austin, Texas.


Aaron ben Zerah

Aaron ben Zerah was a French Jew who suffered martyrdom at Estella in the Kingdom of Navarre on March 5, 1328. Banished from his original home in 1306 by order of King Philip the Fair of France, who confiscated his property, he sought refuge at Estella, where, after a residence of twenty years, he, his wife, and several of his sons were slaughtered by Christian population in an anti-Jewish revolt. The horrors of that event are described in "Ẓedah la-Derek," a work written by Aaron's son Menahem, who escaped death.


List of Maryland state historical markers in Garrett County

This is a list of the Maryland state historical markers in Garrett County.
This is intended to be a complete list of the official state historical markers placed in Garrett County, Maryland by the Maryland Historical Trust (MHT). The locations of the historical markers, as well as the latitude and longitude coordinates as provided by the MHT's database, are included below. There are currently 19 historical markers located in Garrett County.


Ghulam Hassan Shaggan

Ghulam Hassan Shaggan (1928, in Amritsar – 3 February 2015) was a Pakistani classical music singer of the Gwalior Gharana from the Hindustani classical music genre. Ustad Ghulam Hassan Shaggan was the recipient of numerous awards including the Pride of Performance (1988) and Sitara-e-Imtiaz (2000) (Star of Excellence) from the Government of Pakistan.
Personal life and early years.
His father's name was Bhai Lal Mohammad (died 1962), who belonged to the Gwalior-Kapurthala Gharana. Ghulam Hassan Shaggan, along with his father and family, moved to Pakistan in 1947 and settled in Lahore.
Ghulam Hassan Shaggan lived in Iqbal Town, Lahore with his sons Qadir Shaggan (vocalist and music director) and Mazhar Shaggan (rabab and mandolin player).
Career.
Ghulam Hassan Shaggan's father Bhai Lal Mohammad was appointed music supervisor at Radio Pakistan. His son, Ghulam Hassan Shaggan, had opportunities to perform at the radio station. Over a period of 12 years, as Shaggan gained recognition, he started performing more frequently at Radio Pakistan, The All Pakistan Music Conference, and other events in Pakistan and abroad.
International tours.
In the 1990s, Ghulam Hassan Shaggan had received recognition in Europe as an outstanding representative of the North Indian classical music tradition. His talent was first recognized by French musicologists Gerard Kurgijian and Martina Catella. They invited him to perform in France, Sweden, Spain, Switzerland, Germany and the UK.
Ghulam Hassan Shaggan also collaborated with the alternative/trance band Fun-Da-Mental. This band used an arrangement of his original bandish in Raag Bhopali in the band's 2001 album, "There Shall be Love!"
Final years.
Even in his final years before his death in 2015, he continued to perform in public with youthful enthusiasm with the characteristic vigor of the Gwalior gayaki.
Awards and recognition.
He received countless awards and titles during his 1962 tour of India. He was conferred with the titles of Sangeet Rattan, Sangeet Alankar, Sangeet Samrat, Sindh Sangeet Mandalam and King of Music from the Sindh Sangeet Mandal in Mumbai. During the same 1962 tour of India, he was presented with a certificate of recognition by sarod maestro Hafiz Ali Khan of India.
In 2014, Ustad Ghulam Hassan Shaggan was honoured with the first "Lifetime Achievement Award" of the Lahore music forum.
Death and legacy.
Ghulam Hassan Shaggan died on Tuesday, 3 February 2015 in Lahore, Pakistan at age 86. His son, Qadir Shaggan, reportedly said that his father had been suffering from heart disease. When his condition suddenly deteriorated, he was taken to Punjab Institute of Cardiology, where he was pronounced dead. Among his survivors are two sons, Qadir Shaggan who is also a classical music vocalist and a music director. The other son, Mazhar Shaggan, is a rabab and mandolin player.


Riders of Vengeance

Riders of Vengeance is a 1919 American Western film directed by John Ford and featuring Harry Carey. The film is considered to be lost.
Production.
"Riders of Vengeance" was released as a Universal Special feature in June 1919, a 60-minute silent film on six reels. It was part of the long-running "Cheyenne Harry" series of film featurettes. The story was an uncommon collaboration between the star Harry Carey and the director John Ford (with help from scenarist Eugene Lewis). Though it has an unusually high level of violence ("lots of killings", as "Moving Picture World" noted), critical reviews of the time lavishly praised both the story and film.
Plot.
Harry's bride is murdered at their wedding along with Harry's mother and father, and the good-hearted outlaw turns grimly malevolent. He leaves town, only to return one year later. One by one he stalks his wife's killers, dispatching them all until he finally sets his sights, mistakenly, on Sheriff Gale Thurman. The lawman bests Harry and keeps him hiding outside town in the wilderness. Straying into the same wilderness, the Sheriff's girlfriend is first overtaken by highwaymen, then rescued by Harry, only to be taken captive by Harry when he realizes who she is. At first threatening to harm the girl, Harry slowly falls in love with her, all while hostile Apaches attempt to kill them both. By the time the Sheriff tracks them down, a full-scale assault is under way, and the two men join forces. Harry realizes the Sheriff's innocence, but it is too late: the lawman is dead from his battle wounds, but he has saved his girlfriend - and Harry.