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274_13	Ride After entering the Krusty-themed ride vehicle, Homer orders everyone to sit down, stating that "all seats are the same with the exception of the better ones", and threatens to make an annoying noise until everyone has taken a seat. Despite riders' actions, he makes the annoying noise anyway. Jeremy then appears on a TV screen in the ride cabin and assures guests that their comfort and safety are in the hands of highly-qualified teens like himself. He tells riders to enjoy themselves but asks to keep the screaming down so he can study for a math test. He can then be seen reading his textbook, which is upside down, while quiet elevator music reminiscent of "The Simpsons Theme" begins playing in the background.
274_14	Approximately a minute later, Sideshow Bob suddenly cuts off the teen's signal and takes control of the screen, telling riders that he is now in control of Krustyland. After threatening guests by saying no area in the park is safe from him, he starts the ride by flipping a switch from "thrilling" to "killing", which activates the vehicle causing it to virtually rise out of the room while telling them to enjoy the ride which is about to be destroyed with them on it. The ride simulator combines physical movement of the vehicle with on-screen motion. The experience continues with riders emerging onto a track with the Simpsons' vehicle in front of them. The riders then ram into the Simpsons' vehicle, which can be seen taking a plunge. The rider's vehicle plunges soon after, revealing they are on the "Tooth Chipper" roller coaster (which was scheduled for demolition) involving a variety of drops and turns. Homer, who wasn't sitting down, gets hit by a wrecking ball controlled by Sideshow
274_15	Bob before it smashes into the track. With a portion of the track now missing, the riders fly into a different part of the coaster's layout before the "steel" wrecking ball breaks free from its cable and rolls along the track chasing Homer and the riders. During the pursuit, the wrecking ball eventually runs over Homer.
274_16	The riders are then knocked off the roller coaster by the wrecking ball as it explodes and sends the Simpsons flying. Riders end up on the park's "Happy Little Elves in Panda Land" attraction with Bart and Lisa, landing in separate ride vehicles, where Bob appears in control of an evil robotic panda that smashes some nearby singing elves out of annoyance. He then forces the ride vehicles in reverse, sending them crashing through the attraction, causing riders to catapult to another attraction called "Captain Dinosaur's Pirate Rip-Off". Homer and Marge are seen riding a boat, which plunges down a waterfall. As they approach a second waterfall, Sideshow Bob appears in a projection telling Homer to resist temptations inside, parodying the Pirates of the Caribbean and Jurassic Park: The Ride attractions. As riders pass through the waterfall, they get sprayed with water effects. Homer grabs a barrel of beer while Marge attempts to warn Homer that it's a temptation. His actions trigger a
274_17	trap that destroys their surroundings, transporting them to "Krusty's Wet and Smoky Stunt Show", running over a popcorn seller in the process. The panda robot can be seen still under Bob's control. Homer and Marge escape with Bart, as Lisa appears riding a killer whale. She lassos the riders' vehicle and follows her family. Upon reaching the attraction's exit, it suddenly explodes, sending them racing in circles while dragging Homer and the riders behind them.
274_18	After a series of jumping ramps, the group fly through a tipping metal water tower, where they crash at the edge of the attraction and encounter Bob again, who cuts a large hole into hell with a buzz saw. Maggie, now giant-sized from the effects of the reactor room depicted earlier, reappears and grabs Bob, causing his robotic panda to fall into the hole. She slams him into the riders' vehicle, which almost plummets into the hole before it is saved by Professor Frink flying a hi-tech helicopter. Bob steals Maggie's pacifier and tells her that if she wants it back, she must destroy Springfield. Riders then fly through Springfield attached to the helicopter, with references to the original opening sequence being made along the way. An army converges around Maggie while the Simpsons drive across town in a stolen Krustyland tour tram. The riders then encounter Maggie again, who mistakes their car for a new pacifier, sucking on it repeatedly and separating riders from Frink in the process.
