BBC Two Launch ident

The Launch ident was a television station identification used by BBC Two between their launch night in 1964 and the introduction of colour in 1967.
Launch.
BBC Two is the second BBC channel and the third channel to air in the UK. Following the success of BBC-TV, the third channel was awarded to the BBC.
On 20 April 1964, BBC2 planned to launch an evening of programmes beginning at 7:20pm. However, 35 minutes before the new channel went on air, a power failure spread through most of London, affecting BBC Television Centre, where BBC2's programme control was based. BBC1 and BBC News were unaffected as they were still based at Alexandra Palace. The first signs of the new identity were slides containing the BBC2 box logo with the caption 'Will start shortly'. The first night's transmission consisted of this slide interspersed with new bulletins, presented by Gerald Priestland, from the news room at Alexandra Palace, which featured the new logo in the background. At 10pm, the launch night was abandoned and the programme line-up was aired the following evening. The first programme aired was "Play School" at 11am.
Prior to the launch, the channel was represented by two kangaroo mascots, called Hullabaloo and Custard. Hullabaloo, a mother, represented BBC1, while Custard, her joey, represented the new BBC2. Hullabaloo was so called because BBC1 was entertaining and about song and dance, and Custard was named after the food Custard because as one person at the BBC stated, "everything goes with custard".
Components of Look.
The ident used with the look was a black white and grey affair. It was an animation that started with grey and black lines flying in from left and right before the white numeral '2' in a black box flies from the top with the BBC logo in the same shade as the bottom line, flies up from the bottom. This animation is accompanied by a trumpeted fanfare, composed by Freddie Phillips, and which was based on the morse code translation of 'B-B-C-2'.
Accompanying this look, static captions of the logo fully formed were used, alongside slides with the day written to the right of the BBC logo. Other slides were used featuring the '2' and BBC logo to the left of the screen with grey and white stripes on the right, which occasionally also featured the days of the week on them. A device used to switch between them was a large numeral 2, which would rotate to reveal one of these slides. These were filmed from the BBC2 NODD room and broadcast live.
The clock face used for this era featured a black background clock with the '2' and BBC logo on the left hand side with a black clock face on the right. Every minute was marked in white, with large Roman numerals every five minute mark. This clock design lasted for a small while, when it was altered to a grey background.
In addition to all of this, BBC2 used in-vision continuity for at least the first few months of its existence, broadcasting the announcer in studio Pres B, Television Centre. The studio featured a desk with BBC2 branding with the day appearing on the wall behind, as well as highlights of the upcoming programmes. This practice was abandoned by BBCs 1 and 2 at about the same time, and the studio vacated.
Promotional and programme slide styles were not uniform at this time and conformed to no specific design. At the time of BBC Two's launch, a number of Testcards were designed to conform to the new 625 line platform. The main one used from BBC2's launch, but dropped with the advent of colour (but continued in regions that still had monochrome until 1976), was Test Card E.
Reuse of the ident.
The ident was reused during Afternoon Classics in 2013, on BBC Two. It was also reused in Northern Ireland. This used a recreation of the logo now with the BBC box brighter and with the legend 'Northern Ireland' below the BBC logo. Also when the stripes from on the black background, The stripes animate differently. The normal BBC Two used the normal version.


In Sight It Must Be Right


Jabujicaba

"Jabujicaba" is an eco-thriller set in Brazil, written under the pen name of Rosa da Silva. It is the story of Carmen Macedo, a black journalist born in Brazil (adopted and brought up in England) who rediscovers her roots on an investigation into an eco-disaster in the Amazon rainforest.
"Jabujicaba" was published in 2014 in English and is part of a grass-roots environmental movement. It is the flagship project of Voices for Nature Ltd, a not-for-profit company based in England. Voices for Nature was set up to support and promote artistic projects in all media that relate to the conservation of flora and fauna in and from Brazil's rainforests.
The book is currently under development as a film and has been translated into Brazilian Portuguese. All royalties from Jabujicaba support conservation projects in Brazil's rainforests.
The Plot.
Jabujicaba"" is set in Brazil in the not-too-distant future. The country is on the verge of bankruptcy and the populist and ‘green’ president is forced to auction off the Amazon rainforest to meet the country's debt obligations and to prevent a military coup.
The ‘heroine’ is a young black woman, Carmen Macedo. She is a journalist from London who was born in Brazil, having been adopted and moved to England after her mother's tragic suicide. When Carmen is sent by her paper to investigate an environmental disaster in the Amazon, her investigation turns into a mission to save the country of her birth. She finds herself having to confront her childhood traumas and rediscover the Brazilian ‘self’ she had lost.
In her mission, Carmen joins forces with an unlikely crew of people whom she suspects belong to the secretive Forest Liberation Front. She is increasingly attracted to their leader, a mysterious adventurer whom she knows as Braga. Together they journey through the apocalyptic cities of Brazil into the deepest Amazon forest, where they are captured by ‘savage’ Indians whose culture has been destroyed by the eco-disaster. Carmen also meets two of her dead mother's former lovers. Together they try to make sense of her mother's suicide as they discover it is connected to a legendary tree called Jabujicaba.
Main Theme.
Jabujicaba is allegorical. Human society, not just Brazil, is on a path to destruction. It is not just the Amazon forest that is being destroyed, but our own future. The Jabujicaba Tree represents life and continuity, societal and personal happiness. For these to exist, we need to challenge our economic and legal paradigms of ownership. We need a system change, for which all of us must socially and politically engage before it is too late. In Jabujicaba the people of the world literally take to the streets to put right the mistakes of the past and ensure that better future for themselves and generations to come.
Inspiration.
The author of Jabujicaba has a diverse professional background, which includes working in Brazil and for a green politician. Over her many years of experience with policy makers, scientists, businessmen, financial institutions and campaigning organisations, she became fed up with the negativity of messages, the endless news of extinctions and habitat destruction, the fragmentation of scientific debates and the division of stakeholders into adversarial camps. She felt the time had come for environmental re-engagement from the heart, for new role models to inspire the young to action with positive thinking – all of which can happen through literature and art.
Many other stakeholders are playing an important role in supporting the promotion of Jabujicaba and in exploring and reaching out with its ethical, economic and political arguments.
Publication.
Jabujicaba was first published as a free download for a month, to design and build the campaign. It was downloaded over 700 times globally. In April 2014, it was published as an e-book with Amazon Kindle, initially topping the best-seller lists in two categories and hovering around the top twenty for the months that followed.
Jabujicaba was published as a paperback in May, with a campaign surrounding the World Cup 2014 in Brazil. It is sold and distributed by Blackwell’s, one of the UK's oldest and most prestigious booksellers.
Reception.
Jabujicaba has had positive critical reviews from readers; on account of its wide stakeholder support and reviews, the Royal Society of Literature has accepted Jabujicaba for entry to its Ondaatje Prize, which is normally also reserved for only traditionally published books.


David After Dentist

David After Dentist is an Internet phenomenon which started when David DeVore Jr.'s father posted a video on the Internet of his reaction to anesthesia after he had been given oral surgery. , it has been viewed 140 million times on YouTube.
Video origins and publication.
In May 2008, 7-year old David DeVore Jr. was taken to the dentist to have an extra tooth removed, due to a hereditary condition called hyperdontia. Because this was David's first surgery and his mother could not be there, his father decided to videotape the experience to share with her and their family.
After the surgery, David was feeling confused from the anaesthesia he was given. While in the car, he was asking his father questions like "Is this real life?" and "Is this going to be forever?" and also telling him that he had two fingers. At one point he even attempted to push himself up from his seat (while still buckled in) and began screaming before sinking back in exhaustion.
Seven months later, David's father uploaded the video on Facebook. Being overwhelmed with people wanting to see the video, he decided to upload it to YouTube, but did not notice there was a private option. Just 3 days after the upload, it had been seen over 3 million times.
The DeVore family were soon made YouTube Partners. This gives YouTube the right to run ads over the videos they post, and in exchange, are given a share of the revenue. They also sell "David After Dentist" T-shirts and donate a portion of the revenue they earn to dental charities.
Criticism.
David DeVore Sr. has received criticism for exploiting his son. DeVore has stated that he appreciates the concern, but feels that it was innocent and has been a very positive experience for his family.
Medical explanation.
In the video, David states that he sees four fingers when looking at his two pointer fingers. He later adds, "I don't see anything", after which he tells his father: "you have four eyes". David may have experienced well-known, and extraordinarily disturbing, side effects (blurred and double vision) of the dental anaesthesia. In the medical literature, several ocular complications such as diplopia (blurred and double vision) and dizziness have been reported as a consequence of improperly administered local intraoral anaesthesia. It is estimated that ophthalmologic complications occur in approximately 1 in 1,000 local intraoral anesthetic injections; the majority of documented symptomatic responses arise within 5 minutes and may last for several minutes to hours.


Edward Chodorov

Edward Chodorov (April 17, 1904 – October 9, 1988), was a Broadway playwright, and the writer or producer of over 50 motion pictures.
Filmography.
Uncredited
Blacklist.
Chodorov was blacklisted in 1953 by Hollywood studios for his failure to cooperate with the House Committee on Un-American Activities. He was identified as a Communist Party member by Jerome Robbins.


Kinar (film)

Kinar (Well in Malayalam), titled Keni () in, is a 2018 Indian drama film co-written and directed by M. A. Nishad. It was produced by the studio of Fragrant Nature Film Creations, and was made simultaneously in Malayalam and Tamil. Focusing on the issue of water scarcity in a town between Kerala and Tamil Nadu, the film stars Jayaprada and Revathi in the lead roles, with different sets of ensemble cast for the two versions. M. Jayachandran and Bijibal composed the soundtrack and score. Noushad Sherif was director of photography and Sreekumar Nair edited the film. Both versions were released worldwide on 23 February 2018 to negative and were box-office bombs.
Production.
Directed by Malayalam filmmaker M. A. Nishad, the story revolves around a water dispute that crops up between the people of Tamil Nadu and Kerala on account of a well, with the film taking place in 1965 when Kerala was formed as a separate state. Jayaprada revealed that her political experience of seeing people through problems of water scarcity motivated her to sign the film and play the lead role. Portraying the widow of a geologist, who wants to fulfil her husband's desire to make water available to all, she stated the story "fell in the category of ‘meaningful cinema’" and that she was keen to be a part of such attempts. Revathy was signed to portray a collector of the Tamil Nadu village of Thirunelveli, which faces a water shortage every year. She was selected after the original choice, Suhasini opted out citing date issues. Nishad chose to shoot two versions, one in Malayalam and the other in Tamil, where each party would have the stronger cause.
The Malayalam version of the film was shot first during May 2017, with most of the scenes being shot at the Punalur Municipality and Chemmanthur High School premises. Scenes were also shot in Thiruvananthapuram during the same month, where a launch ceremony was held. The film was later shot in Tamil with Parthiban, Nassar, Anu Hasan and Rekha amongst others joining the cast.
Soundtrack.
The film features a song titled "Ayya Sami", sung by S. P. Balasubrahmanyam and K. J. Yesudas, who worked together after a break of twenty seven years following "Thalapathi" (1991) for the song "Kaatukkuyilu Manasukkula". The song's lyrics narrates the celebration of Tamil Nadu and Kerala cultures, and was composed by M. Jayachandran and written by B. K. Harinarayanan and Palani Bharathi. The soundtracks were released simultaneously at an event on 7 February 2018, with the lead cast in both languages in attendance.


