Wang Guowei

Wang Guowei (; 2 December 18772 June 1927) or Wang Kuo-wei, courtesy name Jing'an (靜安) or Boyu (伯隅), was a Chinese historian and poet. A versatile and original scholar, he made important contributions to the studies of ancient history, epigraphy, philology, vernacular literature and literary theory.
Biography.
A native of Haining, Zhejiang, he went to Shanghai to work as a proofreader for a newspaper, after failing to pass the Imperial Examination in his hometown, at the age of 22. There he studied in the Dongwen Xueshe (東文學社), a Japanese language teaching school, and became a protégé of Luo Zhenyu. Sponsored by Luo, he left for Japan in 1901, studying natural sciences in Tokyo. Back in China one year later, he began to teach in different colleges, and devoted himself to the study of German idealism. He fled to Japan with Luo when the Xinhai Revolution took place in 1911. He returned to China in 1916, but remained loyal to the overthrown Manchu emperor. In 1924, he was appointed professor by the Tsinghua University, where he was known as one of the "Four Great Tutors," along with the prominent Chinese scholars Liang Qichao, Chen Yinke, and Y. R. Chao.
In 1927, Wang drowned himself in Kunming Lake in the Summer Palace before the National Revolutionary Army entered Beijing during the Northern Expedition.
Chen Yinque's epitaph read: "The suicide of Wang was because he worried about losing the independent spirit and free thought he long cherished in his academic pursuit."
Legacy.
Wang focused on the studies of Chinese vernacular literature during the early year of his career. When he became convinced that Schopenhauer's metaphysics were not believable, he turned for solace to critical and philological studies of the novel "Dream of the Red Chamber", as well as writing a concise history of the theaters of the Song and Yuan dynasties. Although its conclusions are controversial, his article "On A Dream of the Red Chamber" has been called "a monumental development in the history of modern Chinese criticism."
Later he changed his academic direction, focusing on philology and ancient history. His works on ancient history and philology are collected in "Guantang Jilin" (觀堂集林). In these areas, Wang is remembered for his contributions to the study of oracle bone script and the history of the Shang dynasty. In 1917, Wang published a scholarly article entitled "Study of the Ancestral Kings and Nobility Appearing in the Yin Oracular Inscriptions" (《殷卜辭中所見先公先王考》) in which Wang identified 31 kings and ancestors of the Shang royal lineage as the recipients of sacrifices that were recorded in the Yinxu oracle bone inscriptions. Wang was able to basically confirm the king list compiled by Sima Qian over a millennium later in the "Basic Annals of Yin" of the "Records of the Grand Historian" (《史記·殷本紀》) while making several corrections to it.


Fitzalan Pursuivant Extraordinary

Fitzalan Pursuivant of Arms Extraordinary is a current officer of arms in England. As a pursuivant extraordinary, Fitzalan is a royal officer of arms, but is not a member of the corporation of the College of Arms in London. As with many other extraordinary offices of arms, Fitzalan Pursuivant obtains its title from one of the baronies held by the Duke of Norfolk, Earl Marshal of England; the appointment was first made for the coronation of Queen Victoria in 1837. The badge of office was assigned in 1958 and is derived from a Fitzalan badge of the fifteenth century. It can be blazoned "An Oak Sprig Vert Acorns Or", but is also recorded as "A Sprig of Oak proper".
The first four Fitzalans, beginning with Sir Albert Woods, subsequently became Garter Principal King of Arms. Charles Wilfrid Scott-Giles, the well-known heraldic writer, also served as Fitzalan Pursuivant. The current Fitzalan Pursuivant of Arms Extraordinary is Alastair Andrew Bernard Reibey Bruce of Crionaich, second cousin to the Hon. Adam Bruce, Marchmont Herald of Arms, currently also serving as the Governor of Edinburgh Castle.


H. J. Burlingame

Hardin Jasper Burlingame (1852–1915) was an American magician and magic historian.
Burlingame had taken lessons from the magician David Tobias Bamberg. He later used the stage name "Jasper Bamberg" when he performed in Chicago.
Burlingame is most well known for his book "Hermann the Magician" (1897), a biography of the magician Alexander Herrmann.
He also wrote a biography of Baron Hartwig Seeman, a noted Swedish magician.


Silvano Campeggi

Silvano "Nano" Campeggi (; January 23, 1923 – August 29, 2018) was an Italian artist who designed and produced the artwork for the posters of many classic Hollywood films. His iconic images are associated with the golden era of Hollywood and Campeggi is now generally regarded as the most important graphic artist and poster designer in the history of American cinema.
Early life.
Campeggi's father, a printer and typesetter, exposed him to the world of graphics and design. He attended the art school at Porta Romana, Florence, studying under accomplished painters of the time such as Ottone Rosai and Ardengo Soffici.
Hollywood career.
Campeggi's first career breakthrough came with a World War II commission from the American Red Cross to paint the portraits of American soldiers before they returned home. This deepened his understanding of American music, film and culture. After the war he moved to Rome, where he was approached by Metro-Goldwyn-Mayer for whom he produced the poster for "Gone with the Wind.", with Clark Gable holding Vivien Leigh in passionate embrace while Atlanta burned in the background.
In the following decades, Campeggi designed and produced the poster and advertising graphics for over 3000 films, working not only under contract with the MGM studios, but also with Warner Brothers, Paramount, Universal, Columbia Pictures, United Artists, RKO, Twentieth-Century Fox and several other movie studios. Sixty-four of the films he illustrated won Oscars, including "Casablanca", "Ben-Hur", "Singin' in the Rain", "An American in Paris", "West Side Story", "Exodus", "Breakfast at Tiffany's", and "Gigi".
Many of his images of Hollywood actresses are instantly recognizable: Liza Minnelli in derby hat and black stockings, Elizabeth Taylor, Lauren Bacall in beret and cape, Ava Gardner, Rita Hayworth, Sophia Loren. Equally, he portrayed the male stars: Marlon Brando astride his motorcycle as "The Wild One", a bare-chested James Dean, John Wayne neckerchief and cowboy hat, Humphrey Bogart in his white dinner jacket.
Many of Campeggi's subjects became close personal friends. Ava Gardner asked him to accompany her down the red carpet at one of her movie premieres. His wife recounted a story of Elizabeth Taylor lending her maternity clothes after having just given birth herself. He described Marilyn Monroe, whom he first painted in the early 1950s, as "my icon and surely the most enchanting woman I have ever met."
Return to Italy.
In the 1970s when film poster illustration lost impact in the face of television and newspaper advertising, Campeggi returned to Florence. There he painted a series of 50 images depicting Siena's Palio horse race (2001). Another series of 50 images "I Have Seen the Rush of Jousts" (2003) was commissioned by the city of Arezzo to celebrate the Jousting Tournaments of Saracen, the title taken from "Dante's Inferno".
Campeggi's other important commissions included the painting of five large battle scenes from the Italian Risorgimento on behalf of the Carabinieri police force (early 1970s); a portrait of the Italian Resistance hero Salvo D'Acquisto which appeared as an Italian postage stamp (1975); a series of 35 images for the City of Florence depicting their traditional "Calcio Storico" soccer match (1997); and the creation of one of the Stations of the Cross for the rededication of the city of Assisi (2004). Campeggi's best known work in Italy may be the Portrait of Garibaldi.
In 2008, for the 150th anniversary of the birth of Giacomo Puccini, Campeggi was commissioned to produce a special tribute: "The Girls of Puccini". Also in 2008 he began work on a Napoleon series to commemorate the 200th anniversary of the Emperor's association with the island of Elba. The "Napoleon at Elba" exhibition opened in September 2008 at Portoferraio.
The most recent Campeggi exhibition commemorated one of the largest armed conflicts ever to take place in Italy – The Battle of Campaldino fought between the cities of Florence and Arezzo on June 11, 1289. It is a spectacular assembly of large and dramatic battle scenes combined with more intimate portraits of the knights and noblemen who led the cavalry and infantry – all liberally splashed with “I Colori Della Battaglia”
Campeggi died on 29 August 2018, at the age of 95.


Ritmoteca.com

Ritmoteca.com was an online music store. Founded in Miami, Florida, in 1998 during the Dot-com bubble by Ivan Parron, the company was a Latin music download website and an early predecessor to Apple Inc.'s now highly successful iTunes business model of selling digital music downloads over the Internet. Ivan Parron founded the company after operating the web development company Internet Marketing Consultants, which designed Ritmoteca's user interface. Ritmoteca.com aggregated exclusive digital distribution rights from over one hundred independent Latin music record labels and amassed a library of over 500,000 music tracks and videos, including exclusive digital distribution rights to catalogs of Latin artists such as Marc Anthony, Tito Puente and Celia Cruz. The company was signed digital distribution agreements with major record labels, signing agreements with Universal Music Group, Sony Music Entertainment, Bertelsmann Music Group and Warner Music Group. These agreements gave the company digital distribution rights for artists such as U2, Madonna, Britney Spears, Enrique Iglesias and Jay-Z. The company grew to as many as 200 employees through investments from institutional and "angel" investors including Bain Capital. The company was poised to launch an initial public offering when the Dot-com bubble stock market suddenly crashed on April 14, 2000. That event, combined with the emergence of the company Napster on the music scene, enabling people to trade music online for free, made it virtually impossible for the company to raise additional venture capital. The company evolved into a distributor of digital music rights and eventually closed down in 2005.


The Teahouse of the Ten Lotus Flowers

The Teahouse of the Ten Lotus Flowers (German: Das Teehaus zu den zehn Lotosblumen) is a 1919 German silent crime film (filmed in color) directed by Georg Jacoby and starring Ellen Richter, Victor Janson and Meinhart Maur.
The film's sets were designed by the art director Kurt Richter.