274_19	Water effects gets riders wet a second time as Maggie spits them out onto power lines, which catapults them into the Simpsons' house by crashing through the front door just after the Simpsons have arrived.
274_20	Now sitting on their couch, the family is relieved to be back home. Suddenly, Kang and Kodos turn the house into Krusty's "Death Drop" ride while saying that all rides must end near a gift shop. Riders are then dropped with the Simpsons from the sky, encountering various Simpsons characters along the way. Riders crash back at the entrance to Krustyland, where Bob prepares to kill them with a buzz saw. However, the couch the Simpsons are sitting on crushes and presumably kills him, followed by the Simpsons landing on top of it and Bob. Maggie appears and ends the ride by pushing down a large Krusty head sign directly over the Simpsons. The vehicle calmly lowers back down while mist, fire, and smoke effects spray. Homer enthusiastically yells that he wants to ride again. Krusty then appears on the TV screen in the loading room and remarks, "Well, that's our ride. Hey, what does this do?" For the Orlando attraction, Krusty is sitting in a control room and pushes an emergency button on a
274_21	control panel, causing the vehicle to vibrate and ending the ride. In the Hollywood version, Krusty also takes a picture of the guests. After the gullwing doors on the car lift up, guests can exit the ride.
274_22	Voice cast The ride features more than 24 regular characters from The Simpsons and features the voices of the regular cast members, as well as Pamela Hayden, Russi Taylor and Kelsey Grammer. Harry Shearer, however, decided not to participate in the ride supposedly due to scheduling and availability conflicts as the cast recordings were scheduled during the production break between seasons, where voice actors would have time off. None of his characters have vocal parts and many of them do not appear in the ride at all. In homage to the Back to the Future ride that it has replaced, The Simpsons Ride's queue video features a brief animated cameo from Doc Brown who is voiced by Christopher Lloyd.
274_23	Dan Castellaneta - Homer Simpson, Krusty the Clown, Grampa Simpson, Groundskeeper Willie, Squeaky Voiced Teen, Hans Moleman, Barney Gumble, Kodos, Repo man, and Mr. Freidman Julie Kavner - Marge Simpson, Patty Bouvier and Selma Bouvier Nancy Cartwright - Bart Simpson, Maggie Simpson, Nelson Muntz, Ralph Wiggum, The Happy Little Elves, and the Pre-Show Safety Video Narrator Yeardley Smith - Lisa Simpson Hank Azaria - Chief Wiggum, Apu Nahasapeemapetilon, Moe Szyslak, Professor Frink, Cletus Spuckler, Officer Lou, Comic Book Guy, Snake Jailbird and Pants-Off Johnson Kelsey Grammer - Sideshow Bob Pamela Hayden - Milhouse Van Houten Russi Taylor - Martin Prince Christopher Lloyd - Doc Brown
274_24	Episodes featured In the queue video, several clips from episodes of the show are featured. They include: "Homer the Heretic" (Season 4, Episode 3) "Itchy and Scratchy Land" (Season 6, Episode 4) "Selma's Choice" (Season 4, Episode 13) "The Last Temptation of Krust" (Season 9, Episode 15) "Mr. Plow" (Season 4, Episode 9) "Brush with Greatness" (Season 2, Episode 18) "In Marge We Trust" (Season 8, Episode 22) "Lisa the Vegetarian" (Season 7, Episode 5) "Marge in Chains" (Season 4, Episode 21) "Boy-Scoutz 'n the Hood" (Season 5, Episode 8) "A Star is Burns" (Season 6, Episode 18) Other attractions In October 2007, gift shops modeled after the Kwik-E-Mart were built, replacing the Back To The Future: The Store gift shop at Universal Studios Florida and the Time Travelers Depot gift shop at Universal Studios Hollywood. The stores sell Simpsons-related merchandise. Carts were opened near the stores which sell Squishees, (which are The Simpsons' parody of 7-Eleven's Slurpees.)
274_25	At Universal Studios Florida and Universal Studios Hollywood, the park converted much of the World Expo and some of the Upper Lot in Universal Studios Hollywood into one based on Springfield. The new area includes some iconic landmarks from The Simpsons such as Krusty Burger, Frying Dutchman, Luigi's Pizza, Lard Lad Donuts, Bumblebee Man's Taco Truck, Moe's Tavern, The Android's Dungeon & Baseball Card Shop and a Duff Brewery. The park also added one amusement ride named "Kang & Kodos' Twirl 'n' Hurl", a Dumbo-esque spinning ride where patrons drive flying saucers around Kodos' head and attack Springfield residents.
274_26	Reception The Simpsons Ride was well received by fans after it opened. Seth Kubersky of Orlando Weekly described the ride as "a more than worthy successor" to Back to the Future: The Ride. Brady MacDonald of the Los Angeles Times described the ride as "visually stunning" and said it "truly delivers — with loads of in-jokes and satire for serious fanatics and tons of thrills and fun for casual fans." Elise Thompson of the LAist said "the ride is a total blast, with plenty of laughs as well as thrills." Jay Cridlin of the St. Petersburg Times wrote that "the ride is packed with more original, funny material than you'd expect to see in a sitcom, much less a theme park." However, he admitted that the ride was "a little discombobulating".
274_27	The Universal Studios Florida version of the ride hosted its one millionth rider on 14 July 2008, reaching the milestone faster than any other attraction in the resort. The ride was named the best new attraction of 2008 by the website Themeparkinsider.com. See also List of amusement rides based on television franchises Acquisition of 21st Century Fox by Disney — On March 20, 2019, The Walt Disney Company purchased 21st Century Fox for $71.3 Billion which includes the rights to The Simpsons. Due of the acquisition, The ride and the Springfield area would remain in Universal Studios Hollywood and Universal Orlando Resort. The Simpsons franchise became the second Disney owned IP to be represented in a Universal Park after Marvel Super Hero Island at Islands of Adventure. References External links The Simpsons Ride at Universal Orlando Resort The Simpsons Ride at Universal Studios Hollywood
274_28	Simulator rides The Simpsons Amusement rides based on works by Matt Groening Crossover fiction Amusement rides introduced in 2008 Universal Studios Hollywood Universal Studios Florida Universal Parks & Resorts attractions by name Licensed-properties at Universal Parks & Resorts Amusement rides based on television franchises Amusement rides manufactured by Intamin Blur Studio films Amusement rides manufactured by Oceaneering International Reel FX Creative Studios short films
275_0	The Atlantic raid of June 1796 was a short campaign containing three connected minor naval engagements fought in the Western Approaches comprising Royal Navy efforts to eliminate a squadron of French frigates operating against British commerce during the French Revolutionary Wars. Although Royal Navy dominance in the Western Atlantic had been established, French commerce raiders operating on short cruises were having a damaging effect on British trade, and British frigate squadrons regularly patrolled from Cork in search of the raiders. One such squadron comprised the 36-gun frigates HMS Unicorn and HMS Santa Margarita, patrolling in the vicinity of the Scilly Isles, which encountered a French squadron comprising the frigates Tribune and Tamise and the corvette Légėre.
275_1	The opposing forces were approximately equal in size, but the French, under orders to operate against commerce, not engage British warships, attempted to retreat. The British frigates pursued closely and over the course of the day gradually overhauled the French squadron. At 16:00 Santa Margarita caught Tamise and a furious duel ensued in which the smaller Tamise was badly damaged and eventually forced to surrender. Tribune continued its efforts to escape, but was finally caught by Unicorn at 22:30 and defeated in a second hard-fought engagement. Légėre took no part in the action and was able to withdraw without becoming embroiled in either conflict.
275_2	Five days later the French frigate Proserpine, which had separated from the rest of the squadron after leaving Brest, was searching for her compatriots off Cape Clear in Southern Ireland when she was discovered by the patrolling British frigate HMS Dryad. Dryad successfully chased down Proserpine and forced the French ship to surrender in an engagement lasting 45 minutes. Nine days later Légėre was captured without a fight by another British frigate patrol. French casualties in all three engagements were very heavy, while British losses were light. In the aftermath all four captured ships were purchased for service in the Royal Navy.
275_3	Background
275_4	The first three years of the conflict between Great Britain and the new French Republic in the French Revolutionary Wars, which began in 1793, had resulted in a series of setbacks for the French Atlantic Fleet, based at the large fortified port of Brest. In 1794 seven French ships of the line had been lost at the battle of the Glorious First of June, and early the following year five more were wrecked by winter storms during the disastrous Croisière du Grand Hiver campaign. In June 1795 three more ships were captured by the British Channel Fleet at the Battle of Groix. With the French fleet consolidating at Brest, the Royal Navy instituted a policy of close blockade, maintaining a fleet off the port to intercept any efforts by the main French battle fleet to sail. The French Navy instead embarked on a strategy of interference with British commerce, the majority of which by necessity passed through the Western Approaches and the English Channel. This campaign was conducted principally
275_5	by privateers and small squadrons of frigates operating from Brest and other smaller ports on the French Atlantic and Channel coasts.
275_6	The French commerce raiding operations had some success against British trade, and to counteract these attacks the Royal Navy formed squadrons of fast frigates, which patrolled the Channel and Bay of Biscay in search of the French warships. This resulted in a series of engagements between British and French frigate squadrons, including a notable battle on 23 April 1794, and two actions by a squadron under the command of Commodore Sir Edward Pellew on 13 April and 20 April 1796 fought in the mouth of the Channel. The southern coast of Ireland, in the Kingdom of Ireland, a British client state, was seen as a particularly vulnerable region due to its proximity to the trade routes and its numerous isolated anchorages in which French ships could shelter. To counteract this threat, a Royal Navy frigate squadron was stationed in Cork under the command of Rear-Admiral Robert Kingsmill. Ships from this squadron patrolled the mouth of the Channel, singly or in pairs, in search of French
275_7	raiders.
275_8	On 4 June 1796, a French squadron was dispatched from Brest on a raiding cruise. This force included the 40-gun frigates Tribune under Franco-American Commodore Jean Moulston, Proserpine under Captain Etienne Pevrieux and Tamise under Captain Jean-Baptiste-Alexis Fradin, the latter formerly a Royal Navy ship named HMS Thames which had been captured in an engagement in the Bay of Biscay by a French frigate squadron in October 1793. With the frigates was the 18-gun corvette Légėre under Lieutenant Jean Michel-Martin Carpentier. Tamise in particular had proven a highly effective commerce raider, recorded as capturing twenty merchant ships since her enforced change of allegiance. Proserpine separated from the other ships during a period of heavy fog on 7 June, sailing independently to the rendezvous off Cape Clear in Southern Ireland. Tamise and Tribune
275_9	At 02:00 in the morning of 8 June, the remaining ships of the French squadron were sailing approximately southeast of the Scilly Isles when sails were sighted distant. This was a small British frigate squadron from Kingsmill's command comprising the 36-gun HMS Unicorn under Captain Thomas Williams and HMS Santa Margarita under Captain Thomas Byam Martin, sent to patrol the area in search of French raiders. The British frigates had just seized a Swedish merchant ship carrying Dutch contraband from Surinam, which they sent to Cork under a prize crew and immediately set sail to intercept the French, who turned away, sailing in line ahead. Tribune led the line, a much faster ship than either of her consorts, holding back for mutual support, but as the morning passed and the British ships drew closer and closer Légėre fell out of the line to windward. Both British frigates passed the corvette at distance, although the smaller vessel remained in sight for sometime, eventually departing to
275_10	attack a merchant sloop sailing nearby.
275_11	At 13:00 the British frigates were close enough that both Tamise and Tribune could open fire with their stern-chasers, inflicting considerable damage to the sails and rigging of the British ships and causing them to fall back despite occasional fire from the British bow-chasers. This tactic bought the French frigates three hours, but at 16:00 it became clear that the slower Tamise would be overhauled by Santa Margarita; Williams had already instructed Martin to focus on Tamise as he intended to attack the larger Tribune himself. Under fire from Martin's ship and wishing to both avoid this conflict and hoping to inflict severe damage on Santa Margarita, Fradin turned away from the former and across the bows of the latter, intending to rake Santa Margarita. In response Martin brought his frigate alongside Tamise. Running at speed away from their compatriots, Tamise and Santa Margarita exchanged broadsides for 20 minutes until Fradin, his ship badly damaged and his crew suffering heavy
275_12	casualties, was forced to strike his colours.
275_13	As Tamise and Santa Margarita fought, Unicorn continued the pursuit of Tribune. Without the need to support the slower Tamise, Moulston was able to spread more sail and Tribune pulled ahead of her opponent during the afternoon the ships passing Tuskar Rock on the Wexford Coast. The French frigate's stern-chasers continued to inflict damage on Unicorns rigging, at one point snatching away the main topsail and it was only when night fell, and the wind with it, that Williams was able to gain on the French ship through the use of studding sails. At 22:30, following a chase of northwards into St George's Channel, Unicorn was finally able to pull alongside Tribune. For 35 minutes the frigates battered at one another from close range. Under cover of smoke, Moulston then attempted to escape by pulling Tribune back and turning across Unicorns stern, seeking to rake the British frigate and move to windward. Realising Moulston's intent, Williams hauled his sails around, effectively throwing
275_14	Unicorn in reverse. As the British ship sailed suddenly backwards she crossed Tribunes bow, raking the French ship with devastating effect. From this vantage point the fire from Unicorn succeeded in collapsing the foremast and mainmast on Tribune and shooting away the mizen topmast, rendering the French ship unmanageable. With no hope of escape and casualties rapidly mounting, the wounded Moulston surrendered to Williams.
275_15	The engagements were relatively evenly matched: Tamise and Santa Margarita carried similar weight of shot ( to ) although Tamise had seventy more crew members (306 to 237) and Santa Margarita was slightly more than a third larger (993bm to 656bm). Naval historian William James credits Santa Margaritas larger size as giving her the advantage. In the second action, Tribune also had a much larger crew than Unicorn (339 to 240) and was substantially larger (916bm to 791bm), but Unicorn, equipped with 18-pounder long guns, massed a far larger weight of shot ( to ), which proved decisive. Both engagements saw similar casualty ratios, with Tamise losing 32 killed and 19 wounded, some of whom later died, and Tribune suffering 37 killed and 15 wounded, including Moulston, while losses on Santa Margarita and Unicorn were two killed and three wounded and none at all respectively. Proserpine
275_16	While Tamise and Tribune met their fates in the Channel, Proserpine had continued unmolested to the cruising ground off the Cork coast. At 01:00 on 13 June, southeast of Cape Clear Island, Pevrieux' crew sighted a sail approaching from the northeast. Pevrieux was searching for Moulston's squadron, and allowed his ship to close with the newcomer before discovering that it was the patrolling 36-gun British frigate HMS Dryad under Captain Lord Amelius Beauclerk. On realising the danger, Pevrieux tacked away from Dryad and attempted to escape to the southwest. This chase lasted most of the day, Beauclerk gradually gaining on his opponent until Pevrieux opened fire with his stern-chaser guns at 20:00.
275_17	Shot from the stern-chasers punched holes in Dryad's sails and damaged the rigging, but Beauclerk's ship continued to gain on Proserpine until at 21:00 Beauclerk was close enough to open fire with his main broadside. Some damage was done to the sails and rigging of Dryad in the exchange and at one point the ship's colours were shot away and had to be replaced, but casualties were light. On Proserpine casualties mounted quickly, and although her sails and rigging remained largely intact, significant damage to the hull and heavy losses among the crew convinced Pevrieux to surrender at 21:45.
275_18	As in the previous engagements, the French ship had a much larger crew, (346 to 254), although weight of shot ( to ) and size (1059bm to 924bm) were more evenly distributed. Casualties displayed the same inequalities as in the earlier engagements, with two killed and seven wounded on Dryad but 30 killed and 45 wounded on Proserpine. In James' opinion, had Pevrieux opted to use his initial advantage of the weather gage to attack Dryad directly rather than attempt to escape he might have been able to defeat the British frigate.
275_19	Aftermath The last survivor of the squadron, Légėre, remained at sea for another nine days, capturing six merchant ships, before the corvette was intercepted at in the Western Approaches by the frigates HMS Apollo under Captain John Manley and HMS Doris under Captain Charles Jones. All of the captured ships were taken to Britain and were subsequently purchased for the Royal Navy, Tamise restored as HMS Thames, Tribune with the same name, Proserpine as HMS Amelia as there was already an HMS Proserpine in service, and Légėre anglicised as HMS Legere.
275_20	As the senior captain in the operation, Williams was subsequently knighted, although historian Tom Wareham considered that Martin's fight had been the harder-fought encounter. Wareham also considered that Beauclerk may not have been rewarded as he was already a member of the nobility. Historian James Henderson considered that Martin may not have been honoured for the engagement due to his youth: he was 23 years old at the time of the battle. The first lieutenants on each British ship were promoted to commanders and Commander Joseph Bullen, volunteering on board Santa Margarita, was promoted to post captain. More than five decades later, the Admiralty recognised the actions with the clasps "SANTA MARGARITA 8 JUNE 1796", "UNICORN 8 JUNE 1796" and "DRYAD 13 JUNE 1796" attached to the Naval General Service Medal, awarded upon application to all British participants still living in 1847.
275_21	Following the capture of Moulston's squadron there was little activity in the English Channel or Bay of Biscay almost to the end of the year. On 22 August a squadron under Sir John Borlase Warren drove ashore and destroyed the French frigate Andromaque at the Gironde, and on 24 October Santa Margarita successfully chased down and captured two heavily armed privateers in the same region as the action in June. In December 1796 however, after the British fleet had retired to Spithead for the winter, the main French fleet sailed from Brest for the first time since June 1795 on a major operation named the Expédition d'Irlande, a planned invasion of Ireland. Like their winter campaign of two years previously, and for much the same reasons, this ended in disaster with 12 ships wrecked or captured and thousands of soldiers and sailors drowned without a single successful landing. Notes References
275_22	Naval battles of the French Revolutionary Wars Conflicts in 1796 Naval battles involving France Naval battles involving Great Britain
276_0	Igor Mihaljević (born 8 August 1979) is a Croatian heavyweight kickboxer, fighting out of Karlovac. Biography and career Mihaljević fought many top class kickboxers as Daniel Ghiță, Cătălin Moroșanu, Tyrone Spong, and his biggest win is over Gary Goodridge. On 7 April 2012 it was announced that he would fight Gregory Tony for W.A.K.O. Pro Kickboxing world heavyweight title, he lost the fight in round 4 to numerous low kicks. Titles Kickboxing Amateur 2004 Croatian kickboxing championship Mixed martial arts record \|- \|Win \|align=center\| 1–0 \| Bojan Spalević \| TKO \| OB-Gula - Fight Night \| \|align=center\|1 \|align=center\| \|Ogulin, Croatia \|MMA debut. Boxing record
276_1	\|- \|align="center" colspan=8\|5 Wins (2 knockouts, 3 decisions), 9 Losses, 0 Draws \|- \|align=center style="border-style: none none solid solid; background: #e3e3e3"\|Res. \|align=center style="border-style: none none solid solid; background: #e3e3e3"\|Record \|align=center style="border-style: none none solid solid; background: #e3e3e3"\|Opponent \|align=center style="border-style: none none solid solid; background: #e3e3e3"\|Type \|align=center style="border-style: none none solid solid; background: #e3e3e3"\|Rd., