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84_3	Masters Bread and Roses by Ken Loach Brother by Takeshi Kitano La Captive by Chantal Akerman Chunhyang by Im Kwontaek Code Inconnu by Michael Haneke Comédie de l'innocence by Raoul Ruiz Gohatto by Nagisa Oshima The Legends of Rita by Volker Schlöndorff Merci pour le chocolat by Claude Chabrol My Generation by Barbara Kopple Such is Life by Arturo Ripstein Turbulence by Ruy Guerra Werckmeister Harmonies by Béla Tarr The Wrestlers by Buddhadeb Dasgupta Yi Yi (A One and a Two) by Edward Yang
84_4	Perspective Canada Abe's Manhood by Aubrey Nealon After Eden by John Price Atomic Saké by Louise Archambault The Basement Girl by Midi Onodera Bowie: One in a Million by Janis Cole Clean Rite Cowboy by Michael Downing De l'art et la manière chez Denys Arcand by Georges Dufaux Deeply by Sheri Elwood Desire by Colleen Murphy Dinky Menace by Robert Kennedy Ernest by Keith Behrman FILM(lode) by Deco Dawson Foxy Lady, Wild Cherry by Ines Buchli Ginger Snaps by John Fawcett The Hat (Le Chapeau) by Michèle Cournoyer Hindsight by Susan Shipton Landscaping by Paul Carrière The Law of Enclosures by John Greyson The Left-Hand Side of the Fridge by Philippe Falardeau Like a Dream that Vanishes by Barbara Sternberg The Lost Bundefjord Expedition by Matt Holm Love Come Down by Clement Virgo Low Self-Esteem Girl by Blaine Thurier Maelström by Denis Villeneuve Marine Life by Anne Wheeler Monday with the Martins by Jeffery Erbach Moon Palace by David Weaver
84_5	New Neighbours by Anita McGee Parsley Days by Andrea Dorfman Passengers by Francine Zuckerman The Perfect Son by Leonard Farlinger Poe by Gregory Nixon Red Deer by Anthony Couture Rocks at Whiskey Trench by Alanis Obomsawin Saint Jude by John L'Ecuyer Sea in the Blood by Richard Fung Subrosa by Helen Lee Suspicious River by Lynne Stopkewich Take-Out by Jean-François Monette Three Stories from the End of Everything by Semi Chellas Traces dans le rocher du lointain by Majdi El-Omari Two Thousand and None by Arto Paragamian The Uncles by James Allodi Via Crucis by Serge Denoncourt The Walnut Tree by Elida Schogt Waydowntown by Gary Burns We All Fall Down by Martin Cummins What About Me: The Rise of the Nihilist Spasm Band by Zev Asher When Morning Comes by Charles Officer
84_6	Contemporary World Cinema Aberdeen by Hans Petter Moland Amores Perros by Alejandro González Iñárritu Angels of the Universe by Fridrik Thór Fridriksson April Captains by Maria de Medeiros Attraction by Russell DeGrazier Better Than Sex by Jonathan Teplitzky Billy Elliot by Stephen Daldry Blackboards by Samira Makhmalbaf Born Romantic by David Kane Brave New Land by Lúcia Murat Burnt Money by Marcelo Piñeyro Chasing Sleep by Michael Walker The Circle by Jafar Panahi Clouds of May by Nuri Bilge Ceylan Collision Course by Roberval Duarte Daily Bread by Ane Muñoz Mitxelena The Debt by Krzysztof Krauze Les Destinées Sentimentales by Olivier Assayas Djomeh by Hassan Yektapanah Dog Food by Carlos Siguion-Reyna Durian Durian by Fruit Chan Eistenstein by Renny Bartlett Eureka by Shinji Aoyama Face by Junji Sakamoto Farewell by Jan Schütte Fast Food, Fast Women by Amos Kollek The Film Biker by Mel Chionglo Flower of Manila by Joel Lamangan
84_7	Freedom by Sharunas Bartas Friends Have Reasons by Gerardo Herrero Girlfight by Karyn Kusama The Goddess of 1967 by Clara Law Gojoe by Sogo Ishii Harry, un ami qui vous veut du bien by Dominik Moll Hey Ram by Kamal Haasan Holdup by Florian Flicker Hunters in the Snow by Michael Kreihsl The Isle by Kim Ki-duk Juliet in Love by Wilson Yip Kaza-hana by Shinji Somai Kimono by Hal Hartley The King is Alive by Kristian Levring Kippur by Amos Gitaï Krámpack by Cesc Gay À la verticale de l'été by Tran Anh Hung Landscape by Martin Sulík The Last Resort by Paul Pawlikowski Little Cheung by Fruit Chan Lockdown by John Luessenhop Manila by Romuald Karmakar Me, You, Them by Andrucha Waddington The Mechanism by Djordje Milosavljevic Memento by Christopher Nolan La moitié du ciel by Alain Mazars The Monkey's Mask by Samantha Lang The Nine Lives of Tomas Katz by Ben Hopkins No Place to Go by Oskar Roehler Nuts for Love by Alberto Lecchi Peppermint by Costas Kapakas
84_8	Petite chérie by Anne Villacèque Placido Rizzotto by Pasquale Scimeca Platform by Jia Zhangke The Price of Milk by Harry Sinclair Requiem for a Dream by Darren Aronofsky Risk by Alan White A Rumor of Angels by Peter O'Fallon Sade by Benoît Jacquot Samia by Philippe Faucon Seance by Kiyoshi Kurosawa Seven Songs From the Tundra by Anastasia Lapsui and Markku Lehmuskallio Shadow Magic by Ann Hu Signs & Wonders by Jonathan Nossiter Smell of Camphor, Fragrance of Jasmine by Bahman Farmanara Songs from the Second Floor by Roy Andersson The Stranger by Götz Spielmann Suzhou River by Lou Ye Swedish Beauty by Daniel Fridell Teeth by Gabriele Salvatores Thomas est amoureux by Pierre-Paul Renders A Time for Drunken Horses by Bahman Ghobadi To Die (Or Not) by Ventura Pons The Truth About Tully by Hilary Birmingham Two Family House by Raymond De Felitta Urbania by Jon Shear Vengo by Tony Gatlif La ville est tranquille by Robert Guédiguian
84_9	Virgin Stripped Bare by Her Bachelors by Hong Sang-soo Une vraie jeune fille by Catherine Breillat Waiting for the Messiah by Daniel Burman Waiting List by Juan Carlos Tabío Walk the Talk by Shirley Barrett The Wedding by Pavel Lounguine When Brendan Met Trudy by Kieron J. Walsh When the Sky Falls by John Mackenzie Wild Blue: Notes for Several Voices by Thierry Knauff With Closed Eyes by Mansur Madavi
84_10	Discovery 10 Minutes by Juan Carlos Rulfo 101 Reykjavík by Baltasar Kormákur 19 by Kazushi Watanabe Aïe by Sophie Fillières alaska.de by Esther Gronenborn Baise-moi by Virginie Despentes and Coralie Trinh Thi Bangkok Dangerous by Oxide Pang and Danny Pang Bunny by Mia Trachinger Chill Out by Andreas Struck Chopper by Andrew Dominik City Loop by Belinda Chayko Compassionate Sex by Laura Mañá The Day I Became A Woman by Marziyeh Meshkini Dust to Dust by Juan Carlos de Llaca Les filles ne savent pas nager by Anne-Sophie Birot George Washington by David Gordon Green The Girl by Sande Zeig In God We Trust by Jason Reitman Interstate 84 by Ross Partridge The Iron Ladies by Yongyoot Thongkongtoon Loners by David Ondrícek The Low Down by Jamie Thraves The Most Fertile Man in Ireland by Dudi Appleton Night Kiss by Boris Rodriguez Arroyo The Red One: Triumph by Oleg Pogodin and Vladimir Alenikov Scarlet Diva by Asia Argento Scoutman by Masato Ishioka
84_11	Vulgar by Bryan Johnson The Young Unknowns by Catherine Jelski
84_12	Planet Africa Adanggaman by Roger Gnoan M'Bala Ali Zaoua by Nabil Ayouch Are You Cinderella? by Charles Hall Auguy by Munga Tunda Djo Bàttu by Cheick Oumar Sissoko Bye Bye Africa by Mahamat Saleh Haroun Christmas With Granny by Dumisani Phakathi The Elevator by Alrick Riley En Face by Zina Modiano and Mehdi Ben Attia Hijack Stories by Oliver Schmitz El Medina by Yousry Nasrallah One Week by Carl Seaton Passage du milieu by Guy Deslauriers La saison des hommes by Moufida Tlatli La Squale by Fabrice Genestal The Station by Aaron Woolfolk Tourbillons by Alain Gomis Vacances Au Pays by Jean-Marie Teno