Chinese porcelain in European painting

Chinese porcelain in European painting is known from the 16th century, following the importation of Chinese porcelain wares into Europe.
Italian precedents (15th–16th century).
In Italy, the first known depiction of Chinese porcelain bowls is from "The Feast of the Gods" by Giovanni Bellini (1514). The style of the bowls is that of the Ming dynasty blue and white porcelain type, maybe examples of which are known to have been exported in Persia, Syria and Egypt. The painting by Bellini was a request by Duke Alfonso I d'Este, who was known for his interest in Chinese porcelain. It seems that Bellini found samples of the Chinese ware not through trade, but among diplomatic gifts received by Venice from the Mamluke Sultans in 1498 (gift to Doge Barbarigo), and in 1498 and 1508 (gift to the Signoria).
Some earlier examples are known though, although it is unclear if they are Chinese or Islamic prototypes, as in the "Madonna and Child" by Francesco Benaglio (1460–70), or the "" by Andrea Mantegna (1495–1505).
Rest of Europe (17th–18th century).
In the 16th century, numerous other painters would use Chinese porcelain in their paintings, especially Dutch ones. This trend was related to the direct importation of Chinese porcelain to Europe, through what is known as "Carrak" trade, hence the name Kraak porcelain.
French painters, such as François Desportes and Paul Gauguin, also represented Chinese bowls in their still-life paintings. Some like Jacques Linard in 1627 even painstainkingly reproduced Chinese writing, in "", 1627.
This artistic trend coinciding with the fashion for Chinese porcelain in Europe in the 17th–18th century, which led to the development of a local porcelain industry initially highly imitative of Chinese wares, as seen in French porcelain.
The Netherlands.
In the history of seventeenth-century trade, few things can compete with the prominent position of porcelain. Before the discovery of its making technique in the West, commercial activity between Europe and China was the only way to possess them. During the seventeenth century, the Dutch Republic came to the fore in the realm of porcelain trading. This history was tightly related to the history of the Dutch East India Company. As a monopoly in the early-modern Europe-Asia trade, the Dutch East India Company acts as a mediator between the two cultures and imports tons of porcelain along with other commodities like spices, silk, and tea. Since then, Chinese ceramic was not the exclusive luxury that only appeared in the upper class's mansion but became increasingly common in the domestic setting of the relatively humble household.
Although the imported Chinese ceramics gains its popularity among wealthy merchants, the erudite scholars and philosophers are not satisfied merely with the commercial value of the porcelain. For them, the country and the civilization that created this fascinating material culture are the core of the interest. The appeal of China is deeply rooted in a long western tradition that may begin with the renowned Italian explorer Marco Polo. This impression of China was reinforced by the exotic Chinese goods and luxuries that appeared in Europe, such as spices, silk, tea, and porcelain. Motivated by the splendid material culture, intellectuals ceaselessly explore Chinese civilisation. This positive view of Chinese civilization also existed among the Dutch early-modern authors. For instance, scholars like Willem ten Rhijne, , and Joost van den Vondel demonstrate strong interests in sinology and actively spread their thoughts through their books. This “Chinese fever” culminated with the first Dutch translation of "Confucius" in 1675. Intellectuals’ taste could influence artists to a large extent since they are also important patrons of art. Although whether the artists are able to understand the cultural connotations of Chinese porcelains is quite ambiguous, the wave of the "chinoiserie" may permeate into the artistic group. Chinese porcelain represents not only advanced craftsmanship and technology but also the symbol of civilization that is far away from Europe.
Meanwhile, the relatively opened art market and the distinct status of the artists in the Dutch Republic give a chance to artists to explore their own interest. Thus, still-life painters are mediators who seize the commodity, which is highly esteemed by society and represent it in their painting. And in a prosperous commercial society, the value of the goods resides in its marketing price. Under the hegemonic Dutch economy, everything obeys the law of the business, including art. In this sense, porcelain traded by Dutch East India company was a good choice for the artists to contain in their still-life paintings considering its social and economic connotation.
Moreover, the porcelain in Dutch still-life painting demonstrates how the material culture circulated and interacted around the world in the seventeenth century. This circulating process is also the process of domesticating the otherness. Like the connotations embedded in Juriaen van Streek’s painting "Still Life with a Moor and Porcelain Vessels", these commodities and even human beings depicted in the painting come from completely different continents or cultures. The foreign material culture here is used to articulate the local identity of the Dutch.
References.
● Gerritsen, Anne, and Mcdowall, Stephen. “Material Culture and the Other: European Encounters with Chinese Porcelain, ca. 1650-1800,” Journal of World History, Vol. 23, No.1, Special Issue: Global China (March 2012): 87-113.
● Honig, Elizabeth Alice. “Making Sense of Things: On the Motives of Dutch Still Life,” Anthropology and Aesthetics, No. 34 (Autumn, 1998): 166-183.
● Jörg, Christiaan J.A. Porcelain and the Dutch China Trade, The Hague: Martinus Nijhoff, 1982.
● Kaufmann, Thomas DaCosta. "The 'Netherlandish Model'? Netherlandish Art History As/and Global Art History." Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art 66 (2016): 272-95.
● Schama, Simon. The Embarrassment of Riches : An Interpretation of Dutch Culture in the Golden Age. London: Collins, 1987.
● Weststeijn, Thijs. “Cultural Reflections on Porcelain in the 17th-century Netherlands”, Chinese and Japanese Porcelain for the Dutch Golden Age, Amsterdam: Rijksmuseum Amsterdam, (2014): 213-268.
● Weststeijn, Thijs. "Introduction: Global Art History and the Netherlands." Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art 66 (2016): 6-27.


Akseli Gallen-Kallela

Akseli Gallen-Kallela (26 April 1865 – 7 March 1931) was a Finnish painter who is best known for his illustrations of the "Kalevala", the Finnish national epic ("illustration, below"). His work is considered a very important aspect of Finnish national identity. He changed his name from Gallén to Gallen-Kallela in 1907.
Life and career.
Early life.
Gallen-Kallela was born Axel Waldemar Gallén in Pori, Finland in a Swedish-speaking family. His father Peter Gallén worked as police chief and lawyer. Gallen-Kallela was raised in Tyrvää. At the age of 11 he was sent to Helsinki to study at a grammar school, because his father opposed his ambition to become a painter. After his father's death in 1879, Gallen-Kallela attended drawing classes at the Finnish Art Society (1881–1884) and studied privately under Adolf von Becker.
Paris.
In 1884 he moved to Paris, to study at the Académie Julian. In Paris he became friends with the Finnish painter Albert Edelfelt, the Norwegian painter Carl Dørnberger, and the Swedish writer August Strindberg. During this period he traveled back and forth between Finland and Paris.
Mary Slöör.
He married Mary Slöör in 1890. The couple had three children, Impi Marjatta, Kirsti and Jorma. On their honeymoon to East Karelia, Gallen-Kallela started collecting material for his depictions of the "Kalevala". This period is characterized by romantic paintings of the "Kalevala", such as the "Aino Myth", and by several landscape paintings, although by 1894 the influence of symbolism is heavily visible in his works.
Berlin and tragedy.
In December 1894, Gallen-Kallela moved to Berlin to oversee the joint exhibition of his works with the works of Norwegian painter Edvard Munch. At the time Gallen-Kallela also designed a grand cabin called "Kalela" for his family far from everything on the shore of Lake Ruovesi. It was built from dead standing pine by 13 local carpenters in a year from 1894 to 1895.
In March 1895, his trip was ended when he received a telegram that his daughter Impi Marjatta had died from diphtheria. This would prove to be a turning point in his work. While his works had previously been romantic, after his daughter's death Gallen-Kallela painted more aggressive works. In the years 1896–1899 he painted what are considered his most famous works: "The Defense of the Sampo", "Lemminkäinen's Mother", "Joukahainen's Revenge" and "Kullervo's Curse". In May 1895, Gallen and Mary visited London, with his intent being the purchase of a graphic art press. While there he also learned about stained glass. At the end of 1897 the family took a trip to Florence, also visiting Pompeii, where he studied the art of frescoes.
Paris 1900 Exposition.
For the Paris World Fair in 1900, Gallen-Kallela painted frescoes for the Finnish Pavilion. In the fresco "Ilmarinen Plowing the Field of Vipers" there was a hidden political message: one of the vipers is wearing a small Romanov crown, telling of Gallen-Kallela's wish for an independent Finland at the time of the Russification of Finland.
The Paris Exposition secured Gallen-Kallela's stature as the leading Finnish artist. In 1901 he was commissioned to paint the fresco, "Kullervo Sets Off for War", for the concert hall of the Helsinki Student's Union. Between 1901 and 1903 he painted the frescoes for the Jusélius Mausoleum in Pori, memorializing the 11-year-old daughter of the industrialist Fritz Arthur Jusélius. (The frescoes however were soon damaged by dampness, and were completely destroyed by fire in December 1931. Jusélius assigned the artist's son Jorma to repaint them from the original sketches. The reconstruction was completed just before Jorma's death in 1939.)
Gallen-Kallela officially finnicized his name to the more Finnish-sounding Akseli Gallen-Kallela in 1907. His idea for a 700-page ' was fully formed in 1909 with a publication of his plan in the ' magazine.
Kenya.
In 1908 with renewal in mind, Gallen-Kallela and his family moved to Paris. However the city and the new direction art was being taken didn't feel as hospitable as he had hoped, and so in May 1909 they moved much further away to Nairobi in Kenya. He was the first Finnish artist to paint south of the Sahara, and he totalled over 150 expressionistic works. Although artistically the paintings are of fluctuating quality, their colors and the synergy of the colors are remarkable. They returned to Finland in February 1911. Between 1911 and 1913 he designed and built a studio and house for his family at Tarvaspää, approximately 10 km northwest of the centre of Helsinki.
Finnish Civil War.
The family moved back from Tarvaspää to Kalela in 1915 to escape the turmoil of WW I. A few years later in 1918, Gallen-Kallela and his son Jorma took part in the fighting at the front of the Finnish Civil War. When the regent, General Mannerheim, heard about this, he invited Gallen-Kallela to design the flags, official decorations and uniforms for the newly independent Finland. For the flag, Gallen-Kallela proposed a white-blue cross flag, with colors inverted (white cross on blue), but this was considered too similar to the Swedish flag and particularly the Greek flag of the time. In 1919 he was appointed aide-de-camp to Mannerheim. In 1920 he made an agreement with the publishing company WSOY for the eventual publication of "Great Kalevala", with the less decorative "Koru-Kalevala" being published first in 1922.
Taos, New Mexico and later life.
In December 1923 he moved to the United States, where his family also followed him in autumn 1924. He first spent time in Chicago, and an exhibition of his work toured several cities. In Chicago he was impressed by Native American art and moved to Taos, New Mexico at the art colony there to study it further. During this time in the United States he also began sketching out the "Great Kalevala" in much more detail. In May 1926, the family returned to Finland. Two years later in 1928 together with his son Jorma he painted the "Kalevala" frescoes at the lobby of the National Museum of Finland. Then in 1930 he made an agreement to paint a gigantic fresco for the bank Kansallis-Osake-Pankki, but on 7 March 1931 while returning from a lecture in Copenhagen he suddenly died of pneumonia in Stockholm.
Legacy.
His studio and house at Tarvaspää was opened as the Gallen-Kallela Museum in 1961; it houses some of his works and research facilities on Gallen-Kallela himself.