Feel the Rhythm


Julia Christensen

Julia Christensen (born 1976) is a multidisciplinary artist and writer based in Oberlin, Ohio. She is Associate Professor of Integrated Media and Chair of the Studio Art Department at Oberlin College.
Art Practice.
Julia Christensen's art practice spans photography, video, sound, installation, sculpture, and performance. Christensen's projects explore the intersections of technology, time, change, and memory. Her work has been presented at venues such as the Los Angeles County Museum of Art (Los Angeles, CA), Walker Art Center (Minneapolis, MN), Eyebeam (New York, NY), Ronald Feldman Gallery (New York, NY), Carnegie Museum of Fine Arts (Pittsburgh, PA), 21C Museum/Hotel (Louisville, KY), and the Museum of Contemporary Art (Cleveland, OH). Her work has been shown internationally in India, France, Greece, Croatia, Finland, and beyond.
Christensen's practice often consists of long-term research projects, expressed through multidisciplinary artworks. Her project, "Big Box Reuse", examined the civic reuse of abandoned Walmart and Kmart stores in the United States; "Big Box Reuse" manifested as photography, video, installation, and her first book, Big Box Reuse (MIT Press, 2008). Her project, "Waiting for a Break", tracked the formation of Lake Erie's ice in real time over the course of extreme winter conditions; the work resulted in a live video kiosk in downtown Cleveland, Ohio (commissioned by LAND studio), and a solo exhibition at SPACES (Cleveland, OH). Another project, "Upgrade Available", is about the phenomenon of "upgrade culture," and how the perceived need to endlessly upgrade electronics impacts life in the 21st century; this research produced photography, installation, sculpture, and led Christensen to collaborate with scientists at NASA Jet Propulsion Laboratory to design spacecraft mission concepts that prioritize long-term technological stability.
Writing.
Julia Christensen is the author of Big Box Reuse, published by MIT Press in 2008, and Upgrade Available, published by Dancing Foxes Press in 2020.
Big Box Reuse is a culmination of her multi-year art project documenting the civic reuse of abandoned “big box” stores in the United States. The book presents case studies, through photography and writing by Christensen, of museums, schools, churches and more in renovated Walmart and Kmart buildings. Big Box Reuse was met with wide acclaim, and was reviewed and featured in the New York Review of Books, New York Magazine, Washington Post, New York Times, New York Times Magazine, San Francisco Chronicle, Cleveland Plain Dealer, among other publications. Amazon.com named it one of the Top 10 Art Books of 2008; it won “Best of Category,” General Trade Illustrated Books in the 2009 New England Book Show (sponsored by Bookbuilders of Boston); it was selected as a winner in the Trade Illustrated Category and the Jackets and Covers Category, 2009 Association of American University Presses (AAUP) Book, Journal, and Jacket Show.
Upgrade Available documents an ongoing investigation by Christensen into how our relentless "upgrade culture"—the perceived notion that we need to constantly upgrade our electronics to remain relevant—fundamentally impacts our experience of time. In a personal narrative interspersed with related interdisciplinary artwork and conversations with experts from different fields (other artists, archivists, academics), Christensen takes readers along a path from the international "e-waste" industry to institutional archives, eventually leading her to NASA's Jet Propulsion Laboratory (JPL).
Christensen’s writing has also appeared in Slate, Hyperallergic, Print, Orion, and Cabinet magazines.
Awards and Honors.
Christensen is a recipient of the Guggenheim Fellowship, Creative Capital Fellowship (Emerging Fields, 2013), LACMA Art + Tech Lab Fellowship (2017), Ohio Arts Council Individual Excellence Award (2015), SPACES R&D Award, and the MacDowell Fellowship (2015). She has received commissions from LAND studio (2017), Turbulence (2007), and New and Performing Arts Inc. (2007). Her work has been supported by artist residencies at the MacDowell Colony, Media Archaeology Lab (University of Colorado, Boulder), Experimental Television Center, and the Wexner Center for the Arts Film/Video Studio.


Awarua Plains

The Awarua Plain is a large area of wetland to the east of Bluff, New Zealand. Covering an area of around 600 km², the plain stretches for 35 kilometres along the coast of Foveaux Strait. This stretch of coast includes the peninsula of Tiwai Point, Awarua Bay, the Waituna Lagoon, and Toetoes Bay. The Mataura River is the major river responsible for the presence of the Awarua Plain; along with the Oreti River, it is a remnant of the rivers from the Ice Ages that formed the Southland Plains (Murihiku). In addition, several small streams enter Foveaux Strait along this stretch of coast, mainly via Awarua Bay and Waituna Lagoon.
The New Zealand Ministry for Culture and Heritage gives a translation of "two streams" for "Awarua".
Radio facilities.
The Awarua Plain is suitable for radio facilities, due to low distant skylines, high ground conductivity and distance from sources of radio interference. An expedition seeking 'an extensive area of flat lands [producing] the best results' first scouted the area for radio purposes in 1911.
Radio-related facilities here are:
Awarua Radio.
Awarua Radio (callsign VLB or ZLB) was New Zealand's main receiving and transmitting coast radio station providing worldwide radiotelegraph and voice communications with ships at sea. Some facilities were built by Telefunken of Germany. It was operated from 18 December 1913 by the New Zealand Post Office (to 31 March 1986) then by NZPO successor corporation Telecom New Zealand until the station closed on 30 August 1991.
The site was selected following an expedition in 1911 led by Mr J Orchiston, head of the New Zealand Telegraph Department, Captain Gard'ner of the New Zealand Artillery and representatives of Australian Wireless, seeking 'an extensive area of flat lands [producing] the best results'.


Greg King (writer)

Greg King (born 1961) is an American journalist and environmental activist in Northern California. He is President and Executive Director of Siskiyou Land Conservancy, a non-profit land trust.
King is credited with discovering and naming Headwaters Forest, in March, 1987, then the largest privately held ancient redwood grove still standing outside of parks. As a redwood activist King pioneered the tactic of tree-sitting, and he was a lead organizer and strategist dedicated to protecting Headwaters and other groves during the 1980s and 1990s. King is an authority on redwood logging and protection efforts that have occurred since 1850.
King was the principal author of the 2014 book "Rumours of Glory," the memoir of Canadian performing artist Bruce Cockburn.
King's writing has earned four journalism awards, including two Lincoln Steffens Investigative Journalism Awards, and his photographs have run in several national publications. In 2016 the Environmental Protection Information Center presented King with its annual Sempervirens Lifetime Achievement Award.
Background.
King was born in Guerneville, California, the fifth generation of his family to live in western Sonoma and Mendocino Counties. King's father, Thomas King, was a banker in Guerneville, and his mother, Jessie Casler King, was a schoolteacher. King's ancestors arrived on the California North Coast in the 1860s and owned the King-Starrett mill in Monte Rio, then one of the largest redwood mills in Sonoma County. The King Range Mountains, in Humboldt County, are named for the family. King's great-great uncle, William King, was owner of the 2,000-acre King Ranch, in Cazadero, Sonoma County, and later served as Sonoma County supervisor.
King graduated from University of California, Santa Cruz in 1985 with a degree in Politics. That same year he joined the staff of the "West Sonoma County Paper" (now called "The Bohemian") as a staff reporter and photographer. At the "Paper" King covered issues that included redwood logging in Sonoma County by timber giant Louisiana Pacific Corporation. King's redwood articles earned a 1986 Lincoln Steffens Investigative Journalism Award. At the time King was also investigating the 1985 takeover of the Pacific Lumber Company, in Humboldt County, by Houston-based Maxxam Corporation. In 1986 Pacific Lumber owned the only large groves of ancient redwood still standing outside of state and national parks.
The fight for the last redwoods.
In early 1986 Maxxam instituted a new logging regime on Pacific Lumber property that doubled the annual acreage of old-growth redwood to be cut, and changed logging methods from selection to clear-cutting. In July 1986 King and Darryl Cherney co-founded Humboldt County Earth First! as a means of addressing Maxxam's liquidation of the last ancient redwoods. In November 1986 King resigned from his job at the "Paper" and moved to Humboldt County to focus on halting Maxxam's logging. In March, 1987, on a solo hike through Pacific Lumber's ancient redwood groves, King discovered and named Headwaters Forest, which stood at 3,000 acres and at the time was the world's largest unprotected ancient redwood grove.
Between 1987 and 1990, King and Cherney, and later Judi Bari, organized dozens of environmental demonstrations. In August 1987, and again in September that year, King and activist Mary Beth Nearing became the first people ever to tree-sit in an ancient redwood grove.
In 1990, after Bari and Cherney were severely injured by a pipe bomb placed under the driver's seat of Bari's car, King dropped out of the direct action movement but continued to organize for protection of Headwaters Forest and the other remaining old-growth habitat on Pacific Lumber land. In 2002 Cherney and Bari's estate won a $4.4 million federal lawsuit against the FBI and the Oakland Police Department after a jury found that the police agencies "had violated their civil rights and First Amendment rights by defaming them and casting a pall over their plans to protest against logging."
In 1991 King returned to journalism. He wrote and photographed for the "Paper" and freelanced. In 1992 he earned a second Lincoln Steffens award for his 1991 article in the "East Bay Express," "Child's Play," about the nexus between computer game manufacturers and the U.S. military. King's photographs have appeared in "Newsweek," "Smithsonian," "Mother Jones," "Rolling Stone," and "The Houston Post."
Recent activism and journalism.
In 1999 King founded the Smith River Project to protect private lands along California's only major undammed river. In 2004 King expanded the project by founding Siskiyou Land Conservancy, a land trust that serves Del Norte, Humboldt, and Mendocino Counties in California. In 2015/2016 Siskiyou Land Conservancy conducted a health survey in the town of Smith River, which is surrounded 1,000 acres of Easter lily fields where farmers apply 300,000 pounds of pesticides annually. The survey demonstrated significant impacts to Smith River residents caused by the pesticides. Reacting to pressure from Siskiyou Land Conservancy, state and federal agencies have found significant pesticide contamination of the Smith River estuary, which is among California's key refugia for several endangered species including coho salmon.
 Most recently, Siskiyou Land Conservancy was instrumental in halting construction of a proposed wind farm on biologically fragile ridge systems in western Humboldt County. King continues to run Siskiyou Land Conservancy as president and executive director.
Since 2004 King has published several long form interviews in "The Sun" magazine, with subjects including Patti Smith, Bruce Cockburn, Daniel Ellsberg, Brian Willson, and Darryl Cherney. His writing has also appeared in "Sierra," the "Portland Oregonian," the "Sacramento Bee," the "Santa Rosa Press Democrat," the "Eureka Times-Standard," and "Counterpunch." King was the principal author of "Rumours of Glory," the memoir of Canadian performing artist Bruce Cockburn, published by Harper in 2014. King was a featured photographer in the 2001 book "Coast Redwood: A Natural and Cultural History" (Cachuma Press). In 2018 King's retrospective essay on California redwood logging ran as lead article in the annual "Humboldt Journal of Social Relations." In 2016 the Environmental Protection Information Center presented King with its annual Sempervirens Lifetime Achievement Award. He is currently writing a book, "The Ghost Forest," a history of redwood logging and protection efforts. King lives in Humboldt County, California.


Helen Slote Levitt


Kenneth S. Deffeyes

Kenneth S. Deffeyes was a geologist who worked with M. King Hubbert, the creator of the Hubbert peak theory, at the Shell Oil Company research laboratory in Houston, Texas. He claimed Chickasaw ancestry.
Deffeyes made a lively personal impression. McPhee characterized him in "Basin and Range" (1981): "Deffeyes is a big man with a tenured waistline. His hair flies behind him like Ludwig van Beethoven. He lectures in sneakers. His voice is syllabic, elocutionary, operatic. ... His surname rhymes with 'the maze.'"
Biography.
Deffeyes earned a B.S. in petroleum geology from the Colorado School of Mines and a Ph.D. in geology from Princeton University, studying under F.B. van Houten.
Deffeyes Ph.D. dissertation research concerned volcanic ashfalls in Nevada that had been altered to zeolites. Not much was known about the potential uses of zeolites, so Deffeyes wrote a review paper on zeolites in sedimentary rocks. This resulted (according to both Deffeyes and John McPhee) in the founding of the natural zeolite industry. Zeolites have important uses in water purification, as catalysts in the petrochemical industry, and as molecular sieves.
He taught at Princeton from 1967 to 1998, when he transferred to professor emeritus status.
He was the author of "Hubbert's Peak", published in 2001. In 2005 he published the book "Beyond Oil: The View from Hubbert's Peak". On February 11, 2006 Deffeyes claimed that world oil production had peaked on December 16, 2005.
In non-fiction.
In John McPhee's 1981 book "Basin and Range", about the origin of Basin and Range topography, Deffeyes teaches geology to McPhee and his readers by analyzing road cuts and the exposed geologic strata that resulted from the construction of Interstate highway 80. On one trip, Deffeyes picks up a piece of Triassic shale near Paterson, New Jersey to demonstrate a common geologic field test: he puts the shale in his mouth and chews it. "If it's gritty, it's a silt bed, and if it's creamy it's a shale," Deffeyes said. McPhee tries it and reports that he wouldn't "have thought to put it in coffee."


List of newspapers in Nauru

This is a list of newspapers in Nauru.


Take Back Control


Sam Wanamaker

Samuel Wanamaker, (born Wattenmacker; June 14, 1919 – December 18, 1993) was an American actor and director who moved to the United Kingdom after becoming fearful of being blacklisted in Hollywood due to his communist sympathies. He is credited as the person most responsible for saving The Rose Theatre, which led to the modern recreation of Shakespeare's Globe Theatre in London, where he is commemorated in the name of the Sam Wanamaker Playhouse, the site's second theatre.
Early years.
Wanamaker was born in Chicago, Illinois, the son of tailor Maurice Wattenmacker (Manus Watmakher) and Molly ("née" Bobele). His parents were Ukrainian Jews from Nikolayev. He was the younger of two brothers, the elder being William, long-term cardiologist at Cedars-Sinai Medical Center.
He trained at the Goodman School of Drama at the Art Institute of Chicago (now at DePaul University) and began working with summer stock theatre companies in Chicago and northern Wisconsin, where he helped build the stage of the Peninsula Players Theatre in 1937.
Career.
Wanamaker began his acting career in traveling shows and later worked on Broadway. In 1942 he starred with Ingrid Bergman in the play "Joan of Lorraine" and directed "Two Gentlemen from Athens" the following year.
In 1943, Wanamaker was part of the cast of the play "Counterattack" at the National Theatre, Washington, D.C.. During the play, he became enamored of the ideals of communism. He attended Drake University prior to serving in the U.S. Army between 1943 and 1946, during the Second World War. In 1947, he returned to civilian life as an actor and director.
In 1951, Wanamaker made a speech welcoming the return of two of the Hollywood Ten. In 1952, at the height of the McCarthy "Red Scare" period, Wanamaker, who was then acting in the UK, learned that despite his distinguished service in the Army during World War II, his years as a communist sympathizer could lead to his being blacklisted in Hollywood. He consequently decided to remain in England, where he reestablished his career as a stage and film actor, along with becoming a director and producer. He explained:
In 1952, he made his debut as both actor and director in London in Clifford Odets' "Winter Journey". The play, which co-starred Michael Redgrave, was considered "sensational" by critics. He later appeared in other plays, including "The Big Knife", "The Shrike", "The Rainmaker", and "A Hatful of Rain". In 1956 he directed the British premiere of Bertolt Brecht and Kurt Weill's musical play "The Threepenny Opera" (revived in New York in 1954 in a translation by Marc Blitzstein.)
In 1957, he was appointed director of the neglected New Shakespeare Theatre in Liverpool. He brought a number of notable productions to the theatre, such as "A View From the Bridge", "Cat on a Hot Tin Roof", "The Rose Tattoo" and "Bus Stop". It was also transformed into a lively arts centre as a result of including other cultural attractions, such as films, lectures, jazz concerts and art exhibits.
As a result of all his various activities, Wanamaker became London's "favourite American actor and director", noted "The Guardian". In 1959, he joined the Shakespeare Memorial Theatre company at Stratford-upon-Avon, playing Iago to Paul Robeson's Othello in Tony Richardson's production that year. In the 1960s and 1970s, he produced or directed several works at venues including the Royal Opera House, Covent Garden, and directed the Shakespeare Birthday Celebrations in 1974.
As a director and actor, he worked in both films and television, with roles in "The Spiral Staircase" (1974), "Private Benjamin" (1980), "" (1987), and "Baby Boom" (1987).
In 1968, he produced and directed the pilot episode of the Western TV series "Lancer"; this is depicted in the 2019 film "Once Upon a Time in Hollywood", with Wanamaker portrayed by Nicholas Hammond.
He also directed stage productions, including the world premiere production of Michael Tippett's opera "The Ice Break". In 1980, he directed Giuseppe Verdi's opera "Aida" starring Luciano Pavarotti at San Francisco Opera (now broadcast version released as DVD). He was also featured as the widowed and very ruthless department store owner Simon Berrenger on the short-lived television drama "Berrenger's" in 1985.
Restoring the Globe Theatre.
In 1970 Wanamaker's career took a dramatic turn after he was annoyed that while a number of replicas of the Globe Theatre existed in the United States, the site of the original in London was marked by only a plaque on a nearby brewery. He then made it his goal to restore an exact replica of the Globe to feature plays and a museum.
It became Wanamaker's "great obsession" to restore Shakespeare's Globe Theatre at its original location. He secured financial support from philanthropists and fellow lovers of Shakespeare, such as Samuel H. Scripps, to see that it would be created. Wanamaker then founded the Shakespeare Globe Trust, which raised well over ten million dollars.
Though, as in the late 16th and 17th centuries, the 20th century Royal family were more or less supportive, British officialdom was far less so, since they wanted to develop the site for new high-rise housing and commercial use. English Heritage, which controlled the site, refused to give Wanamaker the precise dimensions of the original Globe.
According to Karl Meyer of "The New York Times":
The Shakespeare project helped Mr. Wanamaker keep his sanity and dignity intact. On his first visit to London in 1949, he had sought traces of the original theatre and was astonished to find only a blackened plaque on an unused brewery. He found this neglect inexplicable, and in 1970 launched the Shakespeare Globe Trust, later obtaining the building site and necessary permissions despite a hostile local council. He siphoned his earnings as actor and director into the project, undismayed by the scepticism of his British colleagues.
On the south bank of the River Thames in London, near where the modern recreation of Shakespeare's Globe stands today, is a plaque that reads: "In Thanksgiving for Sam Wanamaker, Actor, Director, Producer, 1919–1993, whose vision rebuilt Shakespeare's Globe Theatre on Bankside in this parish". There is a blue plaque on the river-side wall of the theatre, and the site's Jacobean indoor theatre, opened in January 2014, is named the Sam Wanamaker Playhouse after him.
For his work in reconstructing the Globe Theatre, Wanamaker, in July 1993, was made an honorary Commander of the Order of the British Empire (CBE). He was also honoured with the Benjamin Franklin Medal by the Royal Society of Arts in recognition of his contribution to theatre.
When multi-Tony Award-winning British actor Mark Rylance accepted his third Tony on stage in New York City during the televised ceremonies on June 8, 2014, he did so with a note of thanks to Wanamaker.
Personal life.
In 1940, Wanamaker married Canadian actress Charlotte Holland.
In her 2014 memoir, "I Said Yes to Everything", Lee Grant claimed that during production of the film "Voyage of the Damned" (1976), Wanamaker engaged in an affair with British actress Lynne Frederick, who was twenty-one at the time.
Actress Zoë Wanamaker is his daughter and film historian Marc Wanamaker is his nephew.
Death.
Wanamaker died of prostate cancer in London on December 18, 1993, aged 74, prior to the grand opening of the Globe by Queen Elizabeth II on 12 June 1997. He was survived by three daughters, Abby, Zoë, and Jessica. In the 2019 Quentin Tarantino film "Once Upon a Time in Hollywood", Wanamaker is portrayed by Nicholas Hammond.


John Bright (screenwriter)

John Milton Bright (1908-1989) was an American journalist, screenwriter and political activist.
Bright was born in Baltimore and worked with Ben Hecht as a newspaper journalist in Chicago. With fellow journalist Kubec Glasmon, Bright co-wrote a series of stories adapted as screenplays. The most notable of these, "Beer and Blood", became the 1931 film "The Public Enemy" starring James Cagney. The two were nominated for a 1931 Academy Award for Best Story.
In 1933 he became one of the ten founders of the Screen Writers Guild. As with other founders and members of the Screen Writers Guild, Bright was targeted in the early 1950s by the House Un-American Activities Committee, and put on the Hollywood blacklist.
Bright's wife Josefina Fierro was a Mexican-American activist in her own right. Bright fled to Mexico and wrote screenplays for at least two Mexican films.
His 2002 memoir was called "Worms in the Winecup."
Films.
Bright's credits as a screenwriter, often collaborating with others, include:


Lela E. Buis

Lela E. Buis is a speculative fiction writer, playwright, poet and artist who was born in Middlesboro, KY. She graduated from Florida State University (FSU) and the Florida Institute of Technology, and worked in engineering for a number of years at Kennedy Space Center in Merritt Island, Florida. She currently resides in Tennessee.
Background.
Lela Buis was born the elder of two daughters of Joseph N. and Lena Grace Buis. When Joe was discharged from the army after World War II, the couple took ownership of a Century Farm in Claiborne County, Tennessee. Lela Buis attended Claiborne County High School, and as a child was active in farm related organizations such as 4-H clubs. At FSU she worked in research on Computer Assisted Instruction was a member of the Alpha Lambda Delta and Phi Kappa Phi honor societies and was active in Yoshukai Karate. She performed with the Florida State University Dance Theatre, and from 1983 served as president of the Titusville, Florida, non-profit Community Dance Theater. From 2001-2003, she was active in the Brevard Playwrights Workshop.
Writing career.
Buis' first listed short story sale in the science fiction and fantasy genre was in 1991. She often writes fiction inclusive of minorities. From 1992 to 2002, she served as director of The Best of Soft Science Fiction Contest. From 2002-2003 she served as editor of the online literary and arts magazine "Proteus Review", published by Brevard Community College. Her short stories, poems and articles have appeared in science fiction and fantasy publications including Galaxy, Thirteenth Moon, Star*line and others. That Ridge Press has recently released collections of her short stories and poetry.
Buis is a member of the Knoxville Writers Guild, the Tennessee Mountain Writers, the Science Fiction and Fantasy Writers of America and the Science Fiction Poetry Association.
Bibliography.
Selected publications include:


Widget (TV series)

Widget (also known as Widget the World Watcher) is an animated television series created by Voltron creator Peter Keefe, directed and produced by Tom Burton of Zodiac Entertainment, which debuted in syndication on September 29, 1990. The series ran for three seasons; in the first season (1990), it aired once a week (usually on Saturday or Sunday), and in the second season (1991), the series expanded to weekdays. The show featured environmentalist themes and was recognized by the National Education Association as recommended viewing for children.
Overview.
The show focused on a short purple extraterrestrial from the planet Widget who could shapeshift by spinning like a top into different forms. He and a group of young human friends - brothers Kevin and Brian, and their teenage sister Kristine - protect the natural environment from those who wish to plunder or harm it. Later on they are joined by fellow shapeshifter Half-Pint, Widget's mischievous and overly-curious cousin. Widget is frequently accompanied by the Mega Brain, an intelligent but somewhat clumsy being who appears as a floating head (with a transparent cranium) and floating hands.
The show was produced by Calico Creations to teach children about the dangers of pollution. Each episode would have Widget contending with a villain from either Earth or outer space wishing to exploit Earth's environment or natural resources, like Dr. Dante, Mega Slank, and his evil twin, Ratchet. In this respect, Widget, the World Watcher is very similar to "Captain Planet and the Planeteers" and "Toxic Crusaders", as all those heroes attempt to save the Earth from ecological disaster. As in those series, Widget occasionally fought against malicious entities spawned by copious pollution. For example, in one episode Widget battled a fellow shapeshifter; a sentient but hostile life form, disguised as a toxic ooze/slick, who was contaminating Earth's beaches and oceans.
The TV series ran for 65 episodes: 13 in the first season, and 52 in the second season.
It also aired on TVO, CFA and Le Canal Famille in Canada and later on ITV, The Children's Channel, Sky One and Channel 4 in the UK, TV3 in Sweden, RTÉ1 and RTÉ2 in Ireland, Sjónvarpið in Iceland, Fun Channel in Chile, Bop TV, SABC1 and M-Net in South Africa, Saudi 2 in Saudi Arabia, Dubai 33 in the United Arab Emirates, KBS, KBS2 and American Forces Korea Network in Korea, UniMás in Spain, TV1 and TV3 in Malaysia, Canal+ and FR3 in France, ZBC TV in Zimbabwe, Channel One in Russia, Channel 5 in Singapore, KUAM-TV in Guam, NBC in Namibia, Swazi TV in Eswatini, TVP1, TVP2 and TVP Polonia in Poland, TV2 and TV3 in New Zealand, ProSieben and Armed Forces Network (with the original English recorded version) in Germany, TV3 in Estonia, IBC in the Philippines, RTB in Brunei, Canale 5 in Italy, Channel 2 in Israel and the ABC in Australia.
Production and distribution.
"Widget" was produced by Zodiac Entertainment, a Studio City, California-based firm backed by British media company Central Independent Television. Zodiac President Kevin Morrison stated that in 1990, Widget was being broadcast on 80% of independent U. S. television stations and that in 1991, the show started being shown five times a week.
Video games.
The series spawned two video games. "Widget" was released by Atlus on the NES in 1992 and "Super Widget" also by Atlus on the SNES in 1993.
Reception.
"Widget" currently holds a 7 / 10 rating on IMDb and maintains a cult following.
Accolades.
The episode "Sort it Out" won an Environmental Media Award.


Justine Cooper (artist)

Justine Cooper is an Australian artist born in Sydney, Australia in 1968 and is currently residing in New York.
Life and career.
Cooper is an interdisciplinary artist investigating the intersections between culture, science and medicine. Cooper uses various media to create her artworks, including animation, video, and photography, and she frequently incorporates medical imaging technologies including MRI, ultrasound, DNA sequencing, scanning electron microscopy into her works.
Cooper's work has been exhibited at The New Museum of Contemporary Art, New York; the Singapore Art Museum, the Netherlands Media Art Institute and at the NTT InterCommunication Center, Tokyo, RiAus in Adelaide, and in the exhibition WetLab: The New Nexus Between Art and Science in 2005.
Cooper’s artwork is represented in the Metropolitan Museum of Art, The Powerhouse Museum (Sydney), The Queensland Art Gallery and the Australian Center for the Moving Image, amongst other public and private collections.
Her 1998 word Rapt uses Magnetic Resonance Imaging (MRI) scans of the artist's own body.


Britain is full


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First Republic Bank Corporation

First Republic Bank Corporation was an American bank based in Texas. Founded as the Guaranty Bank and Trust Company in 1920, in 1922 it assumed the name Republic National Bank of Dallas. Afterwards the bank acquired several banks and invested in others, and changed its name several times. By 1948 Republic had grown to become the largest bank in Texas. The bank failed in 1988, during the savings and loan crisis. It was acquired by NCNB Corporation in 1988. As a result of a series of mergers over the next two decades, most of what was once First Republic is now part of Bank of America.
History.
The company first opened as the Guaranty Bank and Trust Company in 1920, founded by a University of Texas law school alumnus named Eugene DeBogory. In 1922 when Guaranty obtained a national charter it assumed the name Republic National Bank of Dallas.
When the company began servicing farm and ranch loans, it was required to establish a Texas subsidiary, Republic Trust and Savings Bank, to comply with regulations governing national banks at the time. In 1928 the regulations changed, allowing the state-chartered Republic Trust and Savings Bank to be merged back into the parent company, forming the Republic National Bank and Trust Company.
During the next decade Republic acquired North Texas National Bank, and invested in several other Texas banks during the banking crisis of the 1933. In 1938 the name changed again back to Republic National Bank of Dallas. By 1948 Republic had grown to become the largest bank in Texas. In the 1970s, toward the tail end of a lengthy period of expansion and acquisition, Republic acquired the Houston National Bank and held a substantial portfolio of loans to the real estate industry in Texas.
In the late 1980s Savings and Loan crisis, Texas in general and Republic's loan portfolio in particular were hit hard by real estate devaluation. In efforts to remain solvent, RepublicBank Corporation in 1987 merged with InterFirst Bank Corporation, also based in Dallas, creating First RepublicBank Corporation. However, First Republic was unable to weather the downturn. In March, the FDIC pumped $1 billion into First Republic and sought a buyer for the ailing bank. While Citicorp and Wells Fargo put in bids, the FDIC ultimately accepted a less costly bid from a far smaller bank from Charlotte, North Carolina, NCNB Corporation. First Republic failed on July 29, 1988; later that day, the FDIC awarded the remains of First Republic to NCNB. The deal doubled NCNB's assets and vaulted it from the 17th-largest bank in the country to the 10th-largest in one stroke.


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Geraldine Page

Geraldine Sue Page (November 22, 1924June 13, 1987) was an American actress. She earned acclaim for her work on Broadway as well as in major Hollywood films and television productions, garnering an Academy Award (from eight nominations), two Primetime Emmy Awards, two Golden Globes, a BAFTA Award, and four nominations for the Tony Award.
A native of Kirksville, Missouri, Page studied at the Art Institute of Chicago and with Uta Hagen and Lee Strasberg in New York City before being cast in her first credited part in the Western film "Hondo" (1953), which earned her her first Academy Award nomination for Best Supporting Actress. Because of McCarthyism, she was subsequently blacklisted in Hollywood based on her association with Hagen and did not work in film for eight years. Page continued to appear in television and on stage and earned her first Tony Award nomination for her performance in "Sweet Bird of Youth" (1959–60), a role she reprised in the 1962 film adaptation, the latter of which earned her a Golden Globe Award.
She earned additional Academy Award nominations for her roles in "You're a Big Boy Now" (1966) and "Pete 'n' Tillie" (1972), followed by a Tony nomination for her performance in the stage production of "Absurd Person Singular" (1974–75). Other film appearances during this time included in the thrillers "What Ever Happened to Aunt Alice?" (1969) opposite Ruth Gordon, and "The Beguiled" (1971) opposite Clint Eastwood. In 1977, she provided the voice of Madam Medusa in Walt Disney's "The Rescuers", followed by a role in Woody Allen's "Interiors" (1978), which earned her a BAFTA Award for Best Actress in a Supporting Role.
After being inducted into the American Theater Hall of Fame in 1979 for her stage work, Page returned to Broadway with a lead role in "Agnes of God" (1982), earning her her third Tony Award nomination. Page was nominated for Academy Awards for her performances in "The Pope of Greenwich Village" (1984) and "The Trip to Bountiful" (1985), the latter of which earned her the Academy Award for Best Actress. Page died in New York City in 1987 in the midst of a Broadway run of "Blithe Spirit", for which she earned her fourth Tony Award nomination.
Early life.
Page was born November 22, 1924 in Kirksville, Missouri, the second child of Edna Pearl (née Maize) and Leon Elwin Page who worked at Andrew Taylor Still College of Osteopathy and Surgery (combined with the American School of Osteopathy, eventually to form A.T. Still University). He was an author whose works included "Practical Anatomy" (1925), "Osteopathic Fundamentals" (1926), and "The Old Doctor" (1932). She had one older brother, Donald.
At age five, Page relocated with her family to Chicago, Illinois. Raised a Methodist, Page and her family were active parishioners of the Englewood Methodist Church in Chicago, where she had her first foray into acting within the church's theatre group, playing Jo March in a 1941 production of Louisa May Alcott's "Little Women". After graduating from Chicago's Englewood Technical Prep Academy, she attended the Goodman School of Drama at the Art Institute of Chicago (now at DePaul University), with the intention of becoming a visual artist or pianist.
After graduating from the Art Institute of Chicago in 1945, Page studied acting at the Herbert Berghof School and the American Theatre Wing in New York City, studying with Uta Hagen for seven years, and then at the Actors Studio with Lee Strasberg. During this time, Page would return to Chicago in the summers to perform in repertory theatre in Lake Zurich, Illinois, where she and several fellow actors had established their own independent theater company. While attempting to establish her career, she worked various odd jobs, including as a hat-check girl, theater usher, lingerie model, and a factory laborer.
Career.
Early stage and film.
Page, a trained method actor, spent five years appearing in various repertory theater productions in the Midwest and New York after graduating from college. On October 25, 1945, she made her New York stage debut in "Seven Mirrors", a play devised by Immaculate Heart High School students from Los Angeles. The play ran for a total of 23 performances at Blackfriars Repertory Theatre on Manhattan's Upper East Side. In February 1952, director José Quintero cast Page in a minor role in "Yerma", a theatrical interpretation of a poem by Federico García Lorca, staged at Circle in the Square Theatre in New York City's Greenwich Village. Page was subsequently cast in the role of Alma in the Quintero-directed production of "Summer and Smoke", written by Tennessee Williams (also staged at the Circle Theatre in 1952). Page's role in "Summer and Smoke" garnered her significant exposure, including a Drama Desk Award, and a profile in "Time" magazine.
Her official film debut and role in "Hondo", opposite John Wayne, garnering her a nomination for the Academy Award for Best Supporting Actress. Prior, she appeared in an uncredited role in "Taxi". Speaking to a Kirksville newspaper, she said: "Actually "Hondo" wasn't my first movie. I had one small, but satisfactory scene in a Dan Dailey picture called "Taxi", which was filmed in New York." Page was blacklisted in Hollywood after her debut in "Hondo" based on her association with Uta Hagen and did not work in film for nearly ten years. Her work continued on Broadway playing a spinster in the 19541955 production of "The Rainmaker", written by N. Richard Nash; and as the frustrated wife whose husband becomes romantically obsessed with a young Arab, played by James Dean, in the 1954 production of "The Immoralist", written by Augustus Goetz and Ruth Goetz and based on the novel of the same name (1902) by André Gide. Page remained friends with Dean until his death the following year and kept several personal mementos from the play—including two drawings by him. After Page's death, these items were acquired by Heritage Auctions in 2006.
In 1959, Page earned an Emmy nomination, of Best Single Performance by an Actress, for her role in the "Playhouse 90" episode "The Old Man," written by William Faulkner. She subsequently earned critical accolades for her performance in the 1959–1960 Broadway production of Tennessee Williams's "Sweet Bird of Youth" opposite Paul Newman, in which she originated the role of a larger-than-life, addicted, sexually voracious Hollywood legend trying to extinguish her fears about her career with a young hustler named Chance Wayne (played by Newman). For her performance, Page received her first nomination for the Tony Award for Best Actress in a Play, as well as the Sarah Siddons Award for her performance in Chicago. She and Newman subsequently starred in the 1962 film adaptation of the same name and Page earned a nomination for the Academy Award for Best Actress for the film.
In 1963, Page starred in "Toys in the Attic", based on Lillian Hellman's play of the same name, and garnered a Golden Globe nomination. She received another nomination the following year starring in Delbert Mann's "Dear Heart" as a self-sufficient but lonely postmistress visiting New York City for a convention, finding love with a greeting card salesman. In 1964, she starred in a Lee Strasberg-directed Broadway revival of Anton Chekhov's "Three Sisters" playing eldest sister Olga to Kim Stanley's Masha with Barbara Baxley as the interloper Natasha. Both Shirley Knight and Sandy Dennis played the youngest sister Irina at different stages in this production.
Between 1966 and 1969, Page appeared in two holiday-themed television productions based on stories by Truman Capote: "The Christmas Memory" (for "ABC Stage 67") and the television film "The Thanksgiving Visitor", both of which earned her two consecutive Emmy Awards for Best Actress. In 1967, Page appeared again onstage in Peter Shaffer's "Black Comedy/White Lies," a production which also included Michael Crawford and Lynn Redgrave, who were making their Broadway debuts. The same year, she appeared opposite Fred MacMurray in the Walt Disney-produced musical "The Happiest Millionaire". Bosley Crowther of "The New York Times" was critical of the film, noting: "Geraldine Page and Gladys Cooper...square off in one musical scene of socially up-staging each other that is drenched in perfumed vulgarity. But, then, the whole picture is vulgar. It is an over-decorated, over-fluffed, over-sentimentalized endeavor to pretend the lace-curtain millionaires are—or were—every bit as folksy as the old prize-fighters and the Irish brawlers in the saloon."
Mid-career work.
Page starred opposite Ruth Gordon in the thriller "What Ever Happened to Aunt Alice?" (1969), the third and final film in the Robert Aldrich-produced trilogy which followed "What Ever Happened to Baby Jane?" (1962) and "Hush...Hush, Sweet Charlotte" (1964). The film is based on the novel "The Forbidden Garden" by Ursula Curtiss and features Page as Claire Marrable, a recently widowed socialite, who, discovers that her husband has left her virtually nothing. The widow hires a number of unsuspecting housekeepers whom she murders one by one and robs them of their life savings in order to keep up her extravagant lifestyle. Writing for "The New York Times", Vincent Canby deemed the film "an amusingly baroque horror story told by a master misogynist," and praised Page's "affecting" performance.
Page subsequently appeared in the Don Siegel-directed thriller "The Beguiled" (1971) opposite Clint Eastwood, playing the headmistress of a Southern girls' boarding school who takes in a wounded Confederate soldier. Director Siegel called Page "certainly as fine an actor as I've ever worked with. I never have gotten along better with anyone than I did with her." This was followed by a supporting role in the comedy "Pete 'n' Tillie" (1972), for which she earned an Academy Award nomination for Best Supporting Actress. She also appeared in three episodes of Rod Serling's "Night Gallery" between 1972 and 1973. In January 1973, she returned to Broadway playing Mary Todd Lincoln opposite Maya Angelou in the two-character play "Look Away", written by Jerome Kilty. Page received a nomination for the Tony Award for Best Featured Actress in a Play (her second Tony Award nomination) for the 1975 production of Alan Ayckbourn's "Absurd Person Singular" with Sandy Dennis and Richard Kiley.
She also had a supporting role as a charismatic Hollywood evangelist (modeled after Aimee Semple McPherson) in "The Day of the Locust" (1975), an adaptation of the Nathanael West novel of the same name. In 1977, she appeared as a nun in the British comedy "Nasty Habits", and provided the voice role of Madame Medusa in the Walt Disney animated film "The Rescuers". During this time, she also appeared on television, guest-starring in the popular series "Kojak" (1976) and "Hawaii Five-O" (1977).
Page appeared as the mother of three siblings and wife of a prominent attorney in Woody Allen's "Interiors" (1978). For her performance, Page was nominated for an Academy Award for Best Actress, and won a BAFTA Award for Best Actress in a Supporting Role. "The New York Times"s Vincent Canby lauded her performance in the film, writing: "Miss Page, looking a bit like a youthful Louise Nevelson with mink-lashed eyes, is marvelous — erratically kind, impossibly demanding, pathetic in her loneliness and desperate in her anger." The following year, in November 1979, Page was inducted into the American Theater Hall of Fame.
Later work and final performances.
Page starred as Zelda Fitzgerald in the last major Broadway production of a Williams play, "Clothes for a Summer Hotel" in 1980, followed by a supporting role in "Harry's War" (1981). Page starred as the secretive nun Mother Miriam Ruth in the Broadway production of "Agnes of God," which opened in 1982 and ran for 599 performances with Page performing in nearly all of them; for her role, she received a nomination for the Tony Award for Best Actress in a Play.
Also in 1983, Page invited the young actress Sabra Jones Strasberg to her dressing room to talk to Strasberg about how much she had liked her performance in "St. Joan" by Maxwell Anderson, in which Page had just seen her play the part originated by Ingrid Bergman. During this conversation, Strasberg asked her advice in forming a classic theatre based on alternating repertory. Strasberg later founded the Mirror Theater Ltd with its repertory program the Mirror Repertory, and Page accepted the role of Founding Artist in Residence. Page remained continually active in theater, appearing in numerous repertory, Broadway, and Off-Broadway productions throughout the 1980s; this included roles in a revivals of "Inheritors" by Susan Glaspell and "Paradise Lost" by Clifford Odets in 1983, "Rain" by John Colton (based on the short story "Miss Thompson" by W. Somerset Maugham) the following year. Further revivals followed in 1985: "Vivat! Vivat Regina!" by Robert Bolt (in which she played Elizabeth I), "Clarence" by Booth Tarkington, and "The Madwoman of Chaillot" (by Jean Giraudoux) in which she played the Madwoman to great acclaim).
Page earned her seventh Academy Award nomination for her performance in the dark comedy "The Pope of Greenwich Village" (1984). This marked a record at the time for most Academy Award nominations without a win, for which Page was tied with Peter O'Toole and Richard Burton (who themselves had also garnered seven nominations without winning). On television, Page had a supporting role in the miniseries "The Dollmaker" (1984), opposite Jane Fonda and Amanda Plummer. She appeared in the British horror film "The Bride" opposite Sting and Jennifer Beals; the drama "White Nights", directed by Taylor Hackford; and opposite Rebecca de Mornay in the drama "The Trip to Bountiful" (all 1985), in which she played an aging Southern Texas woman seeking to return to her hometown. The role earned Page wide critical acclaim, with the "Los Angeles Times" referring to it as "the performance of a lifetime."
In 1986, she appeared on Broadway in "The Circle" by W. Somerset Maugham; during this production, Page won the Academy Award for Best Actress for her performance in "The Trip to Bountiful". During her acceptance speech, she thanked The Mirror Theater Ltd. Page wore her costume from "The Circle", which had been designed and made by Gail Cooper-Hecht, the Mirror Theater's costume designer. She received the award from F. Murray Abraham, who, after winning his Oscar for "Amadeus", also joined the Mirror Repertory Company to play the rag-picker in the "Madwoman of Chaillot". Prior to winning the Academy Award, Page said to "People" magazine: "If I lose the Oscar this year, I’ll have the record for the most nominations without ever winning... I’d love to be champion, [but the loser] doesn’t have to get up there and make a fool of herself."
After winning the Academy Award, Page returned to finish her run performing in "The Circle" for Mirror Theater and appeared opposite Carroll Baker, Oprah Winfrey, and Elizabeth McGovern in "Native Son" (1986). Page followed up "Native Son" with a lead role opposite Mary Stuart Masterson in "My Little Girl" (1987). In the fall of 1986, Page asked permission to return to Broadway in a revival of Noël Coward's "Blithe Spirit" in the role of Madame Arcati. She was cast in the role, though the production would be Page's last. She was again nominated for the Tony Award for Best Actress in a Play, though she did not win. A week after the Tony Awards ceremony, Page failed to appear for two performances of the play and was found dead in her Manhattan home. The show lasted several weeks more, with Page's understudy Patricia Conolly taking over her role.
Acting style.
Page was trained as a method actor, and at times worked with psychoanalysts when developing her interpretations of roles. She once told the "Los Angeles Times": "If I read a part and think I can connect to it, that I can touch people with it, I will do it, no matter what its size. And if I think I can't do something with a part, I won't take it." In a 1964 interview upon completing the Broadway run of "The Three Sisters", Page discussed her method acting at length. When asked if she used emotional recall as a technique, she responded: "I would never shut it out. But I don't try to get one. My whole effort is to relax and keep the doors open so that there's room if one should pop up."
During her life, Page was regarded as a respected character actress. Speaking of her stage career in 1986, she said: "I used to think that by opening [night] all the work was done. Now I'm finding how much you can learn from the audience." She described acting as a "bottomless cup," adding: "If I studied for the next ninety years I'd just be scratching the surface."
Personal life.
Page was married to violinist Alexander Schneider from 1954 to 1957. On September 8, 1963, she married actor Rip Torn, who was six years her junior, in Pinal, Arizona. They had played opposite one another in "Sweet Bird of Youth" on Broadway and in the 1962 film. They had three children: a daughter, actress Angelica Page, and twin sons, Anthony "Tony" and Jonathan "Jon" Torn.
Beginning in the early 1980s, Page and Torn lived separately after he started dating actress Amy Wright; Torn had first met Wright in 1976 and began an affair shortly after. Page was aware of Torn and Wright's relationship, and appeared onstage opposite Wright in the 1977 Off-Broadway production of "The Stronger", under Torn's direction. In 1983, Torn fathered a child with Wright. Upon the birth of the child, Page was questioned about her marriage by columnist Cindy Adams, to which she responded: "Of course Rip and I are still married. We've been married for years. We're staying married. What's the big fuss?" In spite of their separation, Page and Torn remained married until her death; her daughter described their relationship as still "close" up until Page died in 1987.
Page considered herself a gourmand, once joking: "Greedy gut is my middle name...Rip is wonderful. He does the cooking and I do the eating. I love everything but eggplant."
Death.
On June 13, 1987, Page failed to arrive at the Neil Simon Theatre for both the afternoon and evening performances of Sir Noël Coward's "Blithe Spirit", which had begun its run in March. At the end of the show's evening performance, the play's producer announced that Page had been found dead in her lower Manhattan townhouse. It was determined that she died of a heart attack.
On June 18, "an overflow crowd of colleagues, friends and fans," including Sissy Spacek, James Earl Jones, Amanda Plummer, Jerry Stiller, Anne Meara, and husband Torn attended a memorial service held at the Neil Simon Theatre. In highlighting Page's achievements, actress Anne Jackson said "[Page] used a stage like no one else I'd ever seen. It was like playing tennis with someone who had 26 arms." Rip Torn called her "Mi corazon, mi alma, mi esposa" ("My heart, my soul, my wife") and said they had "never stopped being lovers, and ... never will." Page was cremated.
Accolades.
Page earned a total of seven Oscar nominations before winning her first Academy Award for Best Actress in 1985 for "The Trip to Bountiful". She was also a winner of two Golden Globe Awards, two Primetime Emmy Awards, and one BAFTA award.
For her stage work on Broadway, Page earned a total of four Tony Award nominations, and was referred to by the "New York Daily News" as "one of the finest stage actors of her generation." She was inducted into the American Theatre Hall of Fame in 1979.
In popular culture.
Sarah Paulson portrayed Page in the 2017 anthology television series "Feud", which chronicles the rivalry between actresses Bette Davis and Joan Crawford on the set of "What Ever Happened to Baby Jane?" (1962).
She was also portrayed by her daughter, Angelica Page, in the stage production "Turning Page". A monologue play chronicling Page's life, it was also written by her daughter: "I grew up in the center of her sparkling career," Angelica recalled. "As her only daughter I feel compelled to share her lessons and gifts with others who did and did not have the opportunity to know her magic intimately. She was a true rebel and trail blazer. A masterful woman who was ahead of her time and should not be forgotten anytime soon." The play premiered in Los Angeles in 2016, followed by performances in New York City in 2017.
External links.
Academic resources
Videography


Super Skidmarks

Super Skidmarks is a racing video game developed by Acid Software and released in 1995. The game is the sequel to "Skidmarks" and as such was also termed Skidmarks 2 and Super Skidmarks 2 by commentators. The game features “minimally realistic” action viewed from an isometric perspective as well as novelty vehicles such as wheeled cows and caravans. Various methods such as joypad adapters and link systems are employed to allow multiple players to compete, up to a maximum of 8. The game was critically acclaimed and a best-seller in the UK. Several upgrades to the Amiga original were released as well as conversions for the Amiga CD32 and Sega Mega Drive, the latter published by Codemasters.
Development.
"Super Skidmarks" was developed by New Zealand-based Acid Software, predominantly designed and written by Chris Blackbourn. The game is the sequel to "Skidmarks" and was originally intended as an expanded version containing new tracks and a track editor before being developed into a full sequel (though the final game featured no track editor). The first game suffered problems with disk accessing and crashes which were fixed for "Super Skidmarks", partly through the ability to install the game on a hard drive. The game includes twice the number of tracks as in the original as well as an increased number of vehicles and competitions and a more difficult single-player mode. The artificial intelligence was made to be more intelligent and realistic. "Skidmarks" has a two-player split screen mode while the sequel allows a three-way split screen or four players to play using a whole screen in a mode inspired by "Micro Machines". Players can use multiple joysticks rather than share a keyboard. Another additional feature is the ability to attach a caravan to the player's vehicle, dramatically affecting the handling. A Mega Drive conversion was published by Codemasters.
Reception.
"Amiga Power" said that the widescreen link mode, which allows up to 8 players simultaneously, “elevates the game to near divine status” though pointed out that only a small minority of players who owned two A1200s could experience the feature and gave the A1200 version a higher score. The game went on to be ranked the 24th best game of all time in the magazine.
"Amiga Computing" praised the variety of humorous vehicles such as cows, caravans, Volkswagens and Minis. The magazine wrote that the graphics were simple but enjoyable, but felt the menus could have benefited from a more functional user-interface. It concluded: “This is one of the most playable and fun race-em-ups around with the vast amount of new features added it’s certainly worth a look”. "Amiga Format" called the game “nigh on perfect” and “a completely social sport” which “couldn’t be realised through any medium other than a computer”. It felt the game was best when played by multiple people and said: “Do yourself a favour, buy this game”. "CU Amiga" called the wheeled cows “tremendous fun” but complained of a difficult learning curve. On balance the magazine felt "Super Skidmarks" was “one of the best games I’ve ever played, certainly the best so far this year”. "ACAR" said: “"Super Skidmarks" is where it’s at in fun to play, thoroughly unrealistic race games. Brilliant fun.” The game was a best-seller in the UK.


April (giraffe)

April (April 18, 2000 – April 2, 2021) was a reticulated giraffe ("Giraffa camelopardalis reticulata") at the Animal Adventure Park in Harpursville, New York, in the United States. She gained worldwide fame after live videos of her in the late stages of pregnancy and the subsequent birth were uploaded to YouTube in 2017. The birth was watched live by nearly 1.2 million viewers.
Life.
April was born in 2000 at the Catskill Game Farm in Catskill, New York. She resided at the Catskill Game Farm until it closed in October 2006, when she was relocated to Adirondack Animal Land in Broadalbin, New York.
Animal Adventure Park owned by Jordan Patch acquired 14-year-old April shortly after acquiring Oliver, a 3-year-old male giraffe, in 2015. Oliver and April soon mated, which resulted in her pregnancy that normally lasts 15 months. It was Oliver's first siring and April's fourth pregnancy; she had previously mothered three other giraffes, two males and a female named Autumn, with a male giraffe named Stretch. After becoming pregnant, at Animal Adventure Park she became a "viral sensation" in February 2017 while being monitored by a live stream. An estimated 1.2 million viewers watched the live feed of April giving birth on YouTube; the live feed was sponsored by Toys R Us and Babies R Us, as a play on that chain's mascot, Geoffrey the Giraffe. By the time the camera was shut off, the YouTube feed had accumulated 232 million views. A GoFundMe fundraiser page that initially set a goal of $50,000 received more than $135,000 by the time the calf was born. The money was used to offset the annual care for the animals and upgrading the giraffe exhibit at the park.
With the prolonged wait for April to enter labor, some people had questioned if the pregnancy was an April Fools' Day joke, and other conspiracy theories had also been put forward. Prior to the birth, April's veterinarian Dr. Tim Slater stated that despite a great sense of anticipation, the birth of her calf was not considered overdue. On April 8, 2017, April's zookeeper Allysa Swilley and caretaker Corey Dwyer stated that April was big, full of milk and "closer" to giving birth, but at this time, the calf is "just not coming out." A live stream of April's pregnancy has been posted to the video-sharing site YouTube. A minor controversy resulted when YouTube briefly removed the stream in late February 2017 following complaints from animal activists of the video allegedly violating standards in regards to nudity and sexual activity. Following thousands of complaints from YouTube users, the stream was restored to the website within an hour.
On April 15, 2017, Animal Adventure Park announced April had gone into labor, noting that the calf's hooves had come out of the womb and that it would take between 30 minutes and two hours from that point to complete the birth. The calf, a male with a height of and weighing , was born at approximately 9:54 a.m. Eastern Time. The giraffe cam was shut off at 4:30 p.m. Eastern Time on April 21, with the staff appearing on camera before the shutoff to express their thanks. As a result of a name-the-baby contest, the calf was named Tajiri, from the Swahili language word for "hope".
On July 25, 2018, Animal Adventure Park announced that April and Oliver had conceived a second time earlier in the year. This calf, also a male, was born at 12:43 p.m. Eastern Time on March 16, 2019; as with Tajiri's birth, the birth was live-streamed on the Internet, with 300,000 viewers at the time of birth. On March 16, 2019, at 12:43 pm April gave birth to her fourth son, Azizi (Ah-Zee-Zee) weighing 139 pounds with a height of 5 feet and 11 inches. The calf was on his feet at 1:27 pm; and was observed nursing at 1:51 pm.
April was placed on birth control in June 2019 and entered senior care after her handlers observed behavior that made them believe that further calf bearing would be hazardous to her health. During her retirement, she was housed with her two youngest children, Tajiri and Azizi. Subsequently Animal Adventure Park acquired another female giraffe, Johari, to continue breeding of the species with Oliver.
On November 25, 2019, it was announced that Azizi, April's youngest calf, was moving to the East Texas Zoo & Gator Park in Grand Saline, Texas, in spring 2020, because he was growing faster than older brother Tajiri, and also taking to alfalfa hay and a fortified pelleted giraffe diet early on in his development.
The East Texas Zoo and Gator Park announced that Azizi died unexpectedly on October 27, 2020. He had recently received treatment for a parasitic issue; the treatment regimen appeared to be working, and Azizi was showing signs of improvement. On October 27, however, Azizi was unable to stand, and he died during a veterinary examination. Post-mortem review revealed a twisted gut around his cranial mesenteric artery, which was ultimately the cause of his death. This condition was entirely unexpected and unpreventable.
On April 2, 2021, sixteen days before her 21st birthday, Animal Adventure Park announced that April had been euthanized at the age of 20 because of worsening arthritis. Her body is to be cremated and her ashes returned to the park.


The Hollow Men (book)

The Hollow Men is a 2006 book written by Nicky Hager about the election strategies used by the New Zealand National Party during New Zealand's 2005 general election. The book has been adapted into a stage play, and filmed as a documentary.
Background.
"The Hollow Men" is based on a wide range of internal party documents, including emails, which Hager stated were leaked to him by six National Party insiders. The documents and emails were written by then party leader Don Brash, and a wide range of people associated with him. The book was initially prevented from being published when Brash obtained an injunction preventing anyone from publishing material from emails that he had written. At the time he was unaware that Hager had completed the book and was about to launch it. Brash claims that the emails were stolen. However, on 23 November 2006, Brash announced his resignation from the leadership of the National Party. The following day he had the injunction lifted, allowing the book to be released. Political scientist Raymond Miller wrote that, "Had he not resigned, he would not have survived the fallout from this book's release."
Content.
The book describes Brash's rise to power in the New Zealand National Party as being assisted by an "informal network of people from the right of New Zealand politics", including a number of ACT members, and alleges the funding of the National Party in the 2005 election was mainly from prominent New Zealand businessmen through blind trusts. It also documents that senior National Party figures, including Brash, knew of the Exclusive Brethren's pamphlet campaigns in May 2005, although Brash denied any knowledge of this until August. The book showed that even Brash's admissions in August 2005 were inaccurate, making his resignation inevitable.
The heart of the book is its descriptions of the National Party strategy discussions and the techniques the party advisers used to try to win the 2005 national elections. The thinking behind major speeches, media management, election advertising and election messages is shown in the participants' own words. Many of the party's previously anonymous major donors are identified and relations with them are documented.
Response from Don Brash.
Brash responded to the book saying that it was a "shoddy work of fiction" and a "tissue of lies". In particular, he denied receiving a crucial e-mail on 25 May 2005 that spelt out Exclusive Brethren election plans and their co-operation with the National Party. He said: "I have no record of receiving that email. It is either total fiction or it was sent to one of the three other email addresses which I don't personally receive." Brash stated that as he wasn't aware of the email he had not "knowingly misled" the public on the matter. However, Hager's book also detailed that, on the same day as the Exclusive Brethren's letter was sent, Brash had sent another email in which he discussed the possibility of other groups funding "parallel campaigns" that would benefit the National Party. Brash wrote: "I guess the stuff which the Brethren is doing is one example".
Brash wrote a response to the book in December 2006 that claimed to show "dozens of factual errors, some of no great significance but others of much greater importance". In particular, he identified "the allegation that taxpayers' money was used to pay for a pamphlet promoting a fair tax regime for the racing industry; it was not." It was, he wrote, an example of an error caused by "having access to only part of an internal discussion." In response Hager wrote that "out of a 350-page book, with nearly 1000 detailed references, Don Brash has found two minor inaccuracies. I am happy to take his word about both of them. But neither detracts from the book." Brash's insistence that the pamphlet had not been paid for with taxpayers funds ignored that it had been prepared by Parliamentary staff, which is also a breach of the parliamentary rules.
Police investigation.
Police investigated the theft of Brash's emails but in May 2009 columnist Fran O'Sullivan described it as a "farce" as police "thumbed their nose" at Brash by assigning an inept police officer who made a merely cursory investigation of "what was obviously a politically motivated burglary." An internal review of the original investigation was conducted by the New Zealand Police as a result of complaints lodged by Brash. The review concluded that the investigation was competently performed and the results correct, but was critical of some delays in reporting the results of the investigation to Brash.
Adaptations.
In 2007 Dean Parker adapted it into a stage play that was directed by Jonathon Hendry. It was also filmed by Alister Barry as a feature-length documentary that was shown to a sell-out audience at the Wellington Film Festival on 20 July 2008.


No Sore it will Not Heal, No Pain it will not Subdue


Elle Mehrmand

Elle Mehrmand is a new media performance artist and musician. Mehrmand's work combines the body and electronics. Her performance art work has been presented at museums, galleries and art festivals throughout the Americas. She is a member of the band Assembly of Mazes.
Overview.
She is the singer and trombone player of "Assembly of Mazes", a music collective who create dark, electronic, middle eastern, and rhythmic jazz rock. Elle received her MFA from UCSD, and received her BFA in art photography with a minor in music at CSULB. She is a researcher at the Center for Research in Computing and the Arts and the b.a.n.g. lab at UCSD.
Performances and exhibitions.
Mehrmand's latest performances explore holographic technology. At the University Art Gallery's "Archive Fever" series, Mehrmand performed "Robert Breitmore will bring a Hologram" using a transparent screen from Reintek.
In November 2010, Mehrmand performed "Becoming Transreal" with Micha Cárdenas at the UCLA Freud Playhouse. The performance demonstrates the interest in her work across disciplines, as it was supported by the UCLA Department of Theater, School of Theater, Film, and television, LGBT Studies, the Center for the Study of Women, The Center for Research in Engineering, Media and Performance, and the Center for Research in Computing the Arts at UCSD and San Diego State University's Second Life Initiative, Aztlan Island. The performance was reviewed by Linzi Juliano for the Center for the Study of Women.
In January 2010, Mehrmand performed "technésexual" with Micha Cárdenas at Duke University's Visualization Technology Group's Interactive Studio. The performance was supported by Duke's Women Studies Department, Information Science + Information Studies, Art, Art history and Visual Studies and the Franklin Humanities Institute. The performance was followed up by an artist lecture at the Nasher Museum. Mehrmand's writing about "technésexual" has also been included in the peer reviewed journal Version.
Mehrmand's work has been shown in numerous museums and galleries in 2010, including the California Biennial at the Orange County Museum of Art, the Museum of Contemporary Art, San Diego, the Galeria de la Raza in San Francisco and the Perform! Now! festival in Chinatown, Los Angeles., Exhibitions in 2009 included "Intimate Simulations" at Lui Velazquez in Tijuana, among others.
Performances and talks in 2009 include technésexual at Arse Elektronika 2009 in San Francisco, at Artivistic 2009 in Montreal and at the Hemispheric Institute of Performance and Politics in Bogota, Colombia, Slapshock at Compactspace in Los Angeles Dorkbot Socal, Sextrument at Upgrade! Tijuana, Something is Happening and UCSD Open Studios.
Assembly of Mazes has performed recently at the Long Beach Museum of Art, Gallery Azul, the Prospector and the Pasadena Gallery.
Reviews.
Mehrmand is a member of the Electronic Disturbance Theater 2.0 and the b.a.n.g. lab, whose project the Transborder Immigrant Tool received extensive media coverage in 2010 around the world in on the web print, television and radio. The project has also been the subject of numerous academic papers, including "Reading the Transborder Immigrant Tool" at MLA 2011 and "The Transborder Immigrant Tool: Violence, Solidarity and Hope in Post-NAFTA Circuits of the Body Elec(tron)ic" at Mobile HCI 2010.
Her performance art work has been reviewed in , The Los Angeles Times, Reno News & Review, Synthtopia, The UCLA Center for the Study of Women, and Furtherfield.org.
The band Assembly of Mazes' music has been reviewed in the OC Weekly, Artslant and Strung Out Zine
Awards.
Mehrmand's erotic mixed reality work has been awarded the Emerging Fields Award from the University of California Institute for Research in the Arts.


Vinyl record


Shadwell forgeries

The Shadwell forgeries, also known as the Shadwell Dock forgeries or the Billy and Charley forgeries were a series of mid-19th century forgeries of medieval lead and lead-alloy artefacts. The latter name derives from the two Londoners, William (Billy) Smith and Charles (Charley) Eaton, who were responsible for their large-scale manufacture between 1857 and 1870. At the time, some antiquarians were fooled by the forgeries, despite them being crudely made by two individuals with limited skill in metalworking and little knowledge of medieval art.
Today, Billy and Charleys are viewed as examples of folk art. A number of museums hold collections of them and they are sought-after collectible items in their own right. They have been sold for prices equaling or exceeding the values of examples of the medieval originals they purported to be. Because of this, modern fake Billy and Charleys are reportedly in circulation.
William Smith and Charles Eaton.
Little is known of the lives of William Smith (dates unknown) and Charles Eaton (c.1834–1870) except that when young they were mudlarks – individuals that made a small living by searching the mudflats of the River Thames at low-tide, seeking any item of value. They lived in Rosemary Lane (now called Royal Mint Street) in what is now part of the London Borough of Tower Hamlets.
In 1844 or 1845, Smith came into contact with an antique dealer, William Edwards; Eaton met Edwards some years later. Edwards came to view the pair as "his boys" and frequently bought from them items of interest they found while mudlarking. In 1857, the two began to manufacture counterfeit artefacts to sell to Edwards.
Forgeries.
During their career, Smith and Eaton are estimated to have made between 5,000 and 10,000 items of many kinds, including pilgrim badges, ampulla, statuettes, portable shrines, coins, medallions and ornamental spearheads. Initially they were all made from lead or pewter, but later the two also used a copper-lead alloy. The items were cast using plaster of Paris moulds, into which a design was engraved by hand. They were then given the appearance of age by being bathed in acid and coated with river mud.
The most common type of Billy and Charley were medallions, around in diameter. These had crude depictions of knights in armour, crowned kings or religious figures. They often carried inscriptions, but as Smith and Eaton were illiterate, these were meaningless. To give the appearance of age, many of the items also carried dates between the 11th century and the 16th century. However the dates were inscribed using Arabic numerals which only came into use in England during the 15th century and so are anachronistic on the "older" items.
Smith and Eaton sold their forgeries to Edwards, selling around 1100 items between 1857 and 1858 for a total of £200. The two claimed the source of the steady stream of antiquities was the large-scale excavations then taking place as part of the construction of Shadwell Dock. In June 1857, Edwards showed samples to another antique dealer, George Eastwood. Eastwood bought the 1100 items from Edwards, before bypassing him and buying further supplies directly from Smith and Eaton. Eastwood advertised them as a "A remarkable curious and unique collection of leaden signs or badges of the time of Richard II". He sold them to several customers, including one person buying them on behalf of the British Museum.
Libel trial.
By 1858, Henry Syer Cuming, the secretary of the British Archaeological Association, together with the archaeologist Thomas Bateman, had noticed the appearance of large numbers of medieval artefacts for sale which they suspected to be forgeries from a single source. On 28 April, Cuming delivered a lecture, "Some Recent Forgeries in Lead", to the British Archaeological Association in which he condemned them as "Gross attempts at deception". The lecture was reported in "The Gentleman's Magazine" and "The Athenaeum". George Eastwood responded firstly with a letter defending the authenticity of the items he was selling, and then by suing the publishers of "The Athenaeum" for libel. He had not been named in the magazine's report but he was the only seller of the items so his complaint was that the "Athaenum" had libelled him implicitly and damaged his business.
The trial was held at Guildford Assizes on 4 August 1858. The judge was Sir James Shaw Willes, Eastwood was represented by Edwin James QC. "The Athenaeum" was represented by Montague Chambers QC.
William Smith (described in a newspaper report as a "rough looking young man") was one of the witnesses. In his testimony, Smith claimed he had obtained them from the Shadwell Dock construction site, by bribing the navvies building the dock with money and drink, and by sneaking onto the site himself after hours. He testified he had sold around 2000 items, making around £400. Examples of the artefacts were presented to the courts as exhibits; according to "The Times" newspaper report, "a good deal of amusement was produced by the extraordinary nature of some of those that were produced".
Charles Roach Smith, a leading antiquarian and co-founder of the British Archaeological Association, testified to the authenticity of the Billy and Charleys. Before the trial, Roach-Smith had stated their very crudity was an argument for their authenticity – he assumed any 19th century forger intent on deception would simply have done a better job in making them. Under examination during the trial, he stated his belief that they were a previously unknown class of object with an unknown purpose. However, he was confident of their age. The Rev. Thomas Hugo, vicar of St Botolph-without-Bishopsgate, a fellow of the Society of Antiquaries and a published author on the subject, gave testimony that supported Roach-Smith, stating that the items dated from the 15th or 16th centuries. Although under cross-examination, he was unable to state exactly why he thought so. The artist and antiquary Frederick William Fairholt also testified that he believed them authentic, as did two other antique dealers.
"The Athenaeum" had not named George Eastwood in its report so the trial judge directed the jury to find the magazine publishers not-guilty of libel, but it was asked to affirm its faith in Eastwood's integrity.
Subsequent history.
The libel trial attracted widespread publicity. Even though Eastwood failed to convict "The Athenaeum" of libel, the result gave the appearance of endorsing the authenticity of his stock, and his sales increased.
Roach-Smith reported on the trial in "The Gentleman's Magazine", stating his theory the items were of 16th century origin. In 1861, he published volume five of his work, "Collectanea antiqua". This included an article stating the items were crude, religious tokens, dating from the reign of Mary I of England, that had been imported from continental Europe as replacements for the devotional items destroyed during the English Reformation.
Ironically, earlier volumes of the "Collectanea antiqua" had been among the scholarly reference works used by Smith and Eaton when creating their fakes.
Meanwhile, the businessman, politician and antiquarian Charles Reed had renewed the investigation of the artefacts; although he may have been prompted by Roach-Smith's book. He made inquiries in the Shadwell Dock construction site, but could not find anyone that had sold items to Smith or Eaton. He gained the confidence of a tosher (one who scavenges in sewers), who confirmed that Smith and Eaton had been selling forgeries. He was introduced to Smith and Eaton, and gained their trust, but paid the tosher to break into their workshop and steal several of their moulds; these were exhibited at a meeting of the Society of Antiquaries of London in March 1861 as proof the items were fakes.
Later career of Smith and Eaton.
Despite their exposure, Smith and Eaton continued to make and sell forgeries throughout the 1860s. They began using a lead-copper alloy known as "cock metal" and their work showed somewhat improved craftsmanship. But increasing awareness of their activities made it harder for them to sell their forgeries. In 1867 they were arrested in Windsor, Berkshire after a local clergyman recognised the items they were selling. In court, there was found to be insufficient evidence to prosecute and they were released.
Charley Eaton died in January 1870 of consumption. William Smith's last appearance in the historical record was in 1871, when he was attempting to sell a copy of a 13th century lead jug. Nothing further is known of him.
Collections.
Examples of Billy and Charleys are in the collections of the British Museum, the Victoria and Albert Museum and the Museum of London. Many are held by the Cuming Museum, which includes the personal collection of Henry Syer Cuming.


Samuel Ornitz

Samuel Badisch Ornitz (November 15, 1890 – March 10, 1957) was an American screenwriter and novelist from New York City; he was one of the "Hollywood Ten" who were blacklisted from the 1950s on by movie studio bosses after his appearance before the House Un-American Activities Committee when he was held in contempt of Congress for refusing to testify about his alleged membership in the Communist Party. In his later years, he wrote novels, including "Bride of the Sabbath" (1951), which became a bestseller.
Early life and education.
Born to a Jewish family in 1890 in New York City, New York, the son of immigrants from Eastern Europe. Ornitz attended public schools and Hebrew School. His father became a successful dry goods merchant who wanted his sons to go into business with him. From an early age, Ornitz became interested in socialism, giving street talks at the age of 12, and writing.
Work.
Unlike his brothers, Ornitz was not interested in following their father into business. At the age of 18 he began work as a social worker for the New York Prison Association (1908–14). He next worked for the Brooklyn Society for the Prevention of Cruelty to Children (1914–20).
Writing career.
Ornitz started writing plays, and had "The Sock" performed in 1918. His "Deficit" was produced by the People's Playhouse in New York City in 1919.
His first literary success was his debut novel "Haunch Paunch and Jowl" (1923), an "anonymous autobiography" about his Jewish roots, which gained national notice. It contains an early use of stream-of-consciousness writing in American fiction, a technique originated by Irish writer James Joyce in his novel "Ulysses".
In 1928, Ornitz moved to California to work in motion pictures, which was a booming industry as "talkies" were being introduced. The next year he worked on his first screenplay for a Hollywood film. Up until 1945, he wrote or co-wrote another twenty-nine screenplays. These included "The Case of Lena Smith" (1929), "Chinatown Nights" (1929), "Hell's Highway" (1932), "Imitation of Life" (1934), about a young mixed-race woman who passes as white; "Mark of the Vampire" (1935), "Follow Your Heart" (1936), "Army Girl" (1938), "Little Orphan Annie" (1938), "They Live in Fear" (1944), about Nazi Germany; and "Circumstantial Evidence" (1945).
In 1931, Ornitz collaborated with Theodore Dreiser, John Dos Passos and other left-leaning writers on the report of the Dreiser Committee, an investigation of the Harlan County War, a miners' strike in Harlan County, Kentucky that was violently suppressed by private police hired by mine owners. This inspired his short play, "A New Kentucky", published in "The New Masses" in April 1934. In 1933, he joined with Lester Cole and John Howard Lawson, both also later members of the Hollywood Ten, as founders of the Screen Writers Guild.
In 1947, Ornitz was blacklisted from Hollywood and later sent to prison for refusal to testify before Congress in regard to membership in the communist party. Evidence presented in the hearing showed that Ornitz had been a member of the American Communist Party since at least 1944. Shortly after his release from prison, in 1951, Ornitz published "Bride of the Sabbath", a novel. The novel described the Lower East Side's Jewish community as a place of charm and beauty, while also critiquing its insularity and sectarianism. Reviewers praise his rich description of Jewish quarter's physical environment, and report that he "wrote about the Sabbath with the veneration of an awestruck child." The novel portrays the protagonists' journey from Jewish Orthodoxy to liberal Tolstoyan Christianity as a journey of growth.
Samuel Ornitz died of cancer in 1957 in Woodland Hills, California, aged 66.
The Samuel Ornitz papers, 1919—57 are at the Wisconsin Center for Theatre Research, including original manuscripts of his novels.