84_13	Real to Reel Asylum by Chris Petit and Iain Sinclair Breathe In/Breathe Out by Beth Billingsly Calle 54 by Fernando Trueba Crazy by Heddy Honigmann Erik Bruhn: I'm the Same- Only More by Lennart Pasborg Fighter by Amir Bar-Lev The First and the Last... by Momir Matovic Gaea Girls by Kim Longinotto and Jano Williams Les glaneurs et la glaneuse by Agnès Varda Into the Arms of Strangers: Stories of the Kindertransport by Mark Jonathan Harris Jour de nuit by Dieter Fahrer and Bernhard Nick One Day in the Life of Andrei Arsenevich by Chris Marker Kalamandalam Gopi by Adoor Gopalakrishnan Keep the River On Your Right: A Modern Cannibal Tale by Laurie Gwen Shapiro and David Shapiro The Long Holiday by Johan van der Keuken The Man Who Bought Mustique by Joseph Bullman The Natural History of the Chicken by Mark Lewis Paragraph 175 by Rob Epstein and Jeffery Friedman The Prince is Back by Marina Goldovskaya La règle du je by Françoise Romand
84_14	Soldiers in the Army of God by Marc Levin and Daphne Pinkerson The Turandot Project by Allan Miller Unchain by Toyoda Toshiaki
84_15	Dialogues: Talking with Pictures The Bicycle Thief by Vittorio de Sica Blue Velvet by David Lynch Do The Right Thing by Spike Lee Performance by Nicolas Roeg and Donald Cammell Raven's End by Bo Widerberg The Sacrifice by Andrei Tarkovsky 25th Anniversary Special Events 25 x 25 (twenty-five digital video shorts made by attending filmmakers) Alexander Nevsky by Sergei Eisenstein The Bloomberg Tribute to Stephen Frears Dangerous Liaisons by Stephen Frears The Grifters by Stephen Frears The Hit by Stephen Frears My Beautiful Laundrette by Stephen Frears Prick Up Your Ears by Stephen Frears Sammy and Rosie Get Laid by Stephen Frears Year 1 The Context by Francesco Rosi Cousin, cousine by Jean-Charles Tacchella Dersu Uzala by Akira Kurosawa The Devil's Playground by Fred Schepisi L'eau chaude l'eau frette by André Forcier Grey Gardens by Albert Maysles and David Maysles Harlan County, USA by Barbara Kopple Kings of the Road by Wim Wenders
84_16	Beckett on Film Act Without Words 1 by Karel Reisz Catastrophe by David Mamet Endgame by Conor McPherson Happy Days by Patricia Rozema Krapp's Last Tape by Atom Egoyan Not I by Neil Jordan Play by Anthony Minghella Rockaby by Sir Richard Eyre Rough For Theatre 1 by Kieron J. Walsh What Where by Damien O'Donnell Preludes Preludes was a special one-off program of ten short films by Canadian film directors, commissioned by TIFF to celebrate its 25th anniversary. The Preludes films were also subsequently screened on the web separately from their screenings at TIFF, on a platform funded by Bell Canada. Camera by David Cronenberg The Line by Atom Egoyan Congratulations by Mike Jones See You in Toronto by Jean Pierre Lefebvre The Heart of the World by Guy Maddin A Word from the Management by Don McKellar 24fps by Jeremy Podeswa This Might Be Good by Patricia Rozema Prelude by Michael Snow Legs Apart by Anne Wheeler
84_17	Spotlight: Robert Beavers Amor by Robert Beavers From the Notebook of... by Robert Beavers The Painting by Robert Beavers Ruskin by Robert Beavers Sotiros by Robert Beavers The Stoas by Robert Beavers Wingseed by Robert Beavers Work Done by Robert Beavers Canadian Open Vault Tit-Coq by Gratien Gélinas and René Delacroix Midnight Madness 6ixtynin9 by Pen-ek Ratanaruang The American Nightmare by Adam Simon The City of Lost Souls by Miike Takashi The Foul King by Kim Jeewoon The Irrefutable Truth about Demons by Glenn Standring The Mission by Johnnie To Kei-Fung Quartered at Dawn by Norbert Keil Tell Me Something by Chang Youn hyun Time and Tide by Tsui Hark Wild Zero by Tetsuro Takeuchi References External links Official site 2000 Toronto International Film Festival at IMDb 2000 film festivals 2000 2000 in Toronto 2000 in Canadian cinema 2000 festivals in North America
85_0	OpenRTM-aist is a software platform developed on the basis of the RT middleware standard. OpenRTM-aist is developed by National Institute of Advanced Industrial Science and Technology which also contributes to definition of the RT-middleware standard. Abstract In RT middleware, all robotic technological elements, such as actuators and sensors, are regarded as RT-components (RTC). Each RTC provides ports to communicate with other RTCs, and developers can implement their own robotics technology (RT) systems as RTCs. The RT-middleware can thus be considered as a distributed control architecture. RT-middleware is originally a platform independent model (PIM). Implementations of this model include CORBA, Enterprise JavaBean (EJB), and .NET Framework. OpenRTM-aist is based on the CORBA technology and implements the extended RTC specification. Experiences with OpenRTM-aist will be fed back to the RT-middleware standardization process.
85_1	Characteristics OpenRTM-aist implements some extended RTC features, and it also includes a Manager component to help manipulating RTCs. RTCs in OpenRTM-aist can be implemented using many programming languages, and RTCs programmed in different languages can communicate with each other. A lot of tools to ease RTC manipulations are also released by the National Institute of Advanced Industrial Science and Technology and their co-workers (in a strict sense, OpenRTM-aist itself is a library and does not include these tools). RT-component The RT-component is a functional unit which conforms to the RT-component specification defined by OMG. In OpenRTM-aist, RTCs have data ports, service ports, and execution context which controls the RTC's state. State Machine In standards of RT-component, RTC must have 4 states such as CREATED, INACTIVE, ACTIVE, and ERROR. When the state changes, corresponding event-handlers are called by the execution context which manages the RTCs' state machine.
85_2	For example, "on_activated" callback function is called when the RTC is activated (from INACTIVE to ACTIVE state). In on_activated callback, initialization codes are implemented. On the other hand, "on_deactivated" callback function is called when the RTC is deactivated (from ACTIVE to INACTIVE state). In this callback, finalization codes are implemented. "on_execute" is periodically called when the RTC is in ACTIVE state. Here, controlling or some device management (ex., polling) functions are called. These callbacks are called by the "execution context" object. If the special execution context is attached to the RTCs, calling method or policy is modified (see execution context section). Data port A data port is an endpoint to communicate with other RTCs. The data ports have their types. Ports with the same type can be connected to each other.
85_3	In OpenRTM-aist, primitive data types (like "TimedLong", "TimedDouble", and so on) are implemented. Moreover, from OpenRTM-aist version 1.0, extra data types which are expected to be used commonly in robotic systems were released as ExtendedDataType (like "TimedVelocity2D", "TimedPose2D", and so on) Developers can define their own data types by describing IDL file. Tools can parse the IDL file and automatically generate the skeleton and stub file of the original data types. Service port The service port allows communicating much more flexibly than the data ports. Developers should define service port interfaces by making their IDL files. Execution contexts Execution contexts handle the state-machine operations of RT-components. In OpenRTM-aist, several kinds of execution contexts are provided. For example:
85_4	the periodic execution context, one of the most commonly used, provides periodic calls of the "on_execute" event-handler (sensor acquisition or actuator control are usually implemented there); the real-time execution context, which uses Linux's pre-emptive kernel function, supports real-time operation of the RTC; the extra trigger execution context is an important characteristic of OpenRTM-aist. It provides the synchronization capability with dynamics simulators like OpenHRP-3. Configuration Configuration is a function which dynamically changes the parameters of the RTCs during run-time. Configuration can be numeric and string. Supported operating systems OpenRTM-aist runs on Windows, Linux and macOS. Furthermore, VxWorks is supported experimentally. Supported programming languages Since OpenRTM-aist is based on the CORBA technology, it supports several programming languages, including: C++ Java Python Erlang (unofficial) Tools RTC Builder
85_5	RTC Builder is a tool for skeleton-code generation. It is launched in the eclipse developmental environment. OpenRTM-aist also supports RTC-template which is a command-line type skeleton-code generation tool. RT System Editor RT System Editor is a tool for handling RTCs. RT system editor provides following services: Referring RTCs' states Connecting RTCs' ports Configuring RTCs Activate/deactivate/reset RTCs Save/restore the RT-system rtshell rtshell is a command-line tool which provides following services: Referring RTCs' states Connecting RTCs' ports Configuring RTCs Activate/deactivate/reset RTCs Restore the RT-system Log output of DataPorts Replay the log of the DataPorts RTC debugger RTC debugger is a debugging tool for RTCs. RTC debugger is an Eclipse plug-in. License OpenRTM-aist is licensed under the GNU Lesser General Public License (LGPL). See also
85_6	Robot Open-source robotics Middleware New Energy and Industrial Technology Development Organization National Institute of Advanced Industrial Science and Technology Object Management Group Japan Robot Association References External links RT middleware project (in Japanese) Robotics suites
86_0	The Barbarian Invasions () is a 2003 Canadian-French sex comedy-drama film written and directed by Denys Arcand and starring Rémy Girard, Stéphane Rousseau and Marie-Josée Croze. The film is a sequel to Arcand's 1986 film The Decline of the American Empire, continuing the story of the character Rémy, a womanizing history professor now terminally ill with cancer. The sequel was a result of Arcand's longtime desire to make a film about a character close to death, also incorporating a response to the September 11 attacks of 2001. It was produced by companies from both Canada and France, and shot mainly in Montreal, also employing a former hospital and property near Lake Memphremagog.
86_1	The film received a positive response from critics and became one of Arcand's biggest financial successes. It was the first Canadian film to win the Academy Award for Best Foreign Language Film, at the 76th Academy Awards in 2004. It won awards at the 2003 Cannes Film Festival, six Genie Awards, including Best Motion Picture, and three César Awards, including Best Film. The Barbarian Invasions was followed by the thematically related Days of Darkness in 2007 and The Fall of the American Empire in 2018.
86_2	Plot Seventeen years after the events of The Decline of the American Empire, Sébastien is enjoying a successful career in quantitative finance in London when he receives a call from his mother, Louise, that his father and Louise's ex-husband Rémy is terminally ill with cancer. Sébastien is not enthused about seeing Rémy, whom he blames for breaking up the family with his many adulteries. Rémy and his friends of the older generation are still largely social-democrats and proponents of Quebec nationalism, positions seeming somewhat anachronistic long after the Quiet Revolution of the 1960s. Rémy does not like Sébastien's career, lack of reading or fondness for video games.
86_3	The father and son travel to the U.S. state of Vermont to briefly receive medical care before returning to the overcrowded and disorganized Quebec hospital. Sébastien attempts to bribe hospital administration for better care, and calls Rémy's old friends about a possible visit. Upon hearing heroin is "800%" more effective than morphine, he tracks some down for Rémy from a drug addict, Nathalie.
86_4	Meanwhile, Rémy is reunited with his friends, including Pierre, Dominique, Claude and Diane, Nathalie's mother, and they share a conversation on their old sex drive and the gradual decline of their vitality. Diane is concerned for Nathalie, while Rémy, a history professor, lectures the hospital chaplain Constance on the relative peace of the 20th century compared to past centuries. At the same time, another scholar describes the September 11 attacks as historically small except as a possible beginning of modern barbarian invasions. After Rémy and his friends retreat to the countryside, they speak of their devotion to constantly evolving -isms. Rémy dies in the company of his friends and Sébastien, after a heroin injection from Nathalie, whom Rémy calls his guardian angel. Cast Production Development
86_5	Denys Arcand, who wrote and directed the successful French Canadian film The Decline of the American Empire (1986), developed the idea of returning to the characters years later due to a fascination with death and an idea of having a character who is expecting to die. Part of his interest in the subject matter related to both of his parents dying of cancer. He had tried to write screenplays about non-Decline characters going to die for 20 years prior to The Barbarian Invasions, originally pitching the idea to the Canadian Broadcasting Corporation but having difficulty with the subject matter being overly sentimental. He finally decided to try the story with characters from The Decline of the American Empire because of his fondness for its cast members. There are also characters from Arcand's 1989 film Jesus of Montreal in the film.
86_6	The September 11 attacks of 2001 occurred when Arcand was nearly finished his screenplay, and gave new impetus to Arcand's ideas of "the decline of the American Empire." Arcand believed the attack represented the first of what would be many foreign attacks on the U.S. Arcand also referred to himself as "post-isms", and incorporated this discussion into the film.
86_7	Another statement he tried to make with his film was that heroin could be legalized for terminally ill patients in Canada, claiming it already is in England. Author Susan C. Boyd wrote that, despite what the film portrays, heroin has been legal in Canadian palliative care since 1984. To research how his character would find heroin, Arcand contacted the Royal Canadian Mounted Police and met with them in an interrogation room, resembling the one in the final film. He claimed the RCMP gave him the cellphone number of a Montreal detective, and when he called it, he heard shouting from a police raid on the Hells Angels, which resulted in the arrest of Maurice Boucher. The film was produced by both Canadian and French companies, including Telefilm Canada, Société Radio-Canada and Canal+. The budget was $6 million. Casting
86_8	The cast members from the previous film, including Dorothee Berryman, Louise Portal, Dominique Michel, Pierre Curzi and Yves Jacques, were easy to secure for the sequel. New to the cast was Marie-Josée Croze, who was selected by Arcand after starring in the Canadian films Maelstrom (2000) and Ararat (2002). She found Arcand allowed her freedom in how she interpreted her role. In The Decline of the American Empire, Croze's character Nathalie is played by child actress Ariane Frédérique.
86_9	Stéphane Rousseau, better known in Quebec as a stand-up comedian than an actor, was cast as Sébastien, after Dominique Michel urged Arcand to allow Rousseau to audition. Arcand explained he felt Rousseau had the "authority" the other actors who auditioned did not, though Rousseau was surprised to get the part as he felt his character was colder and more of an intellectual than he was. Rousseau's mother had died of cancer when he was a child, and he had fought with his father, later incorporating that experience into his performance. Filming The film was shot over 50 days, beginning in September 2002 and finishing in November. The bulk of the film was shot in Montreal, with some scenes filmed in London. Footage from the World Trade Center attack shot by a Quebec architect and acquired by Radio-Canada was also used.
86_10	For the hospital scenes, the cast and crew employed Lachine General Hospital, an unused former hospital in Lachine, Quebec. Cinematographer Guy Dufaux found these scenes difficult to make interesting and realistic at the same time, and decided on more lighting for later scenes when the film's mood brightens, while using fluorescent fixtures and reflecting the former hospital's green painting to shoot the early scenes. As with the first film, scenes were filmed near Lake Memphremagog. Most of the film was shot using a Steadicam.
86_11	Release News that Arcand was working on a sequel to his 1986 film was received with a skeptical and negative response from critics. The film was screened at the 2003 Cannes Film Festival in May, where it received a 22-minute standing ovation, with distribution to 30 countries assured by the time Arcand received his Best Screenplay award. It was afterwards selected to open the gala at the 2003 Toronto International Film Festival in September, and also opened the Vancouver International Film Festival that month. The film began playing in Quebec theatres in May and ran for months, with its Canadian distributor being Alliance Films. It opened across Canada on 21 November. After Cannes, rights were sold to Miramax for distribution of the film in the United States. It opened in New York and Los Angeles on 21 November. In France, the film was available on 450 screens at one time, the most for a Quebec film ever. Reception
86_12	Box office The film's box office performance at Quebec theatres between its opening in May 2003 and the fall was considered good. By December, its initial release across Canada made $5.9 million. In France, it grossed the equivalent of US$8 million. According to Box Office Mojo, the film finished its run on 3 June 2004 after grossing $8,544,975 in North America and $18,379,681 in other territories, for a worldwide total of $26,924,656. It was one of Arcand's biggest box office successes. Critical reception
86_13	The Barbarian Invasions has received positive reviews from numerous critics. In Canada, Maclean's critic Brian D. Johnson called it not only satirical but "a moving elegy to a generation that defined modern Quebec and has seen its passions rendered obsolete". Liam Lacey wrote in The Globe and Mail that the film is "upbeat and wryly positive, or at least as much as you could expect from a film that condemns the Quebec hospital system and features a death by cancer as its central theme". The film drew general attention for its criticism of Quebec's health care system. Peter Howell wrote in The Toronto Star that "It's the depth of emotions Arcand summons for his characters, and the way this superb ensemble cast bring them so vividly to life, that make The Barbarian Invasions a film not just to see, but to welcome home".
86_14	Roger Ebert of the Chicago Sun Times gave the movie four stars and called it "a movie with brains, indignation, irony and idealism". A.O Scott of The New York Times wrote "what makes The Barbarian Invasions much more than a facile exercise in generational conflict is that Denys Arcand, who wrote and directed it, has a sense of history that is as acute as it is playful", adding "The rapprochement between Remy and Sebastien is beautiful to watch" and Marie-Josée Croze's "spooky, melancholy intensity darkens the mood of buoyant sentimentality". Entertainment Weekly'''s Owen Glieberman gave the film a B-, noting Rémy's hedonism. David Denby of The New Yorker gave credit to Stéphane Rousseau for "a fascinatingly minimal performance". Jonathan Romney of The Independent wrote "The film has its pros and cons, but you can't fault it for ambition: it not only muses on life and death, but also undertakes fairly comprehensive philosophical soundings of the way the world is today". Romney added
86_15	Croze "has simply the most nuanced presence here: thoughtful, introspective, with a reassuring warmth and lack of cartoonishness". Peter Bradshaw, writing for The Guardian, disdained the movie, calling it "grotesquely overpraised", "shot through with middlebrow sophistication, boorish cynicism, unfunny satire, a dash of fatuous anti-Americanism and unthinkingly reactionary sexual politics". English Professor Peter Brunette wrote "its analysis of this state of affairs is all too often annoyingly rhetorical and, finally, altogether too facile".
86_16	In 2004, the Toronto International Film Festival ranked the film tenth in the Top 10 Canadian Films of All Time. David Lawrence Pike criticized the use of the World Trade Center footage as exploitative, but said despite "the crudeness and vulgarity", the film had a "particular brilliance". Review aggregator Rotten Tomatoes reports an 82% approval rating based on 134 reviews, with an average rating of 7.24/10. Metacritic reports that the film has an average score of 70 out of 100, based on 34 critics, indicating "generally favorable reviews". AccoladesThe Barbarian Invasions is considered historically significant as the first Canadian film to win the Academy Award for Best Foreign Language Film. Canadian historian George Melnyk interpreted it as a sign that "Canadian cinema has come of global age", also pointing to Atanarjuat: The Fast Runner (2001) winning the Camera d'Or at Cannes.
86_17	Marie-Josée Croze's honour for Best Actress at the 2003 Cannes Film Festival was considered unlikely. She was not present to accept the award. The film's victory at France's national César Awards was also considered a surprise, since it is mainly a Quebec film. It received the most nominations at the 24th Genie Awards. Legacy In 2007, Arcand's film Days of Darkness was released. While considered part of a loose trilogy following The Decline of the American Empire and The Barbarian Invasions, Arcand acknowledged in a 2007 interview Days of Darkness had more similarities to his less successful 2000 film Stardom. Johanne-Marie Tremblay reprised her role as Constance from Jesus of Montreal and The Barbarian Invasions. In 2018, Arcand's The Fall of the American Empire'' followed similar themes. See also List of submissions to the 76th Academy Awards for Best Foreign Language Film List of Canadian submissions for the Academy Award for Best Foreign Language Film Notes References
86_18	Bibliography External links 2003 films 2000s comedy-drama films French films French sex comedy films French comedy-drama films Films about cancer Canadian films Canadian aviation films Canadian comedy-drama films Canadian sex comedy films 2000s French-language films 2000s English-language films English-language Canadian films Films directed by Denys Arcand Best Film César Award winners Films whose director won the Best Director César Award European Film Awards winners (films) Best Foreign Language Film Academy Award winners César Award winners Films set in Montreal Films shot in Montreal Best Picture Genie and Canadian Screen Award winners Best French-Language Film Lumières Award winners Films set in Vermont Films set in London 2003 comedy films 2003 drama films Best Film Prix Iris winners
87_0	Barclay is a neighborhood in the center of Baltimore City. Its boundaries, as defined by the City Planning Office, are marked by North Avenue, Greenmount Avenue, Saint Paul and 25th Streets. The neighborhood lies north of Greenmount West, south of Charles Village, west of East Baltimore Midway, and east of Charles North and Old Goucher. The boundary between the Northern and Eastern police districts runs through the community, cutting it roughly in half.
87_1	History Although the neighborhood's history reaches into the eighteenth century, most of the current historic buildings date between 1870 and 1917. During this period, the neighborhood matured into an urban, elegant rowhouse neighborhood. Influencing the architectural design of the neighborhood was the building of Lovely Lane Methodist Church and Old Goucher College. In 1883, Stanford White designed Lovely Lane Methodist Church. Between 1885 and 1897 Goucher College, then known as Baltimore's Women College, had built twenty-two buildings. By 1910 Barclay and the surrounding neighborhoods were completely developed, and these buildings weave together a design sensibility still felt throughout the neighborhood.
87_2	The neighborhood thrived until the Great Depression. In the early 1940s the neighborhood began to accommodate a large influx of war-time workers, and many of the houses were divided into apartments. Goucher College moved its campus to Towson in 1952; the suburban rush was on. After the 1968 riots, many businesses and homeowners moved to the suburbs. Consequently, the neighborhood began to become less desirable. During the mid-1990s, some demolition occurred within the area. Today, however, there is a revival of urban living that has captured the attention of Baltimore. Neighborhood & Community Organizations Barclay has benefitted from the work of several neighborhood-focused organizations that engage in community building and planning. Some of the active organizations are listed below: Barclay-Midway & Old Goucher Coalition Greater Greenmount Community Association People's Homesteading Group Station North Arts and Entertainment District
87_3	Education There are a number of schools accessible to residents of the Barclay community including: Baltimore Lab School Gateway School Dallas F. Nichols Sr. Elementary School Mother Seton Academy Cecil Elementary School Margaret Brent Elementary Barclay Elementary/Middle School Baltimore Montessori Public Charter School
87_4	Barclay Today The community boasts Victorian-era townhomes, tree-lined streets and beautiful architectural details. Though the area's houses were clearly built for the middle-class, the neighborhood went through a period of economic decline, housing abandonment, crime and gang problems. The neighborhood has seen significant investment and development since 2005, when well-organized residents created a community development vision plan that has served as a catalyst for Barclay's resurgence. Telesis Corporation was selected by the Housing Authority of Baltimore City (“HABC”) and the Barclay/ Midway/ Old Goucher (“BMOG”) community to serve as the developer for a large-scale, multi-phased $85 million revitalization effort in the BMOG neighborhood.
87_5	To improve the housing stock and combat blight, a participatory planning process involving key community stakeholders led to the creation of the Barclay/ Midway/ Old Goucher Redevelopment Plan. The redevelopment strategy focuses on mending the fabric of the neighborhood through the scattered-site infill development of 268 scattered-site parcels, including 94 vacant lots, into approximately 320 units of mixed-income and mixed-tenure housing, with both rental and homeownership opportunities. A central component to this neighborhood revitalization effort includes strengthening the socio-economic base of the community, while encouraging sustainable building practices. In 2006, a green design charrette held by community residents and developers resulted in the creation of the BMOG Green Building Guidelines, which incorporate LEED, USGBC and Enterprise Green building principles. As a result, many of the recently developed townhouses and apartment buildings have achieved certification for
87_6	sustainable development. Barclay is also one of the focus neighborhoods in Central Baltimore Partnership's Explore the Core campaign.
87_7	See also List of Baltimore neighborhoods References External links Description of the Barclay/Midway/Old Goucher Project North District Maps, Baltimore City Neighborhoods Portal Barclay transforming from 'gritty Greenmount' to trendy new haven $18 million deal approved for Barclay revitalization New homes rise in Greater Greenmount Barclay community celebrates phase 1 of major $85 million housing makeover Barclay redevelopment groundbreaking Baltimore's core neighborhoods quietly transformed $85 million housing project moves forward Officials announce $10 million fund for projects in central Baltimore How Barclay offers a road map for improvement in Sandtown Music shop owner aims to spur interest along north Charles Street Neighborhoods in Baltimore
88_0	Benjamin Scheuer is an American songwriter, guitar player, and singer, based in London and New York City. Career Stage Benjamin Scheuer (pronounced “SHOY-er”) wrote and performed The Lion, a one-man autobiographical musical. The Lion premiered off-Broadway in 2014 at the Manhattan Theatre Club, directed by Sean Daniels. Later that year, Scheuer performed the show at London's St James Theatre, winning the Off West End Award for Best New Musical. In 2015, the show played again off-Broadway, winning Scheuer the Drama Desk Award for Outstanding Solo Performance. It has since enjoyed critically acclaimed runs at theatres around the United States. The Los Angeles Times writes that in The Lion, "the vibe of casual, unrehearsed immediacy masks the narrative complexity of a novel or an opera," and that Scheuer "plays guitar like he invented the instrument." Filmed at the Geffen, THE LION is available to stream here on www.BroadwayHD.com
88_1	In 2015 the Huffington Post called The Lion "The best new musical this year." The show's first version, called The Bridge, ran in the 2013 Edinburgh Fringe Festival. Scheuer has given more than 500 performances THE LION at theatres including DC's Arena Stage, San Francisco's ACT, Portland Center Stage in Oregon, The Williamstown Theatre Festival, and San Diego's The Old Globe. Scheuer gave the final performance of THE LION at The Geffen Playhouse in Los Angeles on February 19, 2017. In 2007 Jihad! The Musical, for which Scheuer wrote the music and lyrics, was performed at the Edinburgh Fringe, and in 2010 it transferred to Jermyn Street Theatre in London. Benjamin Scheuer has a degree in English from Harvard University. He is also an alumnus of the Johnny Mercer Songwriting Workshop, and has been writer-in-residence at the Goodspeed Theatre, The O'Neill Theatre Center, The Weston Playhouse, and Williamstown Theatre Festival.
88_2	Scheuer toured the UK with Mary Chapin Carpenter in 2014, and has performed at such venues as the Royal Albert Hall in London and New York's Lincoln Center. Music videos 'Empty Stage', made in collaboration with ballet dancer Carlos Acosta and the Birmingham Royal Ballet, was released on Feb 19 2021. Directed by Rosie Anderson and Josh Ben-Tovim of IMPERMANENCE, and starring Acosta, the piece is a "dazzling short film -- and dance lover's dream" says the Huffington Post. Watch it here. Robbie Fairchild, a Tony Award winner and principal dancer at New York City Ballet, directed and choreographed his own dance film to the song "Empty Stage." It was released in April 2021.Watch it here.
88_3	I Am Samantha was released on March 31, 2020, to coincide with International Transgender Day of Visibility. The video features a cast of 27 transgender performers, including Monica Helms, and is directed by T Cooper. Scheuer wrote the song for his friend Samantha Williams, a transgender woman. Watch it here. 'Lafayette Square' was released in October 2020. Scheuer and director Chris Gavin created the piece in response to the police violence against the Black Lives Matter demonstrators in Washington DC in June 2020. Watch it here. In February 2019, Scheuer released a lyric-video for his song 'Hibernate With Me', with artwork from his children's-book of the same title. Watch it here.
88_4	Working with UK-based animator Peter Baynton (Radish Pictures) Scheuer has produced animated music videos for the songs 'Weather The Storm', 'The Lion' 'Cookie-tin Banjo', 'Hello Jemima', and 'Cure', "Cure" follows a body as it deals with cancer and chemotherapy. The video, according to the NYTimes, "depicts the chemicals striking like lightning, as if to shock the body or map it with bombed roadways, tracking a jagged terrain. The speed of the tattooing brings to mind the words “invasive” and “systemic.” We are looking at a representation of cancer treatment, but the video evokes terror at the disease’s malevolent capacity to spread quickly." Baynton's five videos have featured at various international animation and children's film festivals, and have won awards at the Annecy Film Festival, The British Animation Awards, The Crystal Palace Festival, and the Encounters Film Festival.
88_5	Music releases "Empty Stage" was released alongside a short film, on Feb 19 2021 by Atlantic Records/ Parlophone. The film was made with ballet dancer Carlos Acosta and the Birmingham Royal Ballet. Scheuer recorded the song with the Royal Ballet Sinfonia orchestra. Scheuer co-produced the track with Grammy Award-winning Robin Baynton (Taylor Swift/Coldplay.) The British Theatre Guide says “What a poignant punch Empty Stage packs, words and images defying the times—that’s the power of the arts for you. Do fairy tales come true?” "I Am Samantha" was released, alongside a music video, on March 31, 2020 by Atlantic Records. Scheuer wrote the song for a transgender friend of his. The music-video was directed by T Cooper, who is transgender, and features a cast of 27, all of whom are transgender. Scheuer released the songs "Hibernate With Me" and "Hundred Feet Tall" in 2019 & 2020 to coincide with the release of his children's books of the same names.
88_6	In April 2018, Scheuer's songs "Hello Jemima" and "Silent Giants" were released digitally, and as a limited-edition 7" vinyl, with artwork by Jemima Williams (Scheuer's wife, about whom the song "Hello Jemima" was written.) (ADA/Paper Music.) Scheuer's debut album "Songs from THE LION" was released on June 3, 2016 (ADA/Paper Music.) Produced by Geoff Kraly, the album features Scheuer on guitar and vocals; drummer Josh Freese, drummer Josh Dion, vocalist Jean Rohe, bass player Chris Morrissey, with Kraly programming synthesers and also playing bass. The album was engineered and mixed by Pat Dillett, with additional mixing by Kevin Killen. The album's liner notes are written by Mary Chapin Carpenter. Books Scheuer has written two children’s picture-books, Hundred Feet Tall and Hibernate With Me, both illustrated by Scheuer's wife, Jemima Williams. Both books have been published in English, French, and German., and "Hundred Feet Tall" has additionally been published in Welsh.
88_7	In 2011 Scheuer, who was at the time twenty-eight years old, was diagnosed with – and successfully treated for – stage IV Hodgkins lymphoma. Seeking to gain some control and with the ethos of creating art from all aspects of life, Scheuer and photographer Riya Lerner undertook a photographic project documenting his year of chemotherapy. Along with diary excerpts and quotes, the 27 black-and-white photographs have been made into a book, Between Two Spaces, with 50% of proceeds going to the Leukemia & Lymphoma Society. Scheuer was nominated as the LLS’s 2018 Man of the Year in New York City.
88_8	On June 7, 2016, Lerner and Scheuer hosted a one-day exhibition of the photographs at the Leslie Lohman Prince Street Gallery in New York City. The New York Times wrote: “The youthful vulnerability of Benjamin Scheuer makes both the video [Cure] and the photographs moving….The poignancy of Mr. Scheuer’s and Ms. Lerner’s images arises from the implacable effect that estranging clinical spaces impose on previously secure domestic places.” Scheuer has been a guest speaker CSU Long Beach Medical School and San Diego University's Medical School on the topic of "Making Good Things Out of Bad Things". Scheuer spoke at the TEDxBroadway conference on the same topic.
88_9	Awards Scheuer is the recipient of the 2021 Kleban Award for Lyrics, the 2015 Drama Desk Award for Outstanding Solo Performance, a 2015 Theatre World Award for The Lion, the 2014 Off West End Award for Best Musical, the 2013 ASCAP Foundation Cole Porter Award for songwriting, and the 2013 Musical Theatre Network Award for Best Lyrics. Scheuer has been nominated for a 2017 Helen Hayes Award, a 2015 Lucile Lortel Award and two 2015 Outer Critics Circle Awards, as well as the 2015 Drama Desk Award for Best Lyrics. Personal Scheuer is married to Welsh illustrator Jemima Williams. The two met at the 2014 British Animation Awards. References Year of birth missing (living people) Living people American male stage actors American dramatists and playwrights Theatre World Award winners
89_0	André Michaux, also styled Andrew Michaud, (8 March 174611 October 1802) was a French botanist and explorer. He is most noted for his study of North American flora. In addition Michaux collected specimens in England, Spain, France, and even Persia. His work was part of a larger European effort to gather knowledge about the natural world. Michaux's contributions include Histoire des chênes de l'Amérique (1801; "The Oaks of North America") and Flora Boreali-Americana (1803; "The Flora of North America") which continued to be botanical references well into the 19th century. His son, François André Michaux, also became an authoritative botanist. Biography
89_1	Michaux was born in Satory, part of Versailles, Yvelines, where his father managed farmland on the king's estate. Michaux was trained in the agricultural sciences in anticipation of his one-day assuming his father's duties, and received a basic classical 18th century education, including Latin and some Greek, until he was fourteen. In 1769, he married Cecil Claye, the daughter of a prosperous farmer; she died a year later giving birth to their son, François André. Michaux then took up the study of botany and became a student of Bernard de Jussieu. In 1779 he spent time studying botany in England, and in 1780 he explored Auvergne, the Pyrenees and northern Spain. In 1782 he was sent by the French government as secretary to the French consul on a botanical mission to Persia. His journey began unfavourably, as he was robbed of all his equipment except his books; but he gained influential support in Persia after curing the shah of a dangerous illness. After two years he returned to France
89_2	with a fine herbarium, and also introduced numerous Eastern plants into the botanical gardens of France.
89_3	André Michaux was appointed by Louis XVI as Royal botanist under the General Director of the Bâtiments du Roi and sent to the United States in 1785 with an annual salary of 2000 livres, to make the first organized investigation of plants that could be of value in French building and carpentry, medicine and agriculture. He traveled with his son François André Michaux (1770–1855) through Canada and the United States. In 1786, Michaux attempted to establish a horticultural garden of thirty acres in Bergen's Wood on the Hudson Palisades near Hackensack, New Jersey. The garden, overseen by Pierre-Paul Saunier from the Jardin des Plantes, Paris, who had emigrated with Michaux, failed because of the harsh winters. In 1787, Michaux established and maintained for a decade a botanical garden of 111 acres near what is now Aviation Avenue in North Charleston, South Carolina, from which he made many expeditions to various parts of North America.
89_4	Michaux described and named many North American species during this time. Between 1785 and 1791 he shipped ninety cases of plants and many seeds to France. At the same time he introduced many species to America from various parts of the world, including Camellia, tea-olive, and crepe myrtle.
89_5	After the collapse of the French monarchy, André Michaux, who was a royal botanist, lost his source of income. He actively lobbied the American Philosophical Society to support his next exploration. His efforts paid off and, in early 1793, Thomas Jefferson asked him to undertake an expedition of westward exploration, similar to the Lewis and Clark Expedition, the Corps of Discovery, conducted by Meriwether Lewis and William Clark a decade later. At the time of the planned Michaux expedition, Lewis was an 18-year-old protégé of Jefferson who asked to be included in the expedition, and was turned down by Jefferson.
89_6	Before Michaux set out, however, he volunteered to assist the French Minister to America, Edmond-Charles Genet. Genet was engaging in war-like acts against English and Spanish naval interests, aggravating relations between America, England and Spain. George Rogers Clark offered to organize and lead a militia to take over Louisiana territory from the Spanish. Michaux's mission was to evaluate Clark's plan and coordinate between Clark's actions and Genet's. Michaux went to Kentucky, but, without adequate funds, Clark was unable to raise the militia and the plan eventually folded. It is not true, as sometimes reported, that Thomas Jefferson ordered Michaux to leave the United States after he learned of his involvement with Genet. Though Jefferson did not support Genet's actions, he was aware of Genet's instructions for Michaux and even provided Michaux with letters of introduction to the Governor of Kentucky.
89_7	On his return to France in 1796 he was shipwrecked, however most of his specimens survived. His two American gardens declined. Saunier, his salary unpaid, cultivated potatoes and hay and paid taxes on the New Jersey property, which is now still remembered as "The Frenchman's Garden", part of Machpelah Cemetery in North Bergen. In 1800, Michaux sailed with Nicolas Baudin's expedition to Australia, but left the ship in Mauritius. He then went to Madagascar to investigate the flora of that island. Michaux died at Tamatave in Madagascar of a tropical fever at around 9 a.m. on 11 October 1802. His work as a botanist was chiefly done in the field, and he added largely to what was previously known of the botany of the East and of America.
89_8	In 1800, on his visit to the United States, Pierre Samuel Du Pont de Nemours, concerned about the abandoned botanical gardens, wrote to the Institut de France, who sent over Michaux's son François André Michaux to sell the properties. He sold the garden near Charleston, but the concern expressed by Du Pont and his son Eleuthère Irénée du Pont preserved the New Jersey garden in Saunier's care and continued to support it. Saunier continued to send seeds to France for the rest of his life, and is credited with introducing into gardens the chinquapin (Castanea pumila) and the smoking bean tree (Catalpa bignonioides).
89_9	Aaron Burr recorded meeting Michaux in Paris on September 17, 1810, but this was apparently Francois Andre Michaux, the son. According to Burr he went "to Michaux's, the botanist, who was many years in the United States, and has written a valuable little book of his travels. He is now publishing his account of our trees, which will be extremely interesting. It demonstrates that we (not the whole continent, but the United States alone) have three times the number of useful trees that Europe can boast..." Burr's cited quote would apply equally to both Michaux', father and son, and perhaps more to the son, who had been in America a total of some 6 years, and had recently (1804) written about his travels in America, and was subsequently working on his later opus on American trees.
89_10	Legacy Carolina lily (Lilium michauxii), Michaux's saxifrage (Saxifraga michauxii), and several other plants are named for him. Michaux State Forest in Pennsylvania (U.S.), which protects over 344 square kilometers (over 85,000 acres), is named for him. André-Michaux Ecological Reserve in Quebec, Canada, which protects 450 hectares, is named for him. His son François André Michaux published an Histoire des arbres forestiers de l'Amérique septentrionale (3 vols., 1810–1813), with 156 plates, of which an English translation appeared in 1817-1819 as The North American Sylva.
89_11	Michaux Stone — Michaux brought a boundary stone or kudurru back from his Near Eastern trip. It was originally found by a French physician living in Baghdad, near the site of a 12th-century BCE Babylonian town named Bak-da-du. On a small part of an embankment on the Tigris—near the Al-Karkh end of the Baab El-Maudham Bridge—is another archeological site attributed to the second Babylonian period, circa 600 BCE. Michaux sold the kudurru to the "Institute Constituting the Commission for Scientific Travel and the Custodians of the Museum of Antiquities in France in 1800, for 1200 francs. The 'Michaux stone' or Caillou Michaux was then placed in the Cabinet des Médailles of the Bibliothèque Nationale at that time.
89_12	Writings Michaux wrote two valuable works on North American plants: the Histoire des chênes de l'Amérique septentrionale (1801), with 36 plates, and the Flora Boreali-Americana (2 vols., 1803), with 51 plates. Although this 1803 work appeared to be the work of the father, François claimed some 15 years later that the work had been completed after his father's death and published posthumously by himself and another botanist. See also European and American voyages of scientific exploration François Cagnet Notes References References Savage, Henry (1959). Discovering America 1700–1875. Harper & Row, 70–73. .
89_13	Further Reading Fishman, Gail (2001). Journeys Through Paradise. University Press of Florida. Michaux, André (2020). André Michaux in North America: journals and letters, 1785-1797 / translated from the French, edited, and annotated by Charlie Williams, Eliane M. Norman & Walter Kingsley Taylor; with a foreword by James E. McClellan III. University of Alabama Press. Pluchet, Régis (2014), L'extraordinaire voyage d'un botaniste en Perse, ed. Privat, Toulouse. Savage, Henry Jr. and Elizabeth J. Savage (1986). André and François André Michaux. University Press of Virginia. Sources External links Daniel Stowe Botanical Garden: André Michaux Biodiversity Heritage Library: books by André Michaux
89_14	French botanists French taxonomists 01 1746 births 1802 deaths Bryologists Pteridologists Botanists active in North America Botanists with author abbreviations People of colonial New Jersey North Charleston, South Carolina People from Versailles 18th-century French botanists 18th-century French scientists 18th-century French writers 18th-century French male writers
90_0	, better known by his stage name HISASHI, is a Japanese musician best known as the lead guitarist of the rock band Glay. He is particularly associated with the brand Tokai, designing a series of personal signature guitars, based on their Talbo model. Biography History Hisashi was born in Hirosaki, Aomori, the second of two sons; his father was a surgeon. His family moved north to Hakodate, Hokkaido, by the time he began secondary school. As an adolescent and young teen, Hisashi took an interest in post-punk and metal bands, particularly influenced by Boøwy and X Japan. He states that when he first asked his parents for a guitar, it was given in confidence as it was the first thing he had truly wanted. He began studying guitar independently from that time and is a self-taught guitarist. He later produced collaborative tracks with many of his early influences.
90_1	At age 17, Hisashi witnessed the sudden fatal collapse of his father, an incident Hisashi cites as his departure from childhood. Before becoming successful, Hisashi worked in various part-time jobs including at a gaming center and a convenience store, while meeting to perform in live houses during the night. Hisashi first became familiar with Takuro and Teru as the two were a year above him in school and shared his interest in the local indie scene. Takuro sought Hisashi as a guitarist for Glay but he found Glay's music unappealing at the time because of their many pop and love songs. He had also gained a small following in another band, Ari (蟻, Ant), which better suited his own taste in heavy punk and experimental music. He claims that their performances were largely improvised, with the vocalist sometimes only screaming and throwing chairs. When Ari disbanded, Hisashi agreed to accompany Takuro and Teru, and after graduation relocated with them to Tokyo.
90_2	Hisashi has been a cover model on various magazines including guitar-oriented publication GIGS and fashion-oriented publication Silver Accessory, and is well known for his continually evolving personal style. Together with his bandmate Jiro, the two are particularly known for their visual kei looks and on-stage theatrics, however, in recent years the pair have toned down their image, sporting more contemporary clothing and hairstyles.
90_3	Songs by Hisashi In addition to arranging the guitar lines and solos for all of Glay's songs, Hisashi is the second most active songwriter and lyricist for Glay, after Takuro. Songs written by Hisashi often display strong punk and electronic influences and his lyrics are typically more abstract and metaphorical than those of Takuro and the other members. He has also contributed a variety of instrumental tracks for the band's albums and live performances. In 2011, his track "EverKrack" was the first of his songs to be given an official music video. His next official video was in 2016, a fully animated production "Kanojo wa Zombie" for their single "G4・IV", which reached #1 on the Oricon singles chart on his 44th birthday.
90_4	1995: "Cynical" (c/w "Ikiteku Tsuyosa") 1996: "Neuromancer" (c/w "a Boy ~zutto wasurenai~") 1998: "AI" (c/w "Soul Love") 1998: "Doku Rock" (c/w "Be With You") 2000: "Surf Rider" (c/w "Missing You") 2000: "Denki Iruka Kimyou na Shikou" (album One Love) 2000: "Prize" (album One Love) 2002: "Giant Strong Faust Super Star" (c/w "Mata Koko de Aimashou") 2002: "Brothel Creepers" (c/w "Aitai Kimochi", cowritten with Takuro) 2003: "17ans" (album Rare Collectives vol.2) 2003: "17bars" (album Rare Collectives vol.2) 2003: "I'm yours (Knightmare Mix '99)" (album Rare Collectives vol.2 remixed by Hisashi) 2004: "coyote, colored darkness" (album The Frustrated) 2004: "The Frustrated" (album The Frustrated, cowritten with Takuro under the pseudonym "Kombinat-12") 2004: "High Communications" (album The Frustrated, cowritten with Takuro under the pseudonym "Kombinat-12") 2007: "World's End" (album Love is Beautiful) 2009: "chronos" (single Say Your Dream)
90_5	2009: "Burning chrome" (album The Great Vacation Vol.1 SuperBest of Glay) 2009: "Synchronicity" (album The Great Vacation Vol.1 SuperBest of Glay) 2009: "Tokyo vice terror" (album The Great Vacation Vol.2 SuperBest of Glay) 2009: "1988" (album The Great Vacation Vol.2 SuperBest of Glay) 2010: "Kaze ni Hitori" (album Glay) 2011: "everKrack" (single G4・II -The Red Moon-) 2011: "Kaie" (mini-album Hope and The Silver Sunrise) 2013: "gestalt" (album Justice) 2014: "PAINT BLACK!" (single BLEEZE - G4 ・ III ) 2014: "Mousou Collector" (album Music Life) 2015: "Binetsu A girl summer" (single Heroes) 2016: "Kanojo wa Zombie" (single G4・IV) 2016: "DEATHTOPIA" (single Deathtopia) 2016: "SUPERSONIC DESTINY" (single Deathtopia)
90_6	Other works Hisashi formed the side-band Rally with Teru (Glay), Kouji Ueno (The Hiatus and ex-Thee Michelle Gun Elephant) and Motokatsu Miyagami (The Mad Capsule Markets). The band recorded the song "Aku no Hana" for Parade -Respective Tracks of Buck-Tick-, a tribute album to Buck-Tick. They have played in festivals. In 2012, Hisashi formed another collaborative side-project, Ace of Spades, releasing a single "Wild Tribe" and performing limited gigs. In 2013, Hisashi composed and recorded the theme "Monochrome Overdrive" to be used in the anime television series Z/X Ignition.
90_7	He has been featured in works by other musicians: Yukinojo Mori's Poetic Revolution (track "Ango", with Takuro and Teru), "Letters", by Hikaru Utada, "Say Something", from the album In the Mood, and "Keep the Faith", from the album JUST MOVIN' ON～ALL THE -S-HIT, both by Kyosuke Himuro. On December 12, 2008, Hisashi was the special guest in the Blue Man Group show "Rock Day"; they played "Time to Start" and Glay's song "However".　He featured as a guest musician on the BiS album "WHO KiLLED IDOL?", playing guitar on the song "primal.2". The song is a sequel to "primal." from 2011, which Hisashi praised highly on Twitter at the time of its release.
90_8	In 2004, Hisashi made a short cameo appearance with Takuro in the movie Casshern. From 1999 to 2007, he hosted a seasonal weekly radio program entitled Cyber Net City: Hisashi's Radio Jack on FM Fuji. In January 2009, he launched a regular TV program, RX-72: Hisashi vs Mogi Jun'ichi, which is shown on the third Monday of each month on channel Music On! TV with cohost Mogi Jun'ichi. The program has been released on a series of DVDs. In 2017 he teamed up with Teru, Inoran, Pierre Nakano (Ling tosite Sigure) and Ery (Raglaia) to cover "Lullaby" by D'erlanger for the D'erlanger Tribute Album ~Stairway to Heaven~. In 2018 he teamed with Yow-Row (Gari) to cover "Doubt" for the June 6, 2018 hide tribute album Tribute Impulse. References External links Glay Official website RX-72 on M-ON!TV
90_9	1972 births Living people Japanese rock guitarists Visual kei musicians Glay members People from Hirosaki Musicians from Aomori Prefecture 20th-century Japanese guitarists 21st-century Japanese guitarists
91_0	Kay Boyle (February 19, 1902 – December 27, 1992) was an American novelist, short story writer, educator, and political activist. She was a Guggenheim Fellow and O. Henry Award winner. Early years The granddaughter of a publisher, Boyle was born in St. Paul, Minnesota, and grew up in several cities but principally in Cincinnati, Ohio. Her father, Howard Peterson Boyle, was a lawyer, but her greatest influence came from her mother, Katherine Evans, a literary and social activist who believed that the wealthy had an obligation to help the financially less fortunate. In later years Kay Boyle championed integration and civil rights. She advocated banning nuclear weapons, and American withdrawal from the Vietnam War.
91_1	Boyle was educated at the exclusive Shipley School in Bryn Mawr, Pennsylvania, then studied architecture at the Ohio Mechanics Institute in Cincinnati. Interested in the arts, she studied violin at the Cincinnati Conservatory of Music before settling in New York City in 1922 where she found work as a writer/editor with a small magazine. Marriages and family life That same year, she met and married a French exchange student, Richard Brault, and they moved to France in 1923. This resulted in her staying in Europe for the better part of the next twenty years. Separated from her husband, she formed a relationship with magazine editor Ernest Walsh, with whom she had a daughter, Sharon, named for the Rose of Sharon, in March 1927, five months after Walsh's death from tuberculosis in October 1926.
91_2	In 1928 she met Laurence Vail, who was then married to Peggy Guggenheim. Boyle and Vail lived together between 1929 until 1932 when, following their divorces, they married. With Vail, she had three more children - daughters Apple-Joan in 1929, Kathe in 1934, and Clover in 1939. During her years in France, Boyle was associated with several innovative literary magazines and made friends with many of the writers and artists living in Paris around Montparnasse. Among her friends were Harry and Caresse Crosby who owned the Black Sun Press and published her first work of fiction, a collection titled Short Stories. They became such good friends that in 1928 Harry Crosby cashed in some stock dividends to help Boyle pay for an abortion. Other friends included Eugene and Maria Jolas. Boyle also wrote for transition, one of the preeminent literary publications of the day. A poet as well as a novelist, her early writings often reflected her lifelong search for true love as well as her interest in
91_3	the power relationships between men and women. Boyle's short stories won two O. Henry Awards.
91_4	In 1936, she wrote a novel, Death of a Man, an attack on the growing threat of Nazism. In 1943, following her divorce from Laurence Vail, she married Baron Joseph von Franckenstein, with whom she had two children - Faith in 1942 and Ian in 1943. After having lived in France, Austria, England, and in Germany after World War II, Boyle returned to the United States. McCarthyism, later life In the States, Boyle and her husband were victims of early 1950s McCarthyism. Her husband was dismissed by Roy Cohn from his post in the Public Affairs Division of the United States Department of State, and Boyle lost her position as foreign correspondent for The New Yorker, a post she had held for six years. She was blacklisted by most of the major magazines. During this period, her life and writing became increasingly political. She and her husband were cleared by the United States Department of State in 1957.
91_5	In the early 1960s, Boyle and her husband lived in Rowayton, Connecticut, where he taught at a private girls' school. He was then rehired by the State Department and posted to Iran, but died shortly thereafter in 1963. Boyle was a writer in residence at the New York City Writer's Conference at Wagner College in 1962. In 1963, she accepted a creative writing position on the faculty of San Francisco State College, where she remained until 1979.
91_6	During this period she became heavily involved in political activism. She traveled to Cambodia in 1966 as part of the "Americans Want to Know" fact-seeking mission. She participated in numerous protests, and in 1967 was arrested twice and imprisoned. In 1968, she signed the "Writers and Editors War Tax Protest" pledge, vowing to refuse tax payments in protest against the Vietnam War. In her later years, she became an active supporter of Amnesty International and worked for the NAACP. After retiring from San Francisco State College, Boyle held several writer-in-residence positions for brief periods of time, including at Eastern Washington University in Cheney and the University of Oregon in Eugene. Boyle died at a retirement community in Mill Valley, California on December 27, 1992.
91_7	Legacy In her lifetime Kay Boyle published more than 40 books, including 14 novels, eight volumes of poetry, 11 collections of short fiction, three children's books, and French to English translations and essays. Most of her papers and manuscripts are in the Morris Library at Southern Illinois University in Carbondale, Illinois. Morris Library has the Ruby Cohn Collection of Kay Boyle Letters and the Alice L. Kahler Collection of Kay Boyle Letters. A comprehensive assessment of Boyle's life and work was published in 1986 titled Kay Boyle, Artist and Activist by Sandra Whipple Spanier. In 1994 Joan Mellen published a voluminous biography of Kay Boyle, Kay Boyle: Author of Herself. A member of the American Academy of Arts and Letters, in addition to her two O. Henry Awards, she received two Guggenheim Fellowships and in 1980 received the National Endowment for the Arts fellowship for "extraordinary contribution to American literature over a lifetime of creative work". Bibliography
91_8	Novels Process (written in 1925, unpublished until 2001 ) Plagued by the Nightingale (1931) Year Before Last (1932) Gentlemen, I Address You Privately (1933) My Next Bride (1934) Death of a Man (1936) Yellow Dusk (Bettina Bedwell) (ghostwritten) (1937) Monday Night (1938) The Crazy Hunter: Three Short Novels (The Crazy Hunter, The Bridegroom's Body, and Big Fiddle) (1940) Primer for Combat (1942) Avalanche (1944) A Frenchman Must Die (1946) 1939 (1948) His Human Majesty (1949), The Seagull on the Step (1955) Three Short Novels (The Crazy Hunter,The Bridegroom's Body, Decision) (1958) Generation Without Farewell (1960) The Underground Woman (1975) Winter Night (1993)
91_9	Story collections Short Stories (1929) Wedding Day and Other Stories (1930) The First Lover and Other Stories (1933) The White Horses of Vienna (1935) winner of the O. Henry Award The Astronomer's Wife (1936) Defeat (1941), winner of the O. Henry Award Thirty Stories (1946) The Smoking Mountain: Stories of Postwar Germany (1951) Nothing Ever Breaks Except the Heart (1966) Fifty Stories (1980) Life Being the Best and Other Stories (1988) Juvenile The Youngest Camel (1939), revised edition published as The Youngest Camel: Reconsidered and Rewritten (1959) Pinky, the Cat Who Liked to Sleep (1966) Pinky in Persia (1968) Poetry collections A Statement (1932) A Glad Day (1938) American Citizen: Naturalized in Leadville (1944) Collected Poems (1962) The Lost Dogs of Phnom Pehn (1968) Testament for My Students and Other Poems (1970) A Poem for February First (1975) This Is Not a Letter and Other Poems (1985) Collected Poems of Kay Boyle (Copper Canyon Press, 1991)
91_10	Non-fiction Relations & Complications. Being the Recollections of H.H. The Dayang Muda of Sarawak. (1929), Forew. by T.P. O'Connor (Gladys Milton Brooke) (ghost-written) Breaking the Silence: Why a Mother Tells Her Son about the Nazi Era (1962) The Last Rim of The World in "Why Work Series" (1966) Being Geniuses Together, 1920-1930 (1968; with Robert McAlmon) Winter Night and a conversation with the author in New Sounds In American Fiction (1969) The Long Walk at San Francisco State and Other Essays (1970) Four Visions of America (1977; with others) Words That Must Somehow Be Said (edited by Elizabeth Bell; 1985) Translations Don Juan, by Joseph Delteil (New York: Jonathan Cape and Harrison Smith, 1931) Mr Knife, Miss Fork, by René Crevel (Paris: Black Sun Press, 1931). A fragment of Babylon translated into English. The Devil in the Flesh, by Raymond Radiguet (Paris: Crosby Continental Editions, 1932) Babylon, by René Crevel (San Francisco: North Point Press, 1985)
91_11	References External links Modern American Poetry New York review of books, articles by Kay Boyle WOSU Presents Ohioana Authors \| Kay Boyle Kay Boyle Collection at the Harry Ransom Center at the University of Texas at Austin Manuscripts and correspondence in Southwest Collection/Special Collections Library at Texas Tech University Kay Boyle Papers, 1914-1987 at Southern Illinois University Carbondale, Special Collections Research Center Kay Boyle addresses The New York Herald Tribune Book and Author Luncheon as heard on WNYC, March 14, 1960. Boyle speaks starting at 2:35. "The Teaching of Writing," an essay, at Narrative Magazine.
91_12	1902 births 1992 deaths Writers from Cincinnati 20th-century American novelists American women short story writers American women poets MacDowell Colony fellows Modernist women writers O. Henry Award winners American activists American tax resisters University of Cincinnati alumni American women novelists 20th-century American women writers 20th-century American poets 20th-century American short story writers Novelists from Ohio Shipley School alumni
92_0	Petersham railway station is a heritage-listed railway station located on the Main Suburban line, serving the Sydney suburb of Petersham. It is served by Sydney Trains T2 Inner West & Leppington line services. It was added to the New South Wales State Heritage Register on 2 April 1999. History Petersham Station was opened on 6 January 1857 as a halt. A goods yard was established in 1882 and soon afterwards plans were prepared to quadruplicate the main line from Sydney to Homebush. This resulted in a further reorganisation of the Petersham yard so that the main station building was sited "up" on the platform and a new iron footbridge was built to cross the new railway and connect up with a new island platform where the earlier building was demolished and replaced by an elegantly designed curved roof structure.
92_1	The new station building and footbridge were all designed by George Cowdery who was also responsible for the design of several other large and elaborate station buildings, including Newcastle (1876), Werris Creek (1883) and Cootamundra (1887). The plan of the station was based on the standard developed by John Whitton but the design and detailing of the station buildings and footbridge were much more elaborate than most station designs used elsewhere. In 1891, the present subway was built and another island platform building constructed to serve the slow tracks. Access to the platforms from this subway closed after 1988. A turn-back siding previously located between the local tracks has now been removed. This turn back siding was located on land now used for the training college west of the station.
92_2	The Main Suburban line through Petersham was quadruplicated in 1892. A pedestrian subway was provided in 1892 at the western end of the station, connecting Trafalgar and Terminus Streets. Access to the platforms from this subway closed after 1988. Additional land was purchased in 1911 for a large goods yard and, with a new goods shed built in 1913, made Petersham a major suburban station serving passengers and freight. In 1926, the addition of a further two tracks and electrification as part of a second stage of sextuplication and electrification of the Main Suburban line resulted in a major change to the way the station operated. The 1885 station building was closed and eventually became the offices of the District Signal Engineer. The other platform buildings were demolished and replaced by a brick building. The goods yard was gradually phased out and closed shortly after the second world war.

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