List of Pennsylvania state historical markers in Adams County

Pennsylvania state historical markers in Adams County by the Pennsylvania Historical and Museum Commission (PHMC) are 44 signs, including 16 regarding the Gettysburg Campaign.


Fellers (film)

Fellers is a 1930 Australian comedy about three friends in the Australian Light Horse during the Palestine Campaign of World War I starring Arthur Tauchert, who was the lead in "The Sentimental Bloke" (1919). The film is mostly silent with a recorded music score as an accompaniment, but the last reel was synchronised with a few minutes of dialogue and a song.
Plot.
Three friends serve in the Australian Light Horse during the Palestine Campaign of World War I. One of them enlisted for excitement; another because he thought he killed a man in a fight over a girl; the third because he thought the girl he loved (Jean Duncan) was in love with another. The second man is killed laying a pipe to supply the army with water.
To save the girl back home from heartbreak (her father has recently died), the third man swaps identification tags with the dead man, and has himself reported as dead. He then finds out that the girl loves him. After the war, the complications are resolved and the third man is reunited with the girl
Production.
Scenes set in the Palestinian desert were shot in sandhills at Kensington near Sydney and in Western New South Wales. The film incorporates documentary footage of the real campaign. The silent sequences were direct by Arthur Higgins and the sound ones by Austin Fay.
Release.
The film was entered in the £10,000 Commonwealth Government film competition. It was awarded third prize of £1,500 – there was no second and first prize as the judges felt none of the entries were good enough. Higgins and Fay argued that their films had been given enough prints under the judging system to warrant the second prize of £2,500 and threatened to sue, but the government did not change its mind.
Contemporary reviews were poor, the critic from the "Sydney Morning Herald" complaining that the film:
Leaves much to be desired. The technique of its production Is amateurish; its acting forced and stilted. It has an absurd, trivial story. In its attempts at humour it is stolidly unamusing. The only thing that saves the picture from utter mediocrity is the series of scenes supposed to be taken in the Palestinian deserts, but actually photographed among the sandhills at Kensington... The directors go to endless trouble and expense transporting their apparatus and the members of their company from place to place in order to secure the correct local colour for their stories; yet as regards the plots themselves, and still more as regards the captions, they seem to think that anything will suffice... The plot bristles with absurdities... The change of identification discs in the desert was so puzzling in its consequences that it left the beholders yesterday completely at a loss.
Commercial results appear to have been disappointing.
Preservation status.
This is now considered a lost film.


Mentioned in dispatches

To be mentioned in dispatches (or despatches, MiD) describes a member of the armed forces whose name appears in an official report written by a superior officer and sent to the high command, in which their gallant or meritorious action in the face of the enemy is described.
In some countries, a service member's name must be mentioned in dispatches as a condition for receiving certain decorations.
United Kingdom, British Empire, and Commonwealth of Nations.
Servicemen and women of the British Empire or the Commonwealth who are mentioned in despatches (MiD) are not awarded a medal for their actions, but receive a certificate and wear an oak leaf device on the ribbon of the appropriate campaign medal. A smaller version of the oak leaf device is attached to the ribbon when worn alone. Prior to 2014, only one device could be worn on a ribbon, irrespective of the number of times the recipient was mentioned in despatches. Where no campaign medal is awarded, the oak leaf is worn directly on the coat after any medal ribbons. In the British Armed Forces, the despatch is published in the "London Gazette".
Prior to 1914, no decoration existed to signify a mention in despatches, although sometimes a medal for gallantry could be awarded in its place.
For 1914–1918 and up to 10 August 1920, the device consisted of a spray of oak leaves in bronze worn on the ribbon of the Victory Medal. Those who did not receive the Victory Medal wore the device on the British War Medal. Established in 1919, it was retrospective to August 1914. It was not a common honour with, for example, only twenty-five (out of 1,000) members of the Royal Newfoundland Regiment in the First World War mentioned in despatches. In all, 141,082 mentions were recorded in the "London Gazette" between 1914 and 1920.
From 1920 to 1993, the device consisted of a single bronze oak leaf, worn on the ribbon of the appropriate campaign medal, including the War Medal for a mention during the Second World War. The Canadian Armed Forces still use the bronze oak leaf device.
Since 1993 a number of changes have been made in respect of United Kingdom armed forces:
For awards made from September 1993, the oak leaf has been in silver. The criteria were also made more specific, it now being defined as an operational gallantry award for acts of bravery during active operations.
From 2003, in addition to British campaign medals, the MiD device can be worn on United Nations, NATO and EU medals.
In a change introduced in 2014, up to three MiD devices may be worn on a single campaign medal and ribbon bar for those with multiple mentions, backdated to 1962. Prior to this change, even if the serviceman was mentioned in despatches more than once, only a single such device was worn.
Prior to 1979, a mention in despatches was one of three awards that could be made posthumously, the others being the Victoria Cross and George Cross. The 1979 reform allowed all gallantry decorations to be awarded posthumously.
Soldiers can be mentioned multiple times. The British First World War Victoria Cross recipient John Vereker, later Field Marshal Viscount Gort, was mentioned in despatches nine times, as was the Canadian general Sir Arthur Currie. The Australian general Gordon Bennett was mentioned in despatches a total of eight times during the First World War, as was Field Marshal Sir John Dill.
Below are illustrations of the MiD device being worn on a variety of campaign medal ribbons:
Australia.
Australian service personnel are no longer eligible to be mentioned in dispatches. Since 15 January 1991, when the Australian Honours System was established, the MiD has been replaced by the Australian decorations: the Commendation for Gallantry and the Commendation for Distinguished Service. Similarly, the equivalents of the MiD for acts of bravery by civilians and by soldiers not engaged with the enemy have also been reformed. The reformed and comprehensive system is now as follows:
Canada.
A mention in dispatches – in French, "Citation à l'ordre du jour" – gives recognition from a senior commander for acts of brave or meritorious service, normally in the field. The Mention in dispatches is among the list of awards presented by the Governor General of Canada.
India.
Mention in dispatches has been used since 1947, in order to recognize distinguished and meritorious service in operational areas and acts of gallantry which are not of a sufficiently high order to warrant the grant of gallantry awards.
Eligible personnel include all Army, Navy and Air Force personnel including personnel of the Reserve Forces, Territorial Army, Militia and other lawfully constituted armed forces, members of the Nursing Service and civilians working under or with the armed forces.
Personnel can be mentioned in dispatches posthumously and multiple awards are also possible. A recipient of a mention in a dispatch is entitled to wear an emblem, in the form of a lotus leaf on the ribbon of the relevant campaign medal. They are also issued with an official certificate from the Ministry of Defence.
Pakistan.
Under the current Pakistani military honours system, the Imtiazi Sanad is conferred upon any member of the Pakistan Armed Forces who is mentioned in dispatches for an act of gallantry that does not qualify for a formal gallantry award.
South Africa.
In 1920 the Minister of Defence of the Union of South Africa was empowered to award a multiple-leaved bronze oak leaf emblem to all servicemen and servicewomen mentioned in dispatches during the First World War for valuable services in action. The emblem, which was regarded as a decoration, was worn on the ribbon of the Victory Medal (Union of South Africa). Only one emblem was worn, irrespective of the number of times a recipient had been mentioned.
The Afrikaans rendition of "mentioned in dispatches" is "Eervolle Vermelding in Berigte".
In 1943, the Union Defence Force confirmed the availability of the British award, the bronze oak leaf, for acts of bravery, in contact with the enemy, which fell just short of the standard required for the granting of a decoration, or for valuable services not necessarily in immediate contact with the enemy.
The mention in dispatches (MiD) was one of only four awards which could be made posthumously. The others were the Victoria Cross, the George Cross, and the King's Commendation (South Africa). The oak leaf emblem was worn on the ribbon of the War Medal 1939–1945.
The King's Commendation (South Africa) (1939–45) was denoted by a bronze King Protea flower emblem worn on the ribbon of the Africa Service Medal, for valuable services in connection with the Second World War. It could be awarded posthumously and was the equivalent of a mention in dispatches for services rendered away from the battlefield.
The MiD and the King's Commendation (SA) were the only decorations that could be approved by the South African Minister of Defence without reference to the King.
France.
Since the French Revolution, France has had the custom of declaring deserving citizens or groups to have "bien mérité de la Patrie" ("well deserved the recognition of the Fatherland"). This sentiment is continued to this day in the formulation of the citations that accompany medals.
In the French military, mentions in dispatches – or more accurately, mention in orders ("citation dans les ordres") – are made by senior commanders, from the level of a Regimental commanding officer to the Commander-in-Chief, in the orders they give to their unit, recognizing the gallantry of an action performed some time before. There are two kinds of mentions : mentions with cross, for bravery in presence of the enemy, and mentions without cross, for bravery not in presence of the enemy.
Mentions with cross.
The citations are given for acts of gallantry by any member of the French military or its allies and are, depending on the degree, roughly the equivalent of the US Bronze Star Medal or Silver Star and the UK Mention in Dispatches or Military Cross and, formerly, the Military Medal.
Mentions made during the two World Wars or colonial conflicts were accompanied with awards of a "Croix de guerre" or a "Croix de la Valeur Militaire", with attachments on the ribbon depending on the mention's degree : the lowest degree is represented by a bronze star while the highest degree is represented by a bronze palm.
A unit can also be mentioned in dispatches. The unit standard is then decorated with the corresponding Croix. After two mentions, the men of the unit are entitled to wear a fourragère.
Mentions without cross.
Since 2004, mentions for bravery not involving actual combat with the enemy are awarded with a gold "Médaille de la Défense nationale" (National Defence Medal) and with the same attachments as the Croix de guerre. Before 2004, these mentions were recorded in the service member record, but not recognized with any decoration.


Jeff Davis County Courthouse (Texas)

The Jeff Davis County Courthouse is located in the town of Fort Davis, the seat of Jeff Davis County in the U.S. state of Texas. The courthouse was constructed between 1910-1911 and added to the National Register of Historic Places in 2002. The Texas Historical Commission (THC) has also designated the building as a Recorded Texas Historic Landmark since 2000 and, along with the surrounding courthouse square, as a State Antiquities Landmark since 2003. The surrounding county and county seat, along with the nearby historic frontier fort at Fort Davis National Historic Site, are named after Jefferson Davis, who served as U.S. war secretary at the time of the establishment of the fort and the town, and who would later become president of the Confederate States of America during the Civil War.
The courthouse is located in the town's traditionally commercial district and holds the distinction of having the highest elevation of any of the state's courthouses due to Fort Davis' altitude in the state's western Davis Mountains. The building was constructed in a Classic Revival style with recessed columned porticoes on two sides with a Beaux-Arts clock tower atop. The ground floor primarily hosts county offices while the second floor is dominated by the district courtroom.
A previous facility located on the same square from 1880 to 1911 served as the original courthouse for both Jeff Davis County and also for Presidio County from which Jeff Davis County was partitioned and of which Fort Davis also formerly served as the county seat. The older courthouse was an adobe facility that required constant maintenance and never held sufficient space to serve the needs of either county government.
The current building has also suffered over its history with poor construction requiring constant repair as well as the need for upgrades to modern infrastructure and technical standards. The courthouse underwent major renovations in the 1950s, many of which disrespected the building's original architectural design, and again in this century with THC funding that further modernized the structure while rectifying many of the previous renovation's design deficiencies bringing the building closer to its original glory. The courthouse grounds are planted mostly with native species, and continues to serve as a focal point for holiday celebrations and community observations.
Description.
The courthouse is located in the center of Fort Davis' courthouse square on a block bounded by Court Avenue to the north, South State Street to the east, Woodward Avenue to the south, and South Front Street on the west. State St., along the square's eastern boundary, is the town's main thoroughfare conveying both State Highway 17 (SH 17) and SH 118 which merge just south of the square's southeastern corner at Woodward Ave. The building's official address is 100 Court Avenue along the northern face of the courthouse.
The two-story Classic Revival edifice features an exterior with alternating layers of concrete and rusticated pink native stone. Six doric columns enclose recessed pedimented porticoes on each of the northern and southern faces of the building. From the building's slab-on-grade foundation to the sill of the first-story windows is a base composed of a poured-in-place water table. Above that is the layered concrete and volcanic stone exterior walls most of which is slightly recessed from concrete block quoins. Above the second story windows begins a painted, decorative sheet metal entablature capped with a prominent cornice. Above the central portion of each of the building's four sides is a wood-framed, low-pitched, cross-gabled roof with pediments at each end covered with asphalt shingles. The four corner sections have low-pitched roofs with external gutters.
Atop the structure is a Beaux-Arts octagonal clock tower enclosing a Seth Thomas timepiece. This cupola, including its dome and rectangular base, are covered in painted, decorative sheet metal. A U.S. Geological Survey benchmark at the east side of the courthouse indicates an elevation of at that location, while the building itself is the highest courthouse in Texas at . THC documentation describes the building as resembling a smaller version of the Mason County Courthouse in Mason. In addition to the building, a cylindrical concrete block cistern constructed around 1900 located on the southwest corner of the courthouse square is included as a contributing structure to the site's National Register designation.
The courthouse's base floor, elevated above the ground of the surrounding square and accessible from steps on each side of the building except the wheelchair-accessible west side, holds space for several county offices arranged around central crossing corridors connecting the entrances in the middle of each side of the building in each cardinal direction. The base floor also includes the county judge's courtroom, a vault for storage of county records, restrooms, and storage space. On the east side of the building, two flights of stairs lead to the second floor. The first flight consists of two separate stairways that combine around the base of a wider central flight ending at the second floor facing the entrance to the main courtroom. A second stairway is located south of the west end of the building's main central corridor and is used to provide access to offices and other facilities behind the upper courtroom and as use as a secondary fire escape. An elevator on the southeast side of the building also adjoins the two main floors.
The second floor of the structure is dominated by the main courtroom occupying all of the space between the north and south porticoes with windows shaded by the porticoes. The judge's podium, witness stand, and position for court officials are located beyond the west end of the courtroom which includes stained glass fixtures, including a fan-shaped ornament behind the judge's podium, filtering outside light from windows behind. The jury box is along the south wall to the right of the podium while a table for additional officials is along the north wall to the left of the podium. Tables for trial adversaries and their counsel face the podium and are separated by a central aisle. The spectator section comprises the central and eastern portions of the room and is separated by a golden oak railing from the parties of the proceedings. Above the spectator section is a balcony, often called the "buzzard's roost", providing additional spectator seating. The courtroom features a ornamental tin pressed ceiling. East of the courtroom on both sides of the landing of the central staircase from the first floor are additional county offices, the elevator shaft, and storage space. Stairways on both sides of the central stairway from below lead upward one flight combining to a central flight to the courtroom balcony and the east end of the third floor. The west wing of the second floor behind the judge's podium includes the judge's chamber, the jury room, additional office and storage space, and a single-toilet restroom. The fire stairway from the first floor continues upward to the third.
The east and west wings of the third floor of the courthouse are separated and unconnected due to the high ceiling of the main courtroom on the second floor beyond the courtroom's balcony. The east wing on both sides of the central stairway from the second floor leading to the courtroom balcony are storage and mechanical spaces. The small stairway on the west wing from the second floor opens into a storage area with potential office usage. This area has an additional stairway leading into the building's attic and clock house tower. The floor is narrower than the courtroom on each end of the building and above the rooftop in all of the courthouse's corner quadrants.
The surrounding courthouse square supports an arboretum featuring predominantly native tree species. Located around the courthouse grounds are several state historical markers and monuments including one recognizing the courthouse itself. Other state historical markers include one recognizing local namesake Jefferson Davis and a pink granite monument recounting the Confederate occupation and abandonment of the town and its military fort during the Civil War. An additional monument recognizes local hero Sgt. Manuel Gonzales for his valiant accomplishments during World War II. Both the Confederate and Gonzales monuments, on the northeast grounds of the square, are recognized resources as non-contributing objects as part of the site's National Register status.
At the entrance of each side of the building are semicircular landings equal in width to the steps thereby making the landings at the principal north and south entrance much larger. From each landing are straight sidewalks, first constructed in 1918, leading directly toward the streets. A fence constructed of steel pipes around 1915 lines the perimeter of the property. The fence includes turnstiles installed where the entrance sidewalks at the center of each side of the property. For greater accessibility, the west turnstile has been removed, and a larger gate has been installed on the south side.
History.
The U.S. Army garrison of Fort Davis was commissioned in 1854 enabling the settlement of the nearby supporting civilian town site under the fort's protection from hostile Native Americans. At the time, Fort Davis belonged to a much larger Presidio County, created by the Texas Legislature in 1850, that encompassed most of the present region of Texas west of the Pecos River. After several fruitless attempts, the county was successfully organized in 1875 then comprising present-day Brewster, Jeff Davis, and Presidio counties. That year, the county accepted the gift of a land parcel in Fort Davis for the site of a future courthouse and county jail from local merchant Whittaker Keesey. Nevertheless, the county initially needed to rent office and court space, first in a dance hall, and then from space provided by another townsman while an additional local merchant rented furniture. Jail space was rented from Keesey at his family's store.
Original courthouse.
In 1879, the Presidio County Commissioners Court assessed a 50-cent tax per $100 valuation to finance the construction of what would become the original Presidio County Courthouse and jail on the previously donated Keesey property on the northwestern portion of the present courthouse square in Fort Davis. The Commissioners Court accepted a bid of $2,400 from William Jenkins to design and build the courthouse and jail.
The new facility, on the street corner at the northwest corner of the parcel, was completed in 1880. It was of adobe construction and fashioned into a U-shape surrounding an open courtyard. The courtyard included a well and was enclosed with a to adobe wall with a massive gate and a smaller entrance door within the gate. The building probably contained only three rooms and featured an by jail cell below the sheriff's office and guard room accessible through a trap door. The dungeon cell was poorly lit and ventilated with narrow slits of heavily barred windows along the top of the walls. This jail configuration was common among Southwestern courthouses at the time, including contemporary facilities in El Paso and San Antonio, and often referenced as "Batcaves". Prisoners were chained to six iron bull rings fastened into the walls with wrought iron pickets located from the floor.
The guard room above included an iron cell for drunks and less dangerous prisoners including women. Due to the courthouse's small size, the county needed to rent additional office space nearly immediately after completion. The building's inadequate space combined with a leaking roof would cause repairs and improvements to consume the majority of commissioners' time after 1982. In 1883, county commissioners denounced the building as too small and badly in need of repairs. After publishing an invitation for bids to construct a new, two-floor facility, they accepted one offered by Keesey due to his original land donation. One month later, after political infighting that resulted in the resignation of the county judge, all bids were then rejected. In the aftermath, the next meeting of the Commissioners Court called for a new tax levy to provide additional rooms for the jail and county clerk's office and five iron cages for upper jail cell. Although the cages were indeed installed, there is little proof that the building underwent any further expansion. In 1884, glass was installed in the windows of the clerk's office, and the sheriff was ordered to remove the water closet and fill the well in the courtyard.
The facility would serve as the seat of Presidio County until 1885 when the town of Marfa, one of several newly emergent communities in the county along the recently constructed Southern Pacific Railroad, would take advantage of its growing political clout and force an election on whether to move the seat of government to Marfa. The election resulted in a victory by Marfa's supporters in a tally of 391-302 for a margin of 89 votes out of 693 cast. The following Commissioners Court meeting was held in Marfa and, despite many absent commissioners, ordered the transfer of county records from Fort Davis to Marfa. Despite the intransigence of some Fort Davis officeholders, the seat was effectively moved to Marfa housed in rented spaces there. Litigation would continue into the following year when the Texas Supreme Court would ultimately decide that, while the relocation of the county seat to Marfa did not carry the two-thirds majority required by state law, recommended that the Legislature divide the county recognizing increasing agitation to do so both in Fort Davis and in Murphyville, now known as Alpine.
The Legislature dutifully complied with the court's recommendation and carved Presidio County into several new ones including Jeff Davis in 1887. The newly created counties, however, were immediately saddled with their pro rata share of their parent county's debt. Furthermore, Presidio County insisted that the new counties were responsible for paying for their share of the debt on its new Presidio County Courthouse. To add insult to injury, the new Jeff Davis County found the Fort Davis courthouse, which had sat dormant for two years since the removal of the previous county seat to Marfa, to be a shell of its former self with the building's fixtures and furniture also carried off along with its former official records. The courthouse retained its iron jail cells, but remained as inadequately small and in need of reparation as it had before. By 1910, the need for a new courthouse had become eminent. Numerous repairs, including repeated patching of the roof, had been regularly necessary. Two windows, heavily barred, had been added to the west wall of the upper cell housing women and less threatening prisoners for light and ventilation. Eventually jail facilities became so intolerable that all prisoners required transport to the Presidio County jail for detention, and the building as a whole was seen as being beyond further repair. After completion of construction on the replacement courthouse and the new separate jail building in 1911, the steel cell from the original courthouse was salvaged for use in the new jail, while dirt from the demolition of the old adobe courthouse was used for leveling the grounds of the new courthouse and jail yard.
Present courthouse.
In May 1910, county securities at six percent interest were issued to pay for the new courthouse and separate county jail to be paid with a 25-cent per $100 property tax. The architectural firm L.L. Thurman & Co. of Dallas, who would soon after design the current Henderson County Courthouse in Athens, was selected to design the courthouse and jail facilities at a cost not to exceed $6,000. Strips of land adjoining the south and east sides of the previous courthouse property were purchased from W. Keesey to extend the courthouse square to the entire block of the street grid. By August, the county would accept a $47,000 bid from Falls City Construction Co. of Louisville, Kentucky to construct the courthouse at the center of the newly expanded square immediately southeast of the previous facility. The new jail was built concurrently directly south across Woodward Ave. from the square. The jail, no longer used for that purpose but since serving in recent years for county offices, is itself a Recorded Texas Historic Landmark. Construction of both the courthouse and jail were finished in early March 1911, and their completion was celebrated with a community dance in the courtroom on March 13. Once county offices had vacated the previous courthouse and jail, bids were accepted for the demolition of the previous facility. After construction debts were paid, the special tax was rescinded in May 1920.
Currently, State St., which conveys both state highways passing through Fort Davis and which runs along the east of the square, serves as the town's principal street. In earlier years, however, Front St. along the west side of the square performed that role as that street was historically the route of the Butterfield Overland Mail through town.
The ground floor of the new courthouse featured six offices each of which was heated with its own fireplace, a large room for Commissioners Court meetings, and a fire-proof vault for archiving county records. The second floor held the courtroom, more offices, a jury room, and a barred detention cell. A many-cupped chandelier lighted the courtroom from its high ceiling. At that time, the judge's bench was merely a flat-topped desk and chair. The half-story third floor served as little more than an attic with stairs leading to the clock tower. The 1910-model Seth Thomas clock with faces at each of the building's four sides was a pendulum-driven device constituted of metal-coated wooden gears and two rock-filled wooden boxes acting as weights. Maintenance required someone to climb three flights of steps plus two ladders weekly for winding. A bell for striking the hours was also used as a fire signal and designated as an alert, if necessary, during the Mexican Revolution and World War II. The clock resulted in a $1,700 additional expense to the building despite problems with accuracy or even displaying the same time on its four faces. Installed shortly after the building was completed were hail screens to protect the windows and acetylene gas lights utilizing a pressurizing machine in the new jail yard. Although a water well was drilled in the jail yard, the courthouse did not have running water, toilets, or a septic tank until May 1914. Subsequently, a men's restroom was installed on the ground floor while a single women's toilet was placed in the second floor as women were not widely seen as participants in county government before passage of the Nineteenth Amendment.
Over the years, most changes to the courthouse amounted to mere maintenance such as adopting to new technological and public utility standards including electrical lighting, telephone, water, and sewer service. Fireplaces had been replaced by distillate stoves requiring the building's dozen chimneys to be raised by to properly draw air, but these caused soot-stained rainwater to discolor interior walls. In a throwback to the problems plaguing the previous courthouse, the county was constantly needing to replace leaking roofs in the new building. Between 1939 and 1941, an arboretum containing mostly native flora was planted on the square. The arboretum landscaping was authorized in 1938 as a Works Progress Administration program.
It was not until the 1950s that the courthouse undertook major renovations. In 1955, the distillate stoves were replaced with butane heaters allowing the chimneys to be reduced to roof level while the roof was also replaced. In 1956, the roof would be replaced again for the fifth or sixth time since the building's completion in 1911. New flooring was installed in the courtroom and some offices, and the courtroom ceiling was lowered for acoustics and heating. In the courtroom, theater-style seating was installed while the upper gallery was removed. A new plywood bench for the judge and a jury box with matching railing were built. The stained glass window behind the judge's bench was boarded and plastered. Downstairs, exterior steel doors were installed, and a counter shelf was built for the office of the sheriff and tax-assessor collector along with five fire extinguishers provided for the premises. In 1957, two gas heaters with electric blowers were installed in the space formerly occupied by the courtroom's upper gallery to heat the courtroom. The building's roof would require replacement in 1974 and again 1975.
Between 2002 and 2003, the courthouse underwent a major restoration that involved, not only electrical, mechanical and plumbing improvements as well as necessary accessibility enhancements such as the installation of an elevator, but also the correction of many architecturally insensitive modifications undergone previously. These included restoring the balcony and original furnishings in the courtroom and faux wood and metal ceiling finishes throughout the building. Exterior improvements included repairs to doors, windows and masonry, a new metal shingle roof, sheet metal repairs to cornices, and renovation of the clock tower. These renovations were performed at a cost of $2.8 million supported by a THC grant of $2.3 million with the remainder supported by local funding. The grant was administered as part of the THC's Texas Historic Courthouse Preservation Program, created to support counties preserve their current and former historic courthouses after the state's historic courthouses were included in the 1998 listing of most endangered historic places by the National Trust for Historic Preservation.


The Confidence Game

The Confidence Game is a 2016 book by Maria Konnikova. It explains the psychology of con artists - how fraudsters know how to manipulate human emotions.


Jay-Z singles discography

The singles discography of American rapper Jay-Z consists of 68 singles as a lead artist, and 51 singles as a featured artist, as well as 14 promotional singles.
The Brooklyn native rapper Jay-Z had success on the "Billboard" Hot 100 with singles from his debut studio album "Reasonable Doubt". In 1997 he had success outside of the US with singles like "Sunshine" which peaked at number 25 in UK, 18 in Germany and 22 in NZ. His next single "Wishing on a Star" peaked at number 13 in UK being his highest peak on the chart until Hard Knock Life (Ghetto Anthem). The next single "The City Is Mine was the most successful single of "In My Lifetime, Vol. 1". The album peaked at number 3 on the "Billboard" 200 and it received positive reviews from critics. In 1998 he released the smash hit singles "Can I Get A..." and "Hard Knock Life (Ghetto Anthem)" which peaked at number 19 and 15 on the Hot 100 and had wide success worldwide, too. The singles helped the album "Vol. 2... Hard Knock Life" to debut at number 1 on the Albums chart and selling over 5 million copies. "Vol. 3... Life and Times of S. Carter" had hits like "Jigga My Nigga" which peaked at number 1 on the Rap chart and #28 on the Hot 100. Hits like "Girl's Best Friend" and "Big Pimpin'" were released and the later peaked at #18 on the Hot 100 earning a platinum certification by the RIAA. His next album "" was released shortly after Vol 3. The album sold 500k first week and had the hit "I Just Wanna Love U (Give It 2 Me)" which peaked at number one on the R&B/Hip-Hop chart being his first single to reach that peak. In 2001 he released his classic album "The Blueprint" which spawned his first top 10 single "Izzo (H.O.V.A.)" which was produced by Kanye West. "The Blueprint" peaked at number one on the Billboard 200 selling 400k, eventually reaching 2 million. The sequel followed in 2002 and had hits like "'03 Bonnie & Clyde" , "Excuse Me Miss" both peaking inside the top 10 on the Hot 100. The first single was his most successful single worldwide for Jay since "Hard Knock Life (Ghetto Anthem)". The album sold 500k but it received mixed reviews. "The Black Album" was released and had three hit singles and 2 of them were top 10. The album was considered a classic and Jay said it would be his last album. The project reached #1 on the albums chart and it won a Grammy for "99 Problems". Even though he said "The Black Album" would be his last album he released a collaboration EP with Linkin Park spawning a hit single which earned a Grammy.
After he became the president of Def Jam Recordings, Jay-Z released a new album in late 2006 titled "Kingdom Come". It spawned the top 10 single "Show Me What You Got", but its other singles were not as successful and some did not even chart. He later collaborated with T.I. on the top 5 and Grammy winning single "Swagga like Us". In 2009, he released "The Blueprint 3", which included his first chart-topping single "Empire State of Mind". The singles from the album went on to win several Grammys and peaked high on the charts as well. His 2011 collaborative album with Kanye West, "Watch the Throne" spawned the hit singles "H•A•M", "Otis", "Gotta Have It", and "Niggas in Paris"; the latter peaked at number 5 on the Hot 100 and sold 5 million units, becoming one of the biggest hits in both rappers' careers. His twelfth studio album "Magna Carta Holy Grail" was not promoted by any singles. In 2017, he released his thirteenth studio album, "". The album's title track, as well as "The Story of O.J.", both charted in the top 40 on the Hot 100, despite the latter not being released as a single.
Other charted songs.
–== Guest appearances ==


Along Came Ruth

Along Came Ruth is a lost 1924 film starring Viola Dana. The film was directed by Edward F. Cline and written by Winifred Dunn, based on Holman Francis Day's play of the same name, itself based on the play "La Demoiselle de magasin" by Belgians Frantz Fonson and Fernand Wicheler. Viola Dana was one of the top stars of the newly amalgamated MGM, a lively comedian who enjoyed a long career that faded with the emergence of the talkies.
Synopsis.
Ruth (Viola Dana) is a small-town live-wire who takes over a furniture shop and its owner's nephew.


His Secretary

His Secretary is a 1925 American silent comedy film directed by Hobart Henley. The film stars Norma Shearer and Lew Cody.
Plot.
A comedy about a secretary, a type of ugly duckling, who overhears her boss saying he would not kiss her for a thousand dollars. She then goes to a beautician.
Preservation.
With no prints of "His Secretary" located in any film archives, it is a lost film.


Church of the Holy Cross (Skatin)

The Church of the Holy Cross is a National Historic Site of Canada, located on one of the Indian Reserves of the Skatin First Nation, in southwestern British Columbia. It is located on the east side of the Lillooet River on BC's first inland Gold Rush trail, the Douglas Road. Skatin Nations is the St'at'imcets language rendition of the reserve-town's usual name in English, Skookumchuck Hot Springs (often just "Skookumchuck", which means "strong water(s)", is also the name of three other places in British Columbia and in general use means a rapids - a set of rapids, historically called the "Falls" of the Lillooet River are nearby).
History.
Missionaries from the Missionary Oblates of Mary Immaculate had first traveled through the Lillooet River valley starting around 1860. They established missions at Port Douglas and Skookumchuck Hot Springs, and encouraged the native people of the area to settle together in small villages. Earlier churches are no longer standing. There has never been a resident priest assigned to the villages in the area; priests travelled through on their way north from St. Mary's Indian Residential School in Mission, or came down from Mount Currie. Usually they came only once a year, and there are many examples of five or six couples all being married or a number of babies being baptised on the same day, when the annual visit of the priest took place. The services often took place outdoors, or in the home of a community leader. There had been at least 2 other places of worship in Skatin before they embarked on the present building.
Some of the families travelled outside for seasonal work, and had seen the large churches in Sechelt, British Columbia, and New Westminster. They were also inspired by the prayer cards with pictures of European cathedrals, and chose to create a place of worship that is also a work of art. Although some men may have worked building other churches, they were not trained carpenters, and used the tools available to them at the time.
Local aboriginal craftsmen laboured for years on the elaborately carved altar and finely worked wood details of this remarkable building, which was completed about 1905. Materials from the local area were used, huge trees from the forests; some of the milling may have been done at Port Douglas or even as far away as Harrison Mills at the south end of Harrison Lake. Materials were transported by horse-drawn wagons, rafts and canoes, or carried on their backs.
Many generations have been baptized, married and buried from the Church which continues today as a place of worship and ceremony for people in the surrounding communities of Samahquam, Douglas First Nation and Mount Currie. The Church was blessed by the Catholic Archbishop in 1908, but the building belongs to the people of the communities who built it. Some restoration work was carried out in 1982 to 1984, and the church was blessed by Archbishop Carney. At that time, elders Henry Peters and Margaret Ann Peters (Williams) celebrated their 51st wedding anniversary, and baptized a great-grand daughter, Jessica.
National Historic Site.
The Church was designated by the national Historic Sites and Monuments Board in 1981 because of its unique Carpenter Gothic architecture and hand-carved interior features. The church builders were commemorated with a bronze plaque erected on June 22, 2006. The tri-lingual plaque is in Ucwalmicwts, English and French. "Amha Lakwa Lamcalalhcw"
Conservation.
In the winter of 2006, conservation work started, stabilizing the interior of the towers and steeples. The following year, work on the foundations was started; completed in 2008, the Church is now supported by in-ground concrete footings, which replace the old river rock. In some places where the original wood beams supporting the church were rotted, the ends of the beams were trimmed, and new wood inserted. When the front porch was removed, the long support beam under the front of the Church was found to be full of dry rot - easily 4 to 5 inches of the 16 inch timber had been destroyed. In order to complete the work before winter, a concrete bearing wall was installed under the front of the church. The two towers on the east and west are also now supported by concrete foundations. The building is now on a stable foundation, but deterioration of the envelope, towers, and decorative trims continue.
The work on the foundations was taped by PTV Productions, and a one-hour documentary "Saving Places" will be broadcast on History TV.
In August 2009, the Society received notice from Parks Canada that the Canadian government is prepared to enter into a cost-sharing agreement, with funds of up to $202,060 for 'eligible' expenses. The volunteers will still have to raise matching funds for the work to proceed. An official Ministerial announcement by MP Randy Kamp was celebrated on November 14, 2009.
Since then, there has been an Emergency Intervention at the Church; damaged windows, trim, and woodwork have been removed from the two towers and stored safely. Exposed holes have been covered with plywood an tyvar to keep out the weather. Over the winter, a team of architects, engineer and consultants will be completed a detailed analysis and plans for conservation work. Conservation will include repair and replacement of decorative trim and exterior cladding, repair of windows, frames, mullions and trim, scraping and repainting the exterior, replacement of the roof which is nearing 30 years old, upgrading the electrical system, and other safety and fire suppression measures.
The Ama Liisaos Heritage Trust Society is raising funds for the conservation of the building; total budget is expected to exceed $450,000 with about half of that coming from the federal cost-sharing agreement. An "Adopt a Window" campaign has been started, giving families and supporters the opportunity to honour a family member or special event on a memorial plaque. Anyone interested in supporting conservation of this special site should contact Ama Liisaos Heritage Trust Society. A book Spirit in the Land: Our Place of Prayer tells the story of the Church and its builders.
A local elder explains that the people did not build this church because they were devout Catholics. "They were devoutly spiritual people. Originally, they would have prayed on the land, wherever they were. It was the priests who taught the people to pray in a church. This building has become a centre for our culture and our communities. Our ancestors built this church by working together. It can bring our people back together once again."


Jamo Fortress

The Jamo Fortress is a stone fortress dating from the Goryeo period. One of the National Treasures of North Korea, it is
located in Ojung-ni, Pyongsong, South Pyongan Province.
The fortress has a circumference of 451 m and a height of 2.7 m. It suffered damage during the Second Manchu invasion of Korea. Most of the fortress has been ruined due to wind and frost in the area. It has come to be known by various names over time, including Seongsanseong, Seongjaesanseong, Jamosanseong and Gadeungsanseong.


The Latchkey

The Latchkey is a 1910 American silent short comedy produced by the Thanhouser Company. The premise of the plot focuses on two businessmen who are friends Will (or Bill in some publications) and John. Will gives John the key to his apartment so he had stay there while Will goes on vacation. The landlady of the house leases the apartment to two ladies. John decides to go to Will's apartment and lets himself in with the key and finds the two girls asleep. They awake and take him for a burglar and threaten to kill him and John pleads for mercy instead of addressing the misunderstanding. John is later revealed to be her employer after he is caught opening a safe in the office the next morning. The film was released on August 26, 1910 and was met with positive reviews by the trade publications. The film is presumed lost.
Plot.
Though the film is presumed lost, a synopsis survives in "The Bioscope" from November 10, 1910. It states: "Will and John are prosperous young businessmen and close friends. Will has an apartment in the city, while John lives in the suburbs. When Will goes to the country on his vacation he leaves the latchkey of his apartment with his chum, telling him to make himself at home. The landlady in the house in which Will lives is seized with a bright idea that she can sublet his apartment during his absence. May and Belle, two pretty girls who are in business, decide to try their hand at housekeeping. They rent Will's apartment and settle down in their new quarters. John decides to take advantage of his friend's invitation and make use of his rooms. He lets himself in with the latchkey, and is amazed to find the two girls sound asleep. Believing him to be a burglar the girls threaten him with annihilation. John thinks the joke too good to spoil, so does not try to square himself, but pleads for mercy. May secures his promise that he will never 'burgle' again, and allows him to escape. Unknown to John, May has been engaged by his partner as a typist, and when she enters the office the following morning and finds John opening the safe, she decides that once again her burglar has been caught red-handed. She calls for help, and is greatly chagrined when her supposed burglar is introduced as her employer. Amid explanations, the 'burglar' and the lady shake hands and become good friends."
In both "The Moving Picture World" and "The Moving Picture News" the character of Will was named Bill, but it is not clear if this was intentional, a renaming or error.
Production.
The writer of the scenario is unknown, but it was most likely Lloyd Lonergan. He was an experienced newspaperman employed by "The New York Evening World" while writing scripts for the Thanhouser productions. The film director is unknown, but it may have been Barry O'Neil. Film historian Q. David Bowers does not attribute a cameraman for this production, but at least two possible candidates exist. Blair Smith was the first cameraman of the Thanhouser company, but he was soon joined by Carl Louis Gregory who had years of experience as a still and motion picture photographer. The role of the cameraman was uncredited in 1910 productions. There are no known credits for the cast, but Anna Rosemond and Frank H. Crane are two possible actors that were prominent players in 1910. Credits may have included Anna Rosemond, one of two leading ladies of the Thanhouser company in this era. Frank H. Crane was a leading male actor of the company and also involved since the very beginnings of the Thanhouser Company. Bowers states that most of the credits are fragmentary for 1910 Thanhouser productions. A surviving film still leaves open the possibility of identifying three actors.
Release and reception.
The one reel comedy, approximately 1,000 feet long, was released on August 26, 1910. The film likely saw a wide national release, advertisements in theaters are known in Indiana, North Carolina, and Pennsylvania. "The New York Dramatic Mirror" gave the most detailed review of the trade publications by summing up the scenario and approving of the plot and the good acting in the production. The reviewer concluded, "Not only are the leading roles well portrayed, but the minor parts are quite well done in the picture - the dismissed stenographer and the old landlady actually look and act their parts. There is a pleasing, symmetrical competence in the whole cast." The production was reviewed positively by "The Moving Picture World" and concludes with the statement, "The story ends there without a suspicion of anybody falling in love with anybody else, a restraint which will be duly appreciated." Bower's notes that many Thanhouser plots conclude with the romance and the reviewer noted this change was a welcome one for this production. The previous film "A Dainty Politician" concluded with romance and the next release "An Assisted Elopement" took the romance element further with two sets of parents trying to get their children to marry each other.


Drennan

Drennan is a surname of Irish origin and is derived from the Gaelic Ó Draighnáin, meaning "grandson of blackthorn". Variant spellings include Drennen, Drinan, Drinnan, Drinnon, Drynan, Thornton (Anglicized) and Drennon.
According to statistics cited by Patrick Hanks, 1,113 people on the island of Great Britain and 592 on the island of Ireland bore the surname Drennan in 2011. In 1881 there were 404 people with the surname in Great Britain, primarily at Renfrewshire, Ayrshire, Lanarkshire, and Lancashire. In mid-19th-century Ireland, people with the surname Drennan were found mainly at County Laois and County Kilkenny. The 2010 United States Census found 4,233 people with the surname Drenna, making it the 7,821st-most-common name in the country. This represented an increase in absolute numbers, but a decrease in relative frequency, from 3,927 (7,811th-most-common) in the 2000 Census.
Notable people with the surname include:


P. C. Sorcar

Protul Chandra Sorcar (23 February 19136 January 1971) was an Indian magician. He was an internationally active magician throughout the 1950s and 1960s, performing his "Indrajal" show before live audiences and on television. Sorcar died of a heart attack at the age of 57 in Asahikawa, Hokkaidō, Japan, on 6 January 1971, where he was performing.
Career.
Sorcar became famous in the mid-1930s, when he performed shows in Kolkata and also in Japan and several other countries. Among other routines, he performed a Floating Lady routine featuring aerial suspension in 1964. Ganapati Chakraborty was his mentor.
Personal life.
Sorcar was married to Basanti Devi. They were the parents of the animator, director and laserist Manick Sorcar and magicians P. C. Sorcar Jr. and P. C. Sorcar, Young.
Postage stamp.
On 23 February 2010, Indian Post issued a Rs. 5/- stamp to honour him.


Captain Michalis

Captain Michalis () is a 1953 novel by the Greek writer Nikos Kazantzakis. In the English, German, and French translations (as well as many others) it is known as Freedom or Death. The writer was influenced by his early years on the island of Crete and uses explicit Cretan Greek words and the Cretan idiom in a way that preserves it untouched. It is one of the most widely read books of modern Greek literature which has been translated and published in several languages.
Plot.
The book deals with the rebellion of the Cretans against the Ottoman Empire in 1889.
Explanation of the novel's title.
It is thought that the book's title honours Kazantzakis' father "Michalis" Kazantzakis, by whom the writer was inspired. The word "Captain" is not used in its naval rank sense, but as the title of leader of guerilla group (the writer's father Michalis Kazantzakis was a leader of such a group, hence the title. Kazantzakis says this in his book "Report to Greco").
"Freedom or Death" was added as a subtitle to the second edition in Greek released by Difros publishers in Athens in 1955 and was the preferred English (US) title. In the UK the book was published as "Freedom and Death", which were the last words in the book. The expression comes from the Greek national motto "Freedom or Death" (), derived from the Greek War of Independence and used by Cretan rebels such as the book's protagonist. The "or" was knowingly replaced with "and" in the ending text by Kazantzakis.
Publication.
Captain Michalis has been translated into many languages, including Turkish.


Birmingham Journal (nineteenth century)

The Birmingham Journal was a weekly newspaper published in Birmingham, England, between 1825 and 1869.
A nationally influential voice in the Chartist movement in the 1830s, it was sold to John Frederick Feeney in 1844 and was a direct ancestor of today's "Birmingham Post".
History.
The newspaper was founded as a Tory newspaper by a printer called William Hodgetts in 1825 to provide an alternative to "The Times", whose editorial line was controversial locally.
Historical copies of the "Birmingham Journal", dating back to its first issue in 1825, are available to search and view in digitised form at The British Newspaper Archive.
Chartist heyday.
The newspaper's political tone changed dramatically in 1832, however, when it was sold to prominent Unitarian and Radical Joseph Parkes, who appointed R. K. Douglas as editor. Douglas was a national figure of the reform movement: the secretary of Thomas Attwood's reformed Birmingham Political Union and the author of the Chartist National Petition of 1838. With its close connections to the leaders of Birmingham's reform movement—which itself was at the forefront of national political life—the "Journal" gained a high profile and wide circulation. Its sales peaked at 2,500 per issue; and with the majority of newspaper readers during the era reading or listening to newspapers in communal reading rooms rather than buying their own copies, it was probably reaching about half of the population of Birmingham. The appeal of Chartism meant that its influence also stretched well beyond the local area: in 1839 it sold seventy-one weekly copies as far away as Dunfermline.
With the decline in local agitation for reform in the 1840s the newspaper's circulation dropped dramatically however. By 1844 it was only selling 1,200 copies per week when it was sold by Parkes to John Frederick Feeney.
Feeney.
Feeney was first and foremost a newspaperman rather than a political agitator. He swiftly appointed the young John Jaffray to the editorship and maintained the popular appeal of a moderate Radical line. Chartism at the time was losing support in Birmingham through its adoption of a more extremist position in tune with the more pronounced class divisions of the cities of the North of England and Feeney and Jaffray's instinct was to follow local opinion rather than stay loyal to a movement.
The "Journal"'s fortunes were also helped by economic changes. Rising levels of literacy and decreasing costs of production, coupled with Feeney and Jaffray's journalistic and commercial flair, saw circulation rise to 23,000 by the 1850s. The boom in railway building of the late 1840s greatly boosted the market for classified advertising and by 1855 the "Journal" was making a profit of £5,000 per week, comparable to that of a national newspaper.
The move to daily publication.
The change that ultimately led to the end of the "Journal" was one which initially appeared as a prime opportunity. The 1855 Stamp Act removed the tax on newspapers and transformed the news trade. The price of the "Journal" was reduced from seven pence to four pence and circulation boomed.
The change ran deeper, however. While individual copies of newspapers were each taxed, the economics of newspaper production favoured large weekly publications. Untaxed, it became possible to sell a newspaper for a penny, and the advantage lay with smaller, more frequent publications that could keep their readers more up to date. Feeney and Jaffray initially contemplated a second weekly edition of the "Journal", but the launch of Birmingham's first daily newspaper by prominent radical George Dawson—the short-lived "Birmingham Daily Press"—provoked them into launching their own daily title—the "Birmingham Daily Post", later simply the "Birmingham Post" in 1857.
The "Journal" was initially maintained as a weekly publication complementing the daily "Post", but the launch of the "Post"'s Saturday edition—the "Saturday Evening Post"—rendered its situation untenable and the "Journal" ceased publication in 1869.


Order of merit

An order of merit is an honorific order that is conferred by a state, government, royal family, or other sovereign entity to an individual in recognition of military or civil merit. The historical background of the modern honours system of orders of merit may be traced to the emergence of chivalric orders during the Middle Ages.
Orders of merit may be bestowed as official awards by states, or as dynastic orders by royal families. In the case of modern republics, an order of merit may constitute the highest award conferred by the state authority.


Manchester Mercury

The Manchester Mercury was a Tory newspaper based in Manchester, England that published from 1752 until 1830.


Isaac Mikhnovsky

Isaac Iosifovich Mikhnovsky () (17 April 1914 – 18 February 1978) was a prominent Soviet pianist, composer, professor, and winner of the First All-Soviet Piano Competition. Apart from his highly successful performing and teaching careers, composing was also a significant part of his multi-faceted musical life. The catalogue of his works includes numerous piano transcriptions of Romances and Operatic Fantasies on melodies of Russian composers, and also a significant number of original piano, vocal, and chamber compositions.
Life and work.
Isaak Mikhnovsky was born in Smolensk (Russian Empire), and at the age of 4 was noticed for his musical talents. Soon after that his formal musical education began under the tutelage of E.I. Gurevich-Eiges. His first public performances were in Smolensk at the age of 9. In 1924 Mikhnowsky moved to Moscow, where he continued his musical education at the Mussorgsky Musical School, and subsequently at the Gnessin State Musical College. In 1930 Mikhnovsky was admitted to the Moscow Conservatory, first to the class of Lev Oborin, and later to the class of Konstantin Igumnov. For his graduation, he performed Sergei Rachmaninov’s “Rhapsody on a Theme of Paganini”—this was the very first performance of this work in the former Soviet Union. The score of this piece was given to him by his teacher, Igumnov, who in turn, had received it from Rachmaninov himself.
After graduation Mikhnovsky continued his education at the School of Performing Arts Excellence in Moscow. In 1938 he became the winner at the First All-Union Piano Competition. Among the jury members was Sergey Prokofiev, whose vote became decisive in awarding the young pianist the First Prize. Mikhnowsky’s victory at the Competition propelled him into the elite ranks of Russian pianists. His name became widely known in Soviet Russia, and already in the spring of 1938, he performed concertos by Tchaikovsky, Rachmaninov and Beethoven in the exclusive Great Hall of the Moscow Conservatory, to rave reviews from the critics. In 1939, as member of a group of young Soviet musicians that also included Emil Gilels, Yakov Flier, Pavel Serebryakov, Isaak Mikhnovsky participated in the Queen Elizabeth Competition in Brussels. Among western pianists participating in this competition was Arturo Benedetti Michelangeli. Mikhnovsky’s performances were acclaimed by leading critics and listeners, and also highly lauded by Arthur Rubinstein. During this period he begins his professional performing career. He gave solo recitals and made concerto appearances in the largest Soviet cities, often performing with conductors such as Yevgeny Mravinsky, Kurt Sanderling, Nikolai Rabinovich, and Natan Rakhlin.
At the same time, Mikhnovsky started to teach at the Moscow Conservatory, where he soon became associate professor. In 1946–1948, Mikhnovsky created a series of piano transcriptions of romances by Russian composers, and fantasies based on operas by Tchaikovsky, Glinka, Rubinstein, Dargomyzhsky, and Rimsky-Korsakov. Prominent musicians such as Mstislav Rostropovich, Dmitry Kabalevsky, Lev Oborin, Reinhold Glière, and others enthusiastically endorsed these compositions. Starting from 1960, Miknovsky began to teach at the Gnessin State Musical College, later incorporated into the Gnessin Musical Academy. There he was awarded the title of Professor, and led classes in piano and chamber ensemble. During his career Isaak Mikhnovski met and worked with many leading musicians of his time, in particular, he developed a very close professional and personal relationship with Mstislav Rostropovich.
A prodigious technique, a beautiful and noble sound, and a profound understanding of the composer’s intentions marked his performing style. His enormous repertoire (over 30 solo programs) included music of all musical periods as well as of living contemporary composers. All his interpretations bore the stamp of a great musician, and a pianist of enormous technical, emotional and intellectual capacity. A list of his compositions includes sonatas for piano, for cello, for bassoon, and 12 preludes and ballades for piano. He also authored a number of highly original cadenzas for the concerti of Mozart and Beethoven.
Many, but not all, of Mikhnowsky’s solo and chamber performances for Soviet Radio were preserved, bearing witness to his unique artistry. Some performances were also recorded on LP. His all-Chopin program was recently re-issued on CD on the Melodya label.
He wrote a large number of transcriptions. These works were recorded by Petronel Malan.


Guilfoil

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


List of Pennsylvania state historical markers in Clarion County

This is a list of the Pennsylvania state historical markers in Clarion County.
This is intended to be a complete list of the official state historical markers placed in Clarion County, Pennsylvania by the Pennsylvania Historical and Museum Commission (PHMC). The locations of the historical markers, as well as the latitude and longitude coordinates as provided by the PHMC's database, are included below when available. There are 7 historical markers located in Clarion County.


Dudu Aharon

Dudu Aharon (; born on 23 December 1984) is a singer-songwriter, musician, and composer from Israel.
Biography.
David (Dudu) Aharon was born in Kiryat Ekron, and is of Yemenite-Jewish origin. He began his musical career as a child, singing in the Har Yosef Synagogue in Kiryat Ekron. Aharon later began to perform at various clubs and events around Israel. During his national service, Aharon served in the Israel Border Police, and began performing in the Red 6 club in his free time. In 2007, after he completed his service, he released his first single, which was a success and became a hit on Mizrahi music radio programs. He produced more singles and increased his appearances at clubs and events. In 2007, he released his debut album, "First Love". He subsequently released five more albums and numerous singles, becoming one of Israel's leading singers of Mizrahi Music.
In 2011, Aharon took part a television reality show called "Live in LA LA Land," in which he and five other singers sought their fortune in Los Angeles. In 2013, Aharon was the second Bachelor in HaRavak, the Israeli version of The Bachelor.


Pirie

Pirie is a Scottish surname of French origin, meaning "pear tree".


Janiya

Janiya or Jania is an uncommon female given name of Hebrew origin and meaning "from Jana". The name may be Arabic, and could possible be related to name Jana, Jane, Janie. Names that sound similar are Tania and Taniya.
People so named include:


Church of Saint Anthony of Padua, Sarajevo

The Church of Saint Anthony of Padua (/) is a Roman Catholic place of worship and a national monument in Sarajevo, the capital city of Bosnia and Herzegovina. It is dedicated to the Franciscan friar Anthony of Padua.
Preceding buildings.
The present Church of Saint Anthony of Padua was preceded by two places of worship dedicated to the same saint and built on the same site. The former was constructed in 1853 as the first Catholic church in Sarajevo since 1697, when the church dedicated to the Blessed Virgin Mary, in the same neighbourhood, burned down during the Sack of Sarajevo by Prince Eugene of Savoy.The newly built church received crosses, a canopy, an altar, a chalice and other eucharistic objects from the French empress Eugénie de Montijo in 1864. The church burned down in a great fire of Sarajevo in 1879. Another building was constructed in 1881, but it was small and humble, made almost entirely of wood and adobe. As the only Catholic church in the city, it was ceded by the Bosnian Franciscans to the first Archbishop of Vrhbosna Josip Štadler, who used it as his residence from 1881 until the consecration of the Sacred Heart Cathedral in 1889. The old church was returned to the Franciscan friars. It was not, however, built to endure for long. By 1905, it had deteriorated to the point where it had to be closed.
Architecture and art.
The demolition of the old church took place in 1912. A new building, an example of Gothic Revival architecture, was designed by Josip Vancaš and erected in its place by the end of the same year. The tower took two more years, however, and the church was not consecrated until September 1914.
The present interior of the church dates from the 1960s. Featuring works of the sculptors Frano Kršinić and Iva Despić-Simonović, and painters Gabrijel Jurkić, Đuro Seder, Ivan Meštrović Edo Murtić, Nada Pivac, and Oton Gliha, among others, the Church of Saint Anthony of Padua is one of artistically most important churches in Bosnia and Herzegovina. The adjacent monastery, built in 1894, houses the main archive of the Franciscan Province of Bosna Srebrena. The church survived the shelling during the 1992–1996 Siege of Sarajevo remarkably unscathed, with significant damage being done only to the façade and the stained glass windows. The restoration was completed in the autumn of 2006.
Present status.
While the monastery church is not presently a parish church, it is significant as a shrine of Saint Anthony. Unique among the numerous churches in Sarajevo, the Church of Saint Anthony of Padua claims to be the "church of all Sarajevans", boasting regular Muslim and Eastern Orthodox attendees.
The Church of Saint Anthony of Padua, along with the adjoining Franciscan monastery, is a national monument of Bosnia and Herzegovina.


Beulah Marie Dix

Beulah Marie Dix (December 25, 1876 – September 25, 1970) was an American screenwriter of the silent and sound film eras, as well as a playwright and author of novels and children's books. She wrote for more than 55 films between 1917 and 1942. Dix married G. H. Flebbe at St. John's Chapel in Boston, Massachusetts on May 6, 1910.
Early life.
Beulah Marie Dix was born in Kingston, Massachusetts, and was the daughter of Henry and Maria Dix. Shortly after Dix was born her family moved to Plymouth, Massachusetts which ultimately became a reoccurring setting for many of Beulah's plays and novels. Not long after Dix's 16th birthday, her family moved to Chelsea, Massachusetts, where she graduated top of her high school class. Dix went on to study History and English at Radcliffe College in Cambridge, Massachusetts, graduating with Summa Cum Laude. Dix used these two subjects as her main focal point when writing plays and essays, such as: Thirty Years' War, The Boston Tea Party, and Seventeenth-Century England. Beulah's was also recognized as the first female recipient of the Sohier Literary Prize, which is an award given to either a Harvard or Radcliffe student who composes the best thesis.
Career.
Although Dix relied heavily on historically famous military events when it came to composing her children's books, plays, and novels, she was in real life a pacifist. Eventually, as her career progressed as a novelist, she strayed from historical romances and began to write anti-war novels. Dix took a stand against violence and with America on the brink of World War I, she published two anti-war plays, "Across the Border" and "Moloch". Dix took full advantage of these plays by placing the main characters into a moral conundrum that questioned whether or not "they did anything to stop it".
Growing up Dix never found the need to seek any sort of feminine companionship. As a self-proclaimed tomboy, Dix admitted that most of her main characters were little boys because "they are more exciting than little girls". Nevertheless, she did take time to thank two very influential women in her life. Evelyn Greenleaf Sutherland was a well-established female figure in the Boston society. Together they collaborated on plays such as "The Breed of the Treshams", "The Substitute" and "The Road to Yesterday". These plays were created using the male pseudonym (John Rutherford) in order to remain appealing to audiences during this time. The other woman in Dix's life was her agent, Beatrice de Mille. De Mille was the mother of famous film directors, William de Mille and Cecil B. de Mille, which is how Dix found her way to Hollywood. In 1916 on a trip to California to visit de Mille, Dix decided to stay. With the outbreak of polio and the start of World War I, Dix thought it would be in her best interest to stay on the west coast. Dix's professional experiences as a playwright allowed her to transition easily into screenwriting. She began her screenwriting career for the silver screen and respected screen director William de Mille.
In 1916 Dix began to write for the new motion picture industry as a part-time job. Her scripts became very well known and Dix became a respected and productive silent-era scenario writer. Her success as a screenwriter landed her a full-time job at Famous Players-Lasky, which soon evolved into Paramount Pictures. Dix's career skyrocketed and between 1917 and 1926 she is credited for more than fifty motion picture titles. Dix's success as a screenwriter was due to her work habits, which mostly consisted of working in solitude or in close partnership with a small group of friends. Typically her work would only be shared with William de Mille as well as her writing partner Bertram Millhauser. Dix had a strong sense of privacy towards her work that ultimately influenced her everyday life. When transitioning to the sound era Dix found it very difficult to find her way, which eventually led to her separation from Paramount Pictures in 1924. In 1925, shortly after she was denied a contract renewal, Dix found a home at the DeMille Studios.
Dix quickly became one of the most desirable screenwriters throughout Hollywood. Even during the Great Depression Dix was able to support her family due to her polished screenwriting skills. Dix's ability to create strong, historically accurate characters was very appealing to directors at this time, as was her love for writing violent scripts.
Late career.
Dix continued to experiment with other writing styles. In 1927 she published a children's book, "The Turned About Girls", along with a risqué drama novel called "Their Own Desire". Dix continued to write screenplays but found it more enjoyable to do so anonymously. Dix's anonymity when writing novels ultimately marked the end of her career. Beulah Marie Dix's passion and work ethic towards screenwriting was unparalleled during this time, which allowed her to leave her mark on the silent film era.
Awards.
Dix won the 1897 George B. Sohier Prize for her thesis "Published Collections of English and Scottish Ballads, 1765–1802".
References.
Sherry Engle, New Women Dramatists in America, 1890–1920, Palgrave, 2007


The Alster Case

The Alster Case is a lost 1915 silent film drama directed by J. Charles Haydon and starring Bryant Washburn and Ruth Stonehouse. It was based on a novel, "The Alster Case", by Rufus Gillmore. It was produced by the Essanay Company.


Bar Kokhba (album)

Bar Kokhba is a double album by John Zorn, recorded between 1994 and 1996. It features music from Zorn's "Masada" project, rearranged for small ensembles. It also features the original soundtrack from "The Art of Remembrance – Simon Wiesenthal", a film by Hannah Heer and Werner Schmiedel (1994–95).
Reception.
The AllMusic review by Marc Gilman awarded the album 4½ stars, noting that, "While some compositions retain their original structure and sound, some are expanded and probed by Zorn's arrangements, and resemble avant-garde classical music more than jazz. But this is the beauty of the album; the ensembles provide a forum for Zorn to expand his compositions. The album consistently impresses."
Track listing.
"All compositions by John Zorn"


Fitzgibbon

Fitzgibbon, FitzGibbon, Fitz-Gibbon and Fitzgibbons are surnames of Irish origin. They may refer to: