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220_3	After leaving NYU, Oliver attended the Fashion Institute of Technology (FIT), but left after one semester. In 2006 Oliver showed an early Hood By Air look at the artist Dash Snow’s gallery in Chelsea, New York. Soon after, with an expanding fan base and an enthusiastic reception from fashion buyers, Hood By Air found its first stockists in OAK NYC and Seven New York. Opening Ceremony was also an early stockist of the brand. In 2008, Hood By Air held its first presentation at artist Terence Koh’s A.S.S. gallery in Chinatown, New York. Designer Telfar Clemens, who attended the show recalls, “it was kind of a peep show, and sort of like a block-party-slash-art-opening type of thing". The presentation was an early example of what was to become a hallmark for the brand; a spectacle-driven approach that merges conventional runway shows with personality-driven performances and presentations.
220_4	In 2009 Hood By Air held its first official fashion presentation at OAK NYC, launching the Hood By Air Classics line. This subcategory of the brand encompassed Hood By Air's graphic-based designs on t-shirts and basics, complimenting the brand's now increasing focus on ready-to-wear. The presentation featured a performance by Kid Cudi. Soon after this presentation, Lopez left the brand. Oliver continued to build Hood By Air together with a core group of creative collaborators in New York. From 2009, whilst working on Hood By Air Oliver was involved with GHE20G0TH1K, a club night launched by Jazmin Soto, aka Venus X, in New York City. The party, which moved around venues in Williamsburg and the Lower East Side, brought together NYC's diverse creative communities and is widely celebrated as an influential party in the nightlife of the city. “We created a glamorous, fashion-friendly, art-friendly, freak fest,” said Soto. “Everyone was welcome and everyone felt cool there. Everyone
220_5	liked it.” The culture and community around GHE20G0TH1K has been a paramount influence on Oliver's designs and the Hood By Air brand. Venus X is credited by Oliver as a major contributor to the growth of culture around the brand. Oliver also met Venezuelen musician Alejandra Ghersi, aka Arca at GHE20G0TH1K, forming a relationship that led to the pair working together on a continued basis.
220_6	After a short hiatus, Oliver launched what he describes as the second iteration of the brand. Bringing filmmaker, Leilah Weinraub, on board as CEO the pair formulated business plans that led to a revised focus on fashion presentations. HBA's global brand ambassador, Ian Isiah, and Kevin Amato, the brand's casting director, remained collaborators. New additions to the team included Paul Cupo signing on as design director, and Akeem Smith join as head stylist. Zachary Ching, at the time creative director at VFILES, would also join the brand as its commercial director. Oliver credits each of these figures as co-founders of the Hood By Air brand.
220_7	In May 2012, Hood By Air was included in Norwegian artist Bjarne Melgaard’s group show ‘Ideal Pole’ at Ramiken Crucible gallery, New York. Hood By Air created a ‘pop-up shop’ as part of the show, printing t-shirts with graphics that read ‘Bareback By Air / Classics’. The t-shirts appeared in an installation titled ‘Deferred Action’, by the artists Jo Barage and Clinton Ellies.
220_8	A second season of HBA Classics followed, supported by launch events at the New York fashion retailer, VFILES. In June 2012, VFILES held an opening party for its shop at Mercer Street in New York City's SoHo. The event doubled as a relaunch event for Hood By Air, with Oliver and Venus X DJ’ing, and A$AP Rocky performing. The moment has been referenced by Complex as solidifying both HBA and VFILES as “relevant movements in fashion”. VFILES would become known for stocking an assortment of emerging brands at the crest of a creative new wave in streetwear, including Virgil Abloh's Pyrex, Been Trill, and Fear of God, alongside Hood By Air. In the months following the relaunch moment, Hood By Air and Been Trill released a collaborative t-shirt that would be popularised through extensive exposure by A$AP Rocky, leading to a new frenzy around the brand. At the time, the hype around the product meant that Hood By Air was perceived as aligned with a streetwear fraternity, a notion which Oliver
220_9	was dismissive of. According to the designer, the t-shirt was initially designed simply to be given to friends at a casual brunch, but became a “fucking phenomenon” according to Oliver.
220_10	Shortly afterwards, in September 2013, Hood By Air presented its first runway show, held at New York's Milk Studios. Presenting the brand's FW13 collection, Oliver cemented HBA's reputation for genre-blending and cross-cultural reference with a collection that paired bold graphics with progressive cut-and-sew pieces, and runway appearances from A$AP Rocky and performance artist, boychild [link], amongst the models cast for the show. As Hood By Air continued to show its collections in a runway setting, the brand signed with fashion publicists, PR Consulting. Soon after, Hood By Air presented its first collection in Paris. The RTW Spring 2015 collection presented was billed as part two of what HBA had already unveiled at New York Fashion Week, with an emphasis on womenswear. The show invite – a lace-trimmed thong – signalled as much. “This is a ‘femme’ take on the energy we produced in New York,” Oliver said of the show. “It's flashier, with details that are louder, to show off a
220_11	little bit.”
220_12	In October 2014 MoMA PopRally presented Id, a party performance and multimedia installation by Hood By Air, held at the Museum of Modern Art. The event was billed as “a performance masquerading as a party... Id is an interactive, semi-virtual experience that includes a theatre, a live stream, and a "humannequin" installation” and featured performances by boychild and Mykki Blanco. Hood By Air was awarded the inaugural LVMH Special Jury Prize in 2014.
220_13	In 2014, Hood By Air joined the New Guards Group. Under a new business structure led by the conglomerate, which handled HBA's production, distribution, and sales, the brand focused on expansion, shifting its production emphasis to product rather than cultural spectacle. By this stage Oliver had moved the brand's headquarters to Italy and Hood By Air began to work to a more intense fashion schedule, including pre-collections in Paris and expanding designs to include leathers, furs and tailoring. In 2015 Hood By Air was selected for inclusion at the prestigious bi-annual menswear trade show, Pitti Uomo 87. Against expectations that the brand would simply transplant New York culture to a Florentine setting, the brand chose to overtake a Tuscan villa, with tailoring a key emphasis of the collection. Speaking with Vogue during a backstage interview, Oliver explained the show was “our first attempt to really push luxury in a full collection”.
220_14	This would be a benchmark moment for this era of Hood By Air, and signified the arrival of a new period of growth for the brand. The same year, Shayne Oliver received the 2015 Council of Fashion Designers of America (CFDA) Swarovski Award for Menswear. Amidst the business growth under New Guards Group, however, Oliver felt a sense of creative regression as a consequence of focusing heavily on product, taking away from investing his energy into the cultural landscape that had always defined Hood By Air. After three seasons with New Guards Group, showing two to three collections per season, Hood By Air left the group and returned to New York in 2016.
220_15	Back on home ground, Oliver set about recapturing the energy of the brand before its move to Italy. Re-orienting towards conceptual presentations meant he had the freedom once again to design clothes and accessories specifically for runway moments, without such commercial pressure to sell through as the brand experienced during the New Guards Group era. Hood By Air's Fall 2016 Ready-To-Wear collection, titled ‘Pilgrimage’, was completed and shown in New York during NYFW. Reflecting on the collection, Vogue suggested that Oliver's time in Italy had added to the brand's technical expertise: “the new clothes reflect the strides he's made: There's a confidence that runs through, from the mind-boggling technical complexities of the outwear to the cheeky slogan bodysuits to the streetwise buckets hats”, adding that Oliver has an “ instinct for what's next” In May 2016, Hood By Air held a brand presentation at the Delano Hotel during Art Basel Miami Beach. During the show, which was
220_16	presented in partnership with MoMA PS1, Instagram-cast models wore clothing from the designer's collaboration with photographer Pieter Hugo, featuring Hugo's portraits of LGBT Jamaicans. W Magazine labelled the presentation “Art Basel 2016's most transgressive show”.
220_17	Having re-engaged the spirit of the brand upon returning to New York City, Oliver and his team began to experience a new challenge; continuing the scale of the post-New Guards Group operation as a small, core team — most of whom were not fashion insiders or business people but artists, musicians, image-makers, and other figures from the New York creative industries with close ties to the brand and its cultural workings. While e-commerce continued to run efficiently during this period, the retail business had outsized its operators. The brand had reached new heights of popularity, spurred on by support from celebrities such as Rihanna who wore Hood By Air during a televised performance at the 2016 MTV Video Music Awards In 2016, the brand released a capsule collection in collaboration with the pornographic video platform, Pornhub the SS17 'Wench' collection.
220_18	However, with external company interests calling for Oliver's design expertise, on April 6, 2017, Hood By Air announced that Oliver would be putting the brand on hold to take a new role at Helmut Lang. Hood By Air entered a three-year period of hiatus. Hiatus Hood By Air remained on official hiatus between 2017 and 2020. During this time Shayne Oliver worked with several established fashion houses, as well as on personal creative projects.
220_19	Helmut Lang Prior to Hood By Air's final pre-hiatus show, Shayne Oliver was approached by Helmut Lang’s editor-in-residence, Isabella Burley, to take up a position at that brand as designer-in-residence. Only one month after Oliver had nullified his design responsibilities at Hood By Air he introduced his first offering under Helmut Lang, presenting the brand's Spring 2018 Ready-To-Wear collection in September 2017 at New York Fashion Week. That same month, Helmut Lang also released the Helmut Lang Seen by Shayne Oliver Autumn Tour Merch collection, inspired by band tour merchandise.
220_20	Diesel Having completed his residency at Helmut Lang, Oliver worked with Italian denim giant, Diesel, unveiling a capsule collection as part of the Diesel Red Tag Project in March 2018. The capsule, which saw Oliver subvert Americana staples with his intricate reworking of denim apparel, provided the designer with an opportunity to become familiar with new design processes, whilst further establishing his appeal as a solo designer. Colmar In 2018 Oliver began to collaborate with heritage activewear label, Colmar. Applying his vision to the Colmar A.G.E (Advanced Garment Exploration) FW18 line, Oliver progressively reworked the brand's mountain attire, adding a sense of outsized surreality to conventional outdoors wear. Oliver described the collaboration as “juggling the iconic products of Colmar with my sense of performance and a unisex approach to wearing fashion”.
220_21	2020 Return In July 2020, Oliver announced the official return of Hood By Air. In an accompanying statement, the designer stated, “gentrification leaves no physical spaces for new, influential ideas to exist or reside. So Hood By Air will be a place for these ideas to have a home.” In March 2021, the brand fully relaunched with an advertising campaign helmed by supermodel Naomi Campbell.
220_22	The brand relaunched with a new structure consisting of four distinct components: ‘Hood By Air' maintains its position as the brand's elevated fashion offering; ‘HBA’ exists as direct-to-consumer product released under a streetwear-aligned ‘drop’ schedule; ‘Museum’ refers to archival pieces from the original Hood By Air brand, reinterpreted by guest designers-in-residence; and Anonymous Club is a creative studio driven by a collective of talent, with the purpose of engineering Hood By Air's wider brand narrative through ongoing collaborations and activations. The brand's 2020 relaunch announcement was accompanied by the release of a limited edition t-shirt and cash card designed in collaboration with person-to-person mobile payment company Cash App. Proceeds from the t-shirt sales were donated to several charities, including Black Trans Femmes in the Arts, Emergency Release Fund, and Gays & Lesbians Living In A Transgender Society.
220_23	In March 2021, the brand further signalled its new visual era with an advertising campaign helmed by supermodel Naomi Campbell. The campaign announced a new ‘Prologue’ phase for the brand. In April 2021, as part of the ‘Prologue’ phase, Hood By Air released a new series of products under the capsule title ‘Veteran’. The product was released in five ‘drops’ emulating the streetwear spirit that Hood By Air has been connected with in the past. Intended as a segue between the brand's past and future, the ‘Prologue’ phase retrospectively pays tribute to a list of ‘characters’, each of which represents a different era of the Hood by Air brand. As of 2021, Hood By Air is run by a board of directors including Shayne Oliver and Edison Chen, who has taken over the role of CEO. The brand remains an independent entity. Designs And Shows
220_24	Hood By Air has received widespread praise and positive reception for its progressive design values and uncompromising aesthetics. The brand has been noted for its diverse subcultural touch points, taking influence and inspiration from the art world, queer culture, hip hop, club culture, and subversion of corporate branding through design.
220_25	In a 2015 article, Oliver's designs were described by i-D Magazine as “[questioning] gender, race and power, cutting through the noise of the fashion world with razor sharp precision”. In a short biographical entry on the brand, the LVMH Prize describes Hood By Air as “re-imagining Americana uniforms” by “combining the fluidity of youth culture with the refinement of luxury fashion”. Referencing Hood By Air's logo-heavy aesthetic, The Cut explains “they were more about signifying membership in a tribe than they were about advancing any design agenda.” The article continues: “aggressively inclusive, HBA wasn't gay or straight. It wasn't skate or hip-hop or art or fashion—it was, rather, all these things at once.” Designer and Creative Director, Matthew Williams, has described Hood By Air's relevance across cultural touch points: "Shayne's brand really is a bridge between fashion and urban street culture and music”. Oliver himself expanded on his multifaceted references during an
220_26	interview with Vogue; "I started making clothes because I wanted stuff to wear that could move between these worlds... This art world of downtown, in Manhattan, and this other world that I went home to—there are things that connect them.” In the same article, fashion journalist, Maya Singer, posits that in its early years Hood By Air communicated a sense of authority though "exaggerated sizing, big logos, and in-your-face graphics”, making a connection between these qualities of HBA and the “quintessential attributes of urban streetwear”. Hood By Air worked prominently with designers Michael Magnum, Oscar Sanchez, and Virgil Abloh on graphics, particularly during its early years. Many of Hood By Air's graphics are inspired by film, queer, and delinquent culture. Despite its early focus on logos and graphics, the brand has since become known for its progressive, technically complex and often androgynous ready-to-wear collections.
220_27	Hood By Air is known for the performative nature of its fashion presentations, using the runway as a multifaceted performance space that brings together diverse elements from the brand's cultural mood board. In the past, notable runway appearances have been made by rapper, A$AP Rocky, performance artist, boychild, and German artist, Wolfgang Tillmans, whilst the music for several Hood By Air shows has been composed by Venezuelan musician Arca, who has also DJ’d at the shows. The brand focused on gender-neutral designs, a mode described by Oliver as "powerwear". Its influences include 1990s-era New York City culture as well as brands like; Diesel, Tommy Hilfiger, Polo Sport and DKNY. Oliver's creative collaborations included an installation with artists Ava Nirui and Alex Lee. For this, Nirui and Lee commissioned outfits by Hood By Air and designer Eckhaus Latta to be worn by Barbie dolls with a variety of realistic body-types.
220_28	The brand also collaborated with musicians A$AP Rocky, Kanye West, and Rihanna, and won awards from LVMH and the Council of Fashion Designers of America. It was chosen for a guest spot at menswear trade show Pitti Uomo in 2015. Its runway pieces have been sold at high-end boutiques like Opening Ceremony, Colette in Paris and Harvey Nichols in London. Fashion Shows And Collections ● Spring 2014 Menswear (New York Fashion Week) ● Fall 2014 Menswear (New York Fashion Week) ● Fall 2014 Ready-to-Wear (New York Fashion Week) ● Spring 2015 Ready-to-Wear (Part 1: New York Fashion Week, Part 2: Paris Fashion Week, Part 3: MoMA, New York) ● Fall 2015 Ready-to-Wear (New York Fashion Week) ● Fall 2015 Menswear (New York Fashion Week) ● Pitti Uomo 87 Presentation (Florence, Italy) ● Spring 2016 Menswear (Paris Fashion Week) ● Spring 2016 Ready-to-Wear (New York Fashion Week) ● Fall 2016 Ready-to-Wear (New York Fashion Week)
220_29	● Spring 2017 Menswear (Paris Fashion Week) ● Spring 2017 Ready-to-Wear (New York Fashion Week) Brand Collaborations ● Barneys ● Been Trill ● Bjarne Melgaard ● Cash App ● Colette ● Corgi ● Dolly Cohen ● Dover Street Market ● Fox (Empire) ● Frye ● Gentle Monster ● Hustler ● Kangol ● LUMA Foundation ● Pieter Hugo ● Pornhub ● Selfridges ● Starter ● Swarovski ● Virgil Alboh ● Woolmark Awards 2014 LVMH Special Jury Prize 2015 CFDA Swarovski Award for Menswear See also Rick Owens Raf Simons Supreme Proenza Schouler References Luxury brands Retail companies established in 2006
221_0	Union Steam Ship Company of New Zealand Limited —when there was no chance of confusion casually referred to as Union, Union Company, Union Steam Ship Company (USS Co), or Union Line— was once the biggest shipping line in the southern hemisphere and New Zealand's largest private-sector employer. It was incorporated by James Mills in Dunedin in 1875 with the backing of a Scottish shipbuilder, Peter Denny. Bought by shipping giant P & O around the time of the First World War it was sold in 1972 to an Australasian consortium and closed at the end of the twentieth century. History
221_1	James Mills James Mills had worked for Johnny Jones and his Harbour Steam Company. After Jones’ death in 1869 Mills tried twice to float a Union Steam Ship Company of New Zealand Limited without attracting enough interest from local investors but in 1875 he found backing from Scottish shipbuilder Peter Denny in return for Union Steam Ship orders for Denny's Dumbarton shipyard. The Denny-built Hawea and Taupo, both then large by local standards, arrived in mid 1875 and entered service. Union Steam Ship took over the Harbour Steam Company's vessels on 1 July 1875. Local competition Union Steam Ship became a major shipping line dubbed "The Southern Octopus" with a near-monopoly on trans-Tasman shipping. It steadily mopped up trans-Tasman and coastal shipping businesses including Anchor, Canterbury Steam, Richardson & Co and Holm.
221_2	Trans-Tasman
221_3	From 1889 there was three-way competition between Union Steam Ship, Huddart Parker and Tasmanian Steam Navigation Company (TSNCo) on the Tasmanian routes (Melbourne – Launceston, Hobart – Melbourne and Hobart – Sydney). TSNCo did not have other routes to absorb their Tasmanian losses and was bought out by USSCo in 1891. The rivalry between USSCo and Huddart Parker lasted to 1895 despite an earlier agreement in 1893. There was undercutting of fares and there were steamers shadowing each other from port to port. USSCo's Rotomahana and Mararoa would sail alongside the Miowra and Warrimoo, with other ships like the Te Anau and Manapouri sailing before and after and bracketing the Huddart Parker ships. The 1895 agreement between the two lines pooled the Auckland-Sydney profits and losses; the Melbourne-Launceston profits were divided 4/7 to USSCo and 3/7 to Huddart Parker. The Sydney-Hobart passenger trade was excluded but the cargo and stock trade was divided 2/3 to USSCo and 1/3 to
221_4	Huddart Parker. Mark Twain criticised travel conditions on a Union Company ship in 1897 in his travel book Following the Equator.
221_5	Mills was knighted in 1907 and raised to K.C.M.G. in 1909. He was a UK resident after 1907 and died in London in 1936. By 1914 Union Steam Ship had 75 ships. It was the biggest shipping line in the southern hemisphere and New Zealand's largest private-sector employer.
221_6	P & O In 1917 P & O shareholders were asked to confirm their directors' prior purchase of Union Steam Ship with the information that USSCo had a valuable coasting trade within New Zealand, connections with India and Australia and a line of steamers running between Australia, New Zealand and Canada. The Union Steam Ship fleet was described as 74 high class steamers with a tonnage of 237,860 and of an average age of 12 years. In November 1920, rumours surfaced that the head office of the company would shift from Dunedin to Wellington. At the end of 1920, it became known that the board of directors would remain in Dunedin, but that all headquarters staff would transfer to Wellington. The move happened in late 1921, with all head office functions in Wellington after the New Year holidays. About 70 staff transferred to Wellington, ending 46 years of Dunedin as the company's head quarters.
221_7	Norrie Falla With the Dunedin staff came Norrie Falla as general traffic manager. He had joined as a boy in Westport in 1898 and finished his accountancy exams in 1906. In 1910 he was put in charge of the cargoes and movements of Union's 65-strong fleet. Falla volunteered immediately for service in the 1914—1918 first world war. He was promoted to lieutenant colonel in 1916 and returned to his former post in 1919. He succeeded David Aiken as general manager in March 1934 and was appointed chairman in January 1936 on the death of founder Sir James Mills. Falla ordered two new passenger ships and began a steady renewal of cargo ships commissioning 11 ships between 1935 and 1939. Falla also took Union Company into airlines. First in 1934 into East Coast Airways and then Cook Strait Airways in 1935.
221_8	Australian National Airways ANA Union in conjunction with Holyman's Airways and Huddart Parker set up an airline across Bass Strait which began business in September 1934. In 1935 they added Adelaide Steamship as a partner in the venture which was renamed Australian National Airways the following year. Union took up a 20 per cent interest on the formation of Australian National Airways in 1936. Union Airways NAC In 1935 Union Airways of New Zealand was formed by Union Steam Ship and it built an air service through New Zealand. Union Airways was nationalised by the government in 1947 and renamed National Airways Corporation. Union Travel remained a substantial operation as travel agents and tour operators. Tasman Empire Airways TEAL Air New Zealand Union was instrumental in establishing this business in particular by buying the first three flying boats which began operations in April 1940. TEAL became Air New Zealand.
221_9	Falla dies During the 1939—1945 second world war Falla returned to the Army with the rank of brigadier. He was later based in London as New Zealand representative on the Ministry of War Transport. He joined the main board of P&O Peninsular and Oriental Steam Navigation Company in 1944. On his way back to New Zealand aged 62 he suffered a cerebral haemorrhage and died at sea 6 November 1945. P&O sell to T N T Australian road transport business, Thomas Nationwide Transport, had a substantial road transport stake in New Zealand. With New Zealand investors TNT bought USSCo from P & O in 1971. In 1990 Union Steam Ship operated seven ships, and was involved in ship management, tourism, real estate and other ventures. By 2000, the Union Bulk barge made its last voyage. Brierley Investments At the end of the 20th century Brierley Investments bought all the shares, broke Union Steam Ship into components and sold up what it could.
221_10	Union Steam Ship Company of New Zealand owned more than 350 ships and has been the subject of a number of books. Ferries Steamer Express Wellington to Lyttelton Union Steam Ship began regular sailings between Wellington and Lyttelton in 1895 with the making two round trips a week. In 1905 this became a daily service year round. In 1933 the name "Steamer Express" was adopted for the service. Over the years a number of ships were used, including two Maoris, two Wahines, two Rangatiras, and a Hinemoa. entered service in October 1966 and foundered and sank at the mouth of Wellington Harbour 18 months later in April 1968. The entered service in 1972 and was withdrawn in 1976, bringing the Wellington–Lyttelton "Steamer Express" to an end.
221_11	Wellington to Picton In what has been described as "a fatal mistake", the Union Steam Ship announced in 1956 that the Tamahine was to be withdrawn from the Wellington-Picton route in 1962 and unlikely to be replaced (despite an offer of a $3 million government loan). The designer of the replacement ferry the recalled that, "The media said the whole thing was a red herring", adding, "In their view, if the Union Steam Ship Company couldn't make the service pay, Railways definitely couldn't." Fleet See also Union Airways of New Zealand — Union Line's airline subsidiary Notes Bibliography External links Cook Strait Ferry Defunct shipping companies of the United Kingdom Shipping companies of New Zealand Transport companies established in 1875 New Zealand companies established in 1875
222_0	Retroelement silencing factor 1 is a protein that in humans is encoded by the RESF1 gene. RESF1 is broadly expressed in the lymph nodes, ovaries, appendix and spleen. RESF1 shows characteristics of being a minor histocompatibility antigen, as well as tumor suppressor capabilities. The high expression in the lymph nodes and spleen indicate function in the immune system. Gene RESF1 is a protein coding gene found on Chromosome 12 and maps to 12p11.21. Alternative names for this gene include Gonad Expressed Transcript (GET), UTA2-1 and C12orf35. RESF1 has 7 exons, 3 of which occur before the start codon. Tissue expression Normal A study of normal human tissue expression profiling shows that RESF1 is highly expressed in the thymus, spleen, bone marrow and liver. This is interesting as it relates to common organs associated with the Immune system.
222_1	Gene tissue expression patterns found through the National Center for Biotechnology Information UniGene EST Profile showed that there was also high expression of RESF1 in the lymph nodes, uterus, mouth, thyroid, larynx and blood. Cancer An evaluation of RESF1 expression in health states was performed using NCBI Unigene’s EST Profile. Although RESF1 is highly expressed in uterine tumors, it is also highly expressed in the uterus, suggesting that it is unlikely the gene is associated closely with uterine cancer. However, RESF1 may be related to adrenal tumors, as there was lower expression of this gene within normal kidney tissue. Transcript Transcription factor binding sites Transcription factor binding sites within the promoter of RESF1 included mainly transcription factors that were associated with bone marrow cells, antibody- producing cells, and blood cells. This supports the association of RESF1 with the functioning immune system. Protein
222_2	RESF1 is 1747 amino acids in length and has one domain of unknown function, DUF4617. The Molecular Weight of RESF1 is 194.9 kdal. The basal isoelectric point is 8.95. A localization prediction suggests that RESF1 is likely a nuclear protein. Protein structure The secondary structure of RESF1 consists of mainly random coil structures (approximately 59.2%), few alpha helices (24% of residues) and fewer extended strands (15.8% of residues). A predicted 3-D structure was created using Swiss model work space, shown above. Protein interactions RESF1 interacts with NANOG, MDM2, EXOC1 and CALML3. These interactions further suggest RESF1 is a nuclear protein, and that it may be associated with tumor-suppressor proteins and immune system proteins.
222_3	EXOC1 was involved in a schizophrenia study, relating a schizophrenia risk gene (DISC1) to a network of protein-protein interactions. This study used a two-hybrid assay as evidence to the protein interaction between RESF1 and EXOC1. EXOC1 functions as a response to microbial infections, which reduces viral RNA synthesis and protein translation. NANOG was predicted to interact with RESF1 based on an affinity capture-MS, which linked NANOG to proteins involved with the cell cycle. This study used affinity purification combined with high accuracy mass spectrometry to find specific protein interactions. NANOG was also found to be an essential transcription factor in embryonic stem cells, specifically involved in gene expression to affect cell fate.
222_4	MDM2 is a gene that interacts with others to affect the cell cycle and apoptosis, and is located in tissues common to RESF1, such as the uterus and lymph node. MDM2 was found to interact with RESF1 through the use of a phage display library. This interaction further suggests that RESF1 is a nuclear protein, as MDM2 and its splice variants contain nuclear localization signals for nucleoplasmic distribution. CALML3 was found to interact with RESF1 based on affinity capture-MS assay, similar to how NANOG was found to interact with RESF1. A study on CALML3 expression in epidermal development showed that CALML3 was useful marker for development, and loss of CALML3 expression correlated with malignant phenotypes. Evolutionary relationships
222_5	Orthologs The closest orthologs to RESF1 are primates, however, conserved sequences can be found in whales, bears, snakes, birds, turtles, and frogs. Orthologs of RESF1 diverged as long ago as 353 million years ago (Xenopus laevis), while the closest evolutionary ortholog is Papio anubis, which diverged approximately 28.1 million years ago. Phylogenetic tree An unrooted phylogenetic tree of RESF1 was created of 20 orthologs and the human RESF1 gene. Molecular phylogeny A graph shown below of the molecular evolution of RESF1 shows that it evolved relatively quickly compared to both cytochrome C, a slowly evolving protein, and fibrinogen alpha, which evolved more quickly than cytochrome C. The comparison shows that RESF1 is fairly quickly diverging, which suggests that it could be a gene that changes quickly in response to its environment, such as the introduction of a pathogen. References Genes
223_0	Not About Nightingales is a three-act play by Tennessee Williams in 1938. He wrote the play late in 1938, after reading in a newspaper about striking inmates of a Holmesburg, Pennsylvania, prison in August 1938, who had been placed in "an isolation unit lined with radiators, where four died from temperatures approaching 150 degrees.". The play focuses on a group of inmates who go on a hunger strike. There is also a love story, with the characters Eva, the new secretary at the prison, and Jim, a handsome inmate who works for the warden and is trying to get out on parole. In February 1939, Williams submitted the play to the Group Theatre in New York City, but they rejected it. Not About Nightingales remained unperformed and unpublished until the late 1990s when Vanessa Redgrave made it her personal mission to track the play down. It had its world premiere at the Alley Theatre in Houston in 1998 and was published the same year by New Directions, with a Foreword by Redgrave.
223_1	Plot summary Act one
223_2	The play begins outside the warden's office with Eva Crane and Mrs. Bristol. Eva is there for a job interview as the new secretary for the Warden, while Mrs. Bristol is here to give her son Sailor Jack some baked goods she made just for him. Moments after the scene begins, Jim walks through towards the Warden's office and informs the women that the Warden is out inspecting the grounds, and may not be back for a while. Mrs. Bristol can't stay and leaves the food on the Warden's desk. Warden Whalen enters in an unannounced, brash way. He is a short, fat, yet powerful man with a presence. Eva begins to beg him for a job; however the Warden doesn't want to hear it, saying "A business executive is not interested in your personal misfortunes." In the end, after careful consideration, he gives Eva the job.
223_3	Meanwhile, Jim is being escorted back to his cell. Jim is a convict who helps out the Warden during the day. He enjoys the job because it gets him out of his cell all day. At nights when he returns, his cellmates are constantly calling him names such as Allison and Canary Bird. Some of the notable supporting characters introduced are Butch, the unofficial leader among the inmates; Queen, a gay convict who's not all that smart; and Ollie, a smart black convict who's well respected by all the inmates. The next morning Mrs. Bristol returns to see the Warden and this time she had brought more food for her son. She explains how she hasn't heard from her son in a while and is getting worried. The Warden explains, in a coarse manner, that her son had gone insane and had to be killed.
223_4	The next day, Eva talks to Jim and asks him about the eating conditions at the prison. Jim says the food is terrible; however the Warden enters, and says that the food is fine. In an effort to put Jim back in line he tells the story to Eva about when Jim first got to the prison and how he had to whip him for 14 straight days to try to break through his rough exterior. This story is too much for Eva as she ends up fainting at the end of the scene. Down in the prison, the prisoners begin to get pains in their stomachs and have a hard time getting to sleep. Butch says that it's the poor food they are served everyday that is causing their pain, and suggests that they all go on a hunger strike. The men, all in pain, agree to the idea. Jim re-enters the prison and tells the men to hold off on the hunger-strike as he feels with his upcoming parole he can "tear down the walls of this prison".
223_5	The men agree and say they will hold off for a little longer, and instead go to dinner and cause a small prison riot. By doing so, they have all earned time in "the hole." Back upstairs, Eva is working with the Warden alone in his office. The Warden begins asking personal questions toward Eva and also starts being suggestive, even asking her to "come into the closet with him." Before anything can happen, Jim walks in with a report about the prisoners in "the hole," even bringing them up to see him. After talking to them all, the Warden decides they all need more time and he sends them back. Ollie, however, loses himself and doesn't want to go back; instead he rams his head into a wall and kills himself. Word reaches the prisoners and at this moment they can't take it anymore. They are fed up with everything that is going on at the prison and begin their hunger strike.
223_6	Act two The Warden begins the act, talking with the Prisons Chaplain, who is concerned about how the Warden is treating his prisoners. The Warden portrays his, "my way or the highway" attitude toward the Chaplain. The Chaplain, not in agreement with the Warden's methods, decides to quit.
223_7	Out in the waiting room, life in the prison is getting a bit restless, due in part of the hunger strike. Eva is answering phone calls left and right, while showing signs of stress during the process. Jim enters with a bloody arm. He tells her that he walked too close to one of the cages and one of the inmate's grabbed hold of him. Jim tells her she should leave this place, as it's not safe, but she refuses. Her true feelings for Jim begin to show as she wants to wait till his parole comes up and leave with him. They begin to move in for a kiss when the Warden enters and breaks it up. The new prison reverend enters the office and is instantly hired by the Warden, saying "I pride myself on being adjustable." He goes on to say that he won't interfere with what the Warden does because he's not in charge, he's just the reverend.
223_8	Afterwards, the Warden comes out and lets Jim and Eva know that if the hunger-strike continues, the men in Hall C will be moved to Klondike, a boiler room used as a torture room for out of line inmates, where the temperatures in the room can reach up to 150 degrees. Moments later, Jim and Eva are alone again in the Warden's office. Jim opens up to Eva about how he can't stand the prison, the inmates, the Warden, and the guards. Eva continues to remind him that once he gets parole in a month, the two will be able to run away together, but Jim is no longer optimistic about his parole. Eva reassures him that he will get out because she plans to go to the newspapers and tell them about all the terrible things that go on in the prison.
223_9	At this moment, the Warden enters and tells Jim to take a file downstairs, thus leaving him alone with Eva once again. The Warden tells her that she can't leave since the building has been put on lockdown. This frightens Eva, getting her worked up, with the additional tension from the warden who takes advantage of the situation by seducing her. However, something comes up and the warden leaves. Just then, Jim enters. Eva tells him that she wants to leave the prison, no matter what it takes. Jim begins to devise a plan, to meet in the southwest corner of the prison yard when it's dark out, to attempt their escape together.
223_10	Act three
223_11	The act starts out in Klondike where the prisoners from Hall C are beginning to feel the heat from the steam boiler room. Butch is doing whatever he can to keep the morale up among his men by singing and dancing, but it's having no effect. Meanwhile, Jim and Eva have met in the southwest corner of the yard; however, the guards and the Warden have caught them and have begun to haul off Jim and put him in Klondike with the other prisoners. Warden also starts to blackmail Eva and ends up making a deal with her, that he will mail the letter of recommendation for Jim's release if she sleeps with him. Eva reluctantly agrees and episode three ends with the warden showing Eva to his "inner room".
223_12	Back down in Klondike, Jim has joined the rest of the inmates; however, before Schultz, the head guard, can notice anything about Jim or the rest of the inmates, Butch has grabbed hold of the guard and Jim has stolen his revolver and keys. The inmates open the door and lock Schultz into the steaming cell, leaving him to die. Both Butch and Jim storm into the Warden's office; Butch looking for the Warden, and Jim looking for Eva. This leads to a confrontation with the warden who practically begs for his life in a cowardly manner, "Stop! I'm a family man! I've got a wife! A daughter! A little-girrrrl." But, he is eventually killed by Butch with a whip. When they have a minute to talk, Eva and Jim discuss their future outside of the prison, and how they're in love and the many places they plan to travel to.
223_13	Suddenly extra police forces arrive at the prison to deal with the prison riots. Jim comes up with a plan to jump out into the river and swim to shore away from all the riots and noise. He gives Eva his shoes and tells her to look for him in the personal columns. Jim jumps into the water, but because of the height of the jump and the fact that it is late at night, Eva is unsure if he made it safely in the water. The police arrive in the tower and grab Eva to take her to safety, bringing the play to an end. They question her about a pair of shoes she's got (which belongs to Jim), she replies "I picked them up somewhere. I can't remember", and continues to cling on to them. The audience remains unsure if Jim ever did make it out safely.
223_14	Character list Eva Single woman who recently got a job at the prison as the Warden's secretary. Jim Convict who's been at the prison for 10 years, he works for the Warden. Warden Whalen Warden of the prison, unlikeable man. Butch Smart talking convict, many look to him as the leader of the convicts. Ollie Well respected convict who is very religious. He can't handle the system and takes his life. Queen Image obsessed convict who is a homosexual, and not very bright. Swifty New convict, former Olympic athlete, feels he will get out in no time. Joe Typical convict, viewed by many as a sidekick to Butch. Sailor Jack Old sailor who went insane during his sentence in jail. Mrs. Bristol Mother of Sailor Jack. Chaplain The Chaplain of the prison who resigns for disagreeing with the Warden. Reverend The new Reverend of the prison who doesn't mind getting pushed around by the Warden. Mex Mexican Convict, who is constantly praying for a way out.
223_15	1999 Broadway debut The actress Vanessa Redgrave, who was preparing for a role in the 1989 revival of Orpheus Descending, another Williams classic, read an introduction by Williams which referred to the horrors of Not About Nightingales. Redgrave later said, "Basically, anybody could have found the play. I was the only person who was determined to find it." She later contacted William's literary executor Maria St. Just, who was able to unearth the manuscript.
223_16	Redgrave brought it to Trevor Nunn who agreed to direct the play. His production debuted in London on March 5, 1998, to very positive reviews. The world premiere in London of Not About Nightingales on March 5, 1998, was a collaboration of the Royal National Theatre of Great Britain and Corin and Vanessa Redgrave's Moving Theatre, in association with the Alley Theatre. The play moved to the Alley Theatre in Houston running from June 5 to July 3, 1998. Talkin' Broadway called it "A World Class Production" and "A glimpse in the writing of Williams that would transform him from Tom to Tennessee". The next year it opened at the Circle in the Square Theatre on February 25, 1999 and was nominated for six Tony awards, including best play and best performance by a leading actor, Vanessa's brother Corin Redgrave as the Warden.
223_17	Awards and nominations Tony Awards Tony Award for Best Play Tony Award for Best Performance by a Leading Actor in a Play (Corin Redgrave) Tony Award for Best Performance by a Featured Actor in a Play (Finbar Lynch) Tony Award for Best Scenic Design (Richard Hoover) Winner Tony Award for Best Lighting Design (Chris Parry) Tony Award for Best Direction of a Play (Trevor Nunn) Drama Desk Awards Outstanding Play Outstanding Actor in a Play (Finbar Lynch, Corin Redgrave) Outstanding Featured Actor in a Play (James Black) Outstanding Director of a Play (Trevor Nunn) Winner Outstanding Set Design of a Play (Richard Hoover) Winner Outstanding Lighting Design (Chris Parry) Winner Outstanding Sound Design (Christopher Shutt) Winner Outstanding Music in a Play (Steven Edis) References External links 1998 plays Plays by Tennessee Williams Plays set in the United States 1938 plays
224_0	Lindy Lee (born 1954) is an Australian painter and sculptor of Chinese heritage, whose work blends the cultures of Australia and her ancestral China and explores her Buddhist faith. She has exhibited widely, and is particularly known for her large works of public art, such as several iterations of The Life of Stars at various locations in China and on the forecourt of the Art Gallery of South Australia, and The Garden of Cloud and Stone in Sydney's Chinatown district.
224_1	Early life and education Lee was born in 1954 in Brisbane, Queensland, the daughter of Chinese immigrants who fled Guangdong province in China with their two older children after the rise of communism in that country. Her father arrived first, in 1949, and her mother and siblings, came afterwards, in 1953. Lee's experiences with racism as a child in Australia coupled with her experience of feeling alienated when visiting China because of her inability to speak in the Chinese language contributed to her interest in melding the cultures in her work.
224_2	She first qualified as a secondary school teacher at Kelvin Grove Teachers College in 1975. After encountering art galleries on a trip to Europe, she decided to pursue a career in art. She attended the Chelsea School of Art in London, after which she considered a career as an art teacher, but exposure to portraiture and contemporary art in London and elsewhere in Europe decided her to become a professional artist. During her years at graduate school at the Sydney College of the Arts in Australia she made her first portrait utilising photocopiers, a technique which featured prominently in her early work. After decades as a practising artist, Lee attended the University of New South Wales, from which she achieved her PhD in Fine Art in 2001. Themes and practice
224_3	Initially denying her Chinese heritage and identity, she decided to embrace it and explore it in her art, initially using photos from the family album and creating two-dimensional artworks. Her later work blends the cultures of Australia and her ancestral China and explores her Buddhist faith. Lee's work began in 1983 with a strong interest in originality and reproductions, utilising photocopiers to reproduce famous portraits over which she painted original work with acrylic paint after distorting the images. The resulting artworks raised questions about "originality and authenticity". Eventually, she began adding portraits of family and others before moving into other art forms, including sculpture. In 2008, during a residency in Kuala Lumpur, she began experimenting with first pierced paper, and then, with soldering irons and blow torches in a studio in Beijing, started burning holes in other materials, developing her distinctive "fire drawings".
224_4	As she became more involved in Zen Buddhism, she began to incorporate elements of religion in her work, which often focuses heavily on the theme of suffering. She also reflects Taoist themes, including the interconnectedness of the universe and of nature and humanity. Works Lee's most prominent public works include several iterations of The Life of Stars at various locations in China and in Adelaide, South Australia, and The Garden of Cloud and Stone in Sydney's Chinatown district.
224_5	The Life of Stars In 2014, Lee was commissioned by Ting Hsin International Group in Shanghai to create a public art work, at which time she first started working with Urban Art Projects (UAP) in Brisbane, using bronze. After experimenting with a technique inspired by Buddhist spiritual practice which focused on oneness with nature, UAP collaborated with her to create the mirror polished stainless steel, egg-shaped sculpture, The Life of Stars for the commission. The numerous piercings in the steel were arranged in overlapping concentric circles, representing "earth, life, birth and renewal" that is found in Tao and Buddhist principles, referring symbolically to the connectedness of the universe via a concept used in Mahayana Buddhism.
224_6	Several more versions of The Life of Stars now exist: in Shanghai; at the Province Midtown Cultural Centre in Zhengzhou (Life of Stars: Tenderness of Rain); and Xian, in China; as well as at the entrance to the Art Gallery of South Australia (AGSA) in Adelaide. The latter sculpture was mounted on the AGSA forecourt after being presented for the 2018 Adelaide Biennial of Australian Art: Divided Worlds, its polished stainless steel surface reflecting its surroundings while simultaneously radiating light. Over 30,000 holes were individually placed by Lee resemble a map of our galaxy when lit from within. The sculpture was bought by the gallery as a farewell gift for departing director Nick Mitzevich in April 2018.
224_7	NGA ouroborus In September 2021 the National Gallery of Australia (NGA) under director Nick Mitzevich commissioned an immersive sculpture based on the ouroboros (an ancient symbol depicting a snake eating its own tail), to be placed near its main entrance of the gallery. Scheduled to be finished in 2024, at 14 million dollars the sculpture is the most expensive commission to date. The cost of the commission and some claims about it raised some controversy. John McDonald in The Sydney Morning Herald observed that the "breathtaking" sum of 14 million dollars for "another version of a successful formula" could have been used by the NGA to fill some significant gaps in its collection Christopher Allen from The Australian makes the same point and remarks on the work's 'immersive' quality that it merely "offer[s] a passive experience to audiences who are unwilling or unable to engage more actively with works of art."
224_8	Other roles Lee was a founding member of Gallery 4A (now the 4A Centre for Contemporary Asian Art) in Sydney in 1996. She was a senior lecturer at the Sydney College of the Arts (a faculty of the University of Sydney) for more than two decades, and has been a trustee at the Art Gallery of New South Wales. She has served on the boards of Artspace Visual Arts Centre and the Australian Centre for Photography, and was president of the Asian Australian Artists Association as well as deputy chair of the Visual Arts and Crafts Fund of the Australia Council. Recognition Considered one of the foremost contemporary artists in the country, Lee has been commissioned to create several pieces of public art, such as Cloud Gate in Sydney's Chinatown district around 2013, consisting of cloud shapes made of brass inlaid into the footpath. Valued at approximately , the artwork was mistakenly covered during construction of the Sydney Light Rail network in 2018, but was scheduled to be repaired.
224_9	Lee is also widely known internationally, having exhibited in Canada, China, Hong Kong, Japan, Malaysia, New Zealand and Singapore. In 2018 Lee, in collaboration with art fabricators Urban Art Projects (UAP), won an international competition run by the New York State Department of Transportation to build a public artwork in the heart of New York's Chinatown, beating around 80 other entries. Her design, initially called "Drum Tower", is a cylindrical steel tower approximately high, based on the drum towers (guzou) found in villages and cities in China, marking the symbolic centre. They were used to mark nightfall and to summon the people for civic ceremonies and significant occasions, such as Chinese New Year. Following some objections to the design, later named The Dragon's Roar, the future of the sculpture was to be decided after community consultation in September 2019.
224_10	Tony Costa's oil painting of Lee won the Archibald Prize for portraiture in 2019. He said that he had been "attracted to her wisdom, humility, courage, humour and, above all, her deep focus regarding her art practice". Elizabeth Ann Macgregor, curator of the Museum of Contemporary Art Australia (MCA), commented in 2021: Exhibitions Lee started exhibiting her work in the 1980s. She has exhibited widely, with shows outside Australia in the United States, Germany, Canada, China, Hong Kong, Japan, Malaysia, New Zealand and Singapore. Her work, along with that of two other Asian Australian artists, was featured in the inaugural exhibition of Gallery 4A (now the 4A Centre for Contemporary Asian Art) in 1997. In 2014, the University of Queensland Art Museum mounted a survey of her work to date.
224_11	From 2 October 2020 until 28 February 2021, Lindy Lee: Moon in a Dew Drop, the largest ever solo exhibition of Lee's work, was mounted at the MCA in Sydney, curated by Elizabeth Ann Macgregor. The exhibition features more than 70 artworks, including a number of new works specially commissioned for the MCA. The exhibition then went on tour, starting with a stint at the Western Plains Cultural Centre in Dubbo, New South Wales, from 22 May to 1 August 2021, to be followed by the Lismore Regional Gallery in Lismore (NSW); Artspace Mackay (Queensland); Devonport Regional Gallery (Tasmania); and the John Curtin Gallery (Perth, WA), finishing on 24 July 2022. References External links 1954 births Living people Artists from Brisbane 21st-century Australian artists Australian people of Chinese descent Australian women artists Alumni of the University of the Arts London University of Sydney alumni University of New South Wales College of Fine Arts alumni
225_0	The Monastery of Dumio (sometimes Dumium or Dumio, in Portuguese São Martinho de Dume), is a former paleo-Christian monastery in the civil parish of Dume, municipality of Braga, in northwestern Portugal. Originally a Roman villa, it was the base of a basilica by Suebi tribes, and later Christian monastery headed by Martin of Braga in the 6th century (c. 550–560). The re-discovery of the Roman ruins in the late 20th century resulted in archaeological excavations that unearthed its former use. History By the 1st century, there already existed an octagonal Roman villa, which, much later (3rd century) included a system of baths.
225_1	In the first half of the 6th century, construction of a primitive church was ordered constructed by the Suebi King Chararic (Suebian king), to honour God for curing his son. It can also be inferred that this was a reflection of the expansion and authority of the Suebi within the northern context of Braga. By the middle of the 6th century, the site began to take on an important context within the peninsula. Under Martin of Braga, referred to as the Apostle of the Suebi, the older structures were taken over by a monastery, whose religious importance began to make it the centre of religion in the kingdom, and an autonomous diocese in close proximity to Braga. The King himself constructed a palace annex, making the ancient village a centre of decision-making in the Cortes. The design was also a combination of Suebi aesthetics and 6th century influences from southern Gaul; there existed semi-formal links to the Merovingian monarchs with whom the Suebi corresponded, showing artistic
225_2	influences in the sarcophagus and layout of the basilica.
225_3	Three centuries after the construction of São Martinho, and during the Reconquista the basilica was the object of fundamental reforms. The church was transferred to the benevolence of the Bishop of Mondonedo, São Rosendo (later confirmed in 911). Then, there was a return during the 10th century, with the re-purposing and re-population initiatives of Afonso III. Yet, by this time, the religious complex in Dume was abandoned (or at least in weak decline): neither the memory of Martin of Braga nor its ancient glory would motivate any new importance. It is likely that it may have served as a parochial church, but the ruins discovered on the site clearly indicate that it may not have lasted in this function for long. Dume was returned to the Diocese of Braga around 1103, where it remained, although later indications as to the condition, state or use of the ancient basilica are non-existent.
225_4	In 1608, there were references to the hermitage of Nossa Senhora do Rosário, around the houses of the municipal seat. It was also around this time that the actual Matriz Church was completed (17th century). Later expansion of the church was completed in the first half of the 18th century. Around 1747, the Contador de Argote relates the appearance of diverse archaeological vestiges in Dume, casual objects unearthed by local farmers.
225_5	However, it was only in 1987 that a formal identification of a Roman villa under the Chapel of Nossa Senhora do Rosário was completed; Luís O. Fontes, a professor at the department of archeology at the University of Minho detailed his findings in the civil parish. In 1992, formal excavations of the medieval funerary site was begun in Dume. By May 1993, the Roman baths of the Roman villa were discovered. The remains of Martin of Braga were moved to a subterranean tomb alongside the ruins, underneath the chapel. In 1997, the local government () erected a fence to protect the backyard of the Casa do Assento, whose archaeological structure corresponded to the Roman bathhouse was discovered. The beginning of the exploration of the uncovered paleo-Christian basilica were begun in July 2005. The collection of archaeological artefacts collected during the excavations were deposited with the Museu Dom Diogo de Sousa, in Braga. This included primarily ceramics from the Roman and medieval
225_6	periods, but also Roman era glass and amphora, corroded medieval coins and decorative Roman mosaics. Also discovered: part of a lid of a sarcophagus, the base of columns, arches, fragments of stems, bows and staves, decorated with a herringbone rosettes and, slabs of limestone and marble that include traces of title and lattice grid.
225_7	Architecture The ruins are located around the Lugar da Igreja or Lugar do Assento on the square occupied by the parochial church of Dume. Occupying a rural landscape, the space is an ample property that include the Church of São Martinho de Dume, constituted by a central nucleus of the courtyard, the chapel of Nossa Senhora do Rosário and backyard of the Casa do Assento, on the same block occupied by the local cemetery. The archaeological ruins in Dume encompass a complex of structures that include: a grande Roman villa (with a habitational zone) and bathhouse; remnants of a granite basilica in the form of a Latin cross (oriented east to west); with regularly horizontal aligned deposits in mortar, pavement and polychromatic mosaics; and a necropolis consisting of twelve graves, located in an area defined by granite slabs and/or brick coverage. These individual spaces were occupied successively over a 2000-year period. References Sources
225_8	Buildings and structures in Braga Dumio National monuments in Braga District
226_0	Amedeo Guillet (February 7, 1909 – June 16, 2010) was an officer of the Italian Army. Dying at the age of 101, he was one of the last men to have commanded cavalry in war. He was nicknamed Devil Commander and was famous during the Italian guerrilla war in Ethiopia in 1941, 1942 and 1943 because of his courage. Early life He was born in Piacenza, Italy. Descended from a noble family from Piedmont and Capua. His parents were Franca Gandolfo and Baron Alfredo Guillet, a colonel in the Royal Carabinieri. Following his family tradition of military service, he enrolled in the Academy of Infantry and Cavalry of Modena at the age of 18, thus beginning his career in the Royal Italian Army. He served in the Second Italo-Ethiopian War that prevented him from competing in equestrian events in the Berlin 1936 Summer Olympics. Guillet was wounded and decorated for bravery as commander of an indigenous cavalry unit.
226_1	Guillet next fought in the Spanish Civil War serving with the 2nd CCNN Division "Fiamme Nere" at the Battle of Santander and the Battle of Teruel. World War II In the buildup to World War II, Prince Amedeo, Duke of Aosta gave Guillet command of the 2,500 strong Gruppo Bande Amhara, made up of recruits from throughout Italian East Africa, with six European officers and Eritrean NCOs. The core was cavalry, but the force also included camel corps and mainly Yemeni infantry. For Guillet to be given command of such a force while still only a lieutenant was a singular honor.
226_2	In 1940, he was tasked to form a "Gruppo Bande a Cavallo". The "Bande a Cavallo" were native units commanded by Italian officers. Amedeo Guillet succeeded in recruiting thousands of Eritreans. His "Band", already named in the history books as "Gruppo Bande Guillet" or "Gruppo Bande Amahara a Cavallo", was distinguished for its absolute "fair play" with the local populations. Amedeo Guillet could boast of having never been betrayed, despite the fact that 5,000 Eritreans knew perfectly well who he was and where he lived. It was during this time, in the Horn of Africa that the legend of a group of Eritreans with excellent fighting qualities, commanded by a notorious "Devil Commander", was born.
226_3	Guillet's most important battle happened towards the end of January 1941 at Cherù when he attacked enemy armoured units. At the end of 1940, the Allied forces faced Guillet on the road to Amba Alagi, and specifically, in the proximity of Cherù. He had been entrusted, by Amedeo Duca d'Aosta, with the task of delaying the Allied advance from the north-west. The battles and skirmishes in which this young lieutenant was a protagonist (Guillet commanded an entire brigade, notwithstanding his low rank) are highlighted in the British bulletins of war. The "devilries" that he created from day to day, almost seen as a game, explains why the British called him not only "Knight from other times" but also the Italian "Lawrence of Arabia". Horse charges with unsheathed sword, guns, incendiary and grenades against the armored troops had a daily cadence.
226_4	Official documents show that in January 1941 at Cherù "with the task of protecting the withdrawal of the battalions ... with skillful maneuver and intuition of a commander ... In an entire day of furious combats on foot and horseback, he charged many times while leading his units, assaulting the preponderant adversary (in number and means) soldiers of an enemy regiment, setting tanks on fire, reaching the flank of the enemy's artilleries ... although huge losses of men, ... Capt. Guillet, ... in a particularly difficult moment of this hard fight, guided with disregard of danger, an attack against enemy tanks with hand bombs and benzine bottles setting two on fire while a third managed to escape while in flames." In those months many proud Italians died, including many brave Eritreans who fought without fear for a king and a people who they never saw or knew. To the end of his life, the "Devil Commander" used words of deep respect and admiration for that proud population to whom he
226_5	felt indebted as a soldier, Italian, and man. He never failed to repeat that "the Eritreans are the Prussians of Africa without the defects of the Prussians". His actions served their intended purpose and saved the lives of thousands of Italians and Eritreans who withdrew in the territory better known as the Amba Alagi. At dawn, Gulliet charged against steel weapons with only swords, guns and hand bombs at a column of tanks. He passed unhurt through the British forces who were caught unaware. Amedeo then returned to the steps in order to recharge. In the meantime, the British artillery battery, under the command of Lieutenant Kenneth Simonds, succeeded to organize themselves and fire at raised zero with their howitzers. The shells that actually exploded, and the extreme noise of the guns firing at point-blank range, successfully disrupted the cavalry attack and dispersed Guillet's troopers, ending the attack. He himself had his horse shot from underneath him by Lt Simonds' orderly
226_6	with a Boys anti-tank rifle.
226_7	This action was the last cavalry charge that British forces ever faced, but it was not the final cavalry charge in Italian military history. A little more than a year later a friend of Guillet, Colonel Bettoni, launched the men and horses of the "Savoia Cavalry" against Soviet troops at Isbuchenskij. Guillet's Eritrean troops paid a high price in terms of human losses, approximately 800 died in little more than two years and, in March 1941, his forces found themselves stranded outside the Italian lines. Guillet, faithful until death to the oath to the House of Savoy, began a private war against the Allies. Hiding his uniform near an Italian farm, he set the region on fire at night for almost eight months. He was one of the most famous Italian "guerrilla officers" in Eritrea and northern Ethiopia during the Italian guerrilla war against the Allies occupation of the Italian East Africa.
226_8	Later (in early 1942) for security reasons he changed his name in Ahmed Abdallah Al Redai, studied the Koran and looked like an authentic Arab: so when British soldiers came to capture him, he fooled them with his new identity and escaped on two occasions. That's where he gained the nickname of "Devil Commander", as his men held that he seemed immortal. After numerous adventures, including working as a water seller, Guillet was finally able to reach Yemen, where for about one year he trained soldiers and cavalrymen for Imam Yahya's army, whose son Ahmed became a close friend. Despite the opposition of the Yemenite royal house, he succeeded in embarking incognito on a Red Cross ship repatriating sick and injured Italians and finally returned to Italy a few days before the armistice in September 1943.
226_9	As soon as Guillet reached Italy he asked for gold sovereigns, men and weapons to aid Eritrean forces. The aid would be delivered by aeroplane and enable a guerrilla campaign to be staged. But with Italy's surrender, then later joining the Allies, times had changed. Guilet was promoted to major for his war accomplishments and worked with Major Max Harari of the 8th King's Royal Irish Hussars who was the commander of the British special unit services that tried to capture Guillet in Italian East Africa. On April 25, 1945, he was entrusted as a secret agent the mission to recover the crown of the Ethiopian negus from the "Garibaldi" partisan brigade, which had stolen it from the Social Republic. It was later given back to Haile Selassie. This was the first step towards reconciliation between Italy and Ethiopia.
226_10	At the end of the war, the Italian monarchy was abolished. Guillet expressed a deep desire to leave Italy. He informed Umberto II of his intentions, but the King urged him to keep serving his country, whatever form its government might take. Concluding that he could not disobey his king's command, Guillet expressed his desire to teach anthropology at university. Later life Following the war, Guillet entered the Italian diplomatic service where he represented Italy in Egypt, Yemen, Jordan, Morocco, and finally as ambassador to India until 1975. In 1971, he was in Morocco during an assassination attempt on the king. On June 20, 2000, he was awarded honorary citizenship by the city of Capua, which he defined as "highly coveted".
226_11	On November 4, 2000, the day of the Festivity of the Armed Forces, Guillet was presented with the Knight Grand Cross of the Military Order of Italy by President Carlo Azeglio Ciampi. This is the highest military decoration in Italy. Guillet is one of the most highly decorated (both civil and military) people in Italian history. In 2001, Gulliet visited Eritrea and was met by thousands of supporters. The group included men who previously served with him as horsemen in the Italian Cavalry known as Gruppo Bande a Cavallo. The Eritrean people remembered Gulliet's efforts to help Eritrea remain independent of Ethiopia. Since 1974 Guillet had been living in retirement in Kentstown, County Meath, Ireland although latterly he had spent his winters in Italy. For some years he was a member of and hunted with the Tara Harriers and the Meath Hounds.
226_12	In 2003, Amedeo reunited with one of his old wartime adversaries when he invited Lt Kenneth Simonds, the British officer who had faced his cavalry charge in command of an artillery battery, to his farm in County Meath. The two men were friends for the rest of their lives. In 2009, his 100th birthday was celebrated with a special concert at the Palazzo Barberini in Rome. Amedeo married Beatrice Gandolfo in 1944. The couple subsequently had two sons; Paolo and Alfredo. Beatrice died in 1990. Amedeo Guillet died on June 16, 2010, in Rome. Documentary film In 2007 Guillet's life story was the subject of a film made by Elisabetta Castana for RAI. Honors Order of Merit of the Italian Republic 1st Class / Knight Grand Cross – June 2, 1975 See also Italian Guerrilla war in East Africa Gruppo Bande Amhara East African Campaign (World War II) References
226_13	Bibliography Segre, Vittorio Dan (1993). La guerra privata del Tenente Guillet: la resistenza italiana in Eritrea durante la seconda guerra mondiale [The private war of Lieutenant Guillet: the Italian resistance in Eritrea during the Second World War]. Corbaccio Editore. . O'Kelly, Sebastian Amedeo: The True Story of an Italian's War in Abyssinia, 2002. Umiltà, Angelo; Barani, Giorgio & Bonati, Manlio (2004). Gli italiani in Africa: con appendici monografiche su esploratori e personaggi che calcarono il suolo africano dal 1800 al 1943 [The Italians in Africa]. T&M Associati Editore. Scianna, Bastian Matteo (2019). "Forging an Italian hero? The late Commemoration of Amedeo Guillet (1909-2010)". European Review of History. 26 (3): 369-385. External links Photos of Amedeo Guillet in Immaginario Diplomatico - collection of historical photos of Italian Diplomats by Stefano Baldi
226_14	1909 births 2010 deaths Men centenarians Italian centenarians People from Piacenza Italian soldiers Italian military personnel of World War II Italian diplomats 20th-century diplomats Italian people of the Spanish Civil War Recipients of the Gold Medal of Military Valor Recipients of the Silver Medal of Military Valor People from County Meath Grand Crosses with Star and Sash of the Order of Merit of the Federal Republic of Germany Knights Grand Cross of the Order of Merit of the Italian Republic
227_0	An infomercial is a form of television commercial that resembles regular TV programming yet is intended to promote or sell a product, service or idea. It generally includes a toll-free telephone number or website. Most often used as a form of direct response television (DRTV), they are often program-length commercials (long-form infomercials), and are typically 28:30 or 58:30 minutes in length. Infomercials are also known as paid programming (or teleshopping in Europe). This phenomenon started in the United States, where infomercials were typically shown overnight (usually 1:00 a.m. to 6:00 a.m.), outside peak prime time hours for commercial broadcasters. Some television stations chose to air infomercials as an alternative to the former practice of signing off, while other channels air infomercials 24 hours a day. Some stations also choose to air infomercials during the daytime hours, mostly on weekends, to fill in for unscheduled network or syndicated programming. By 2009, most

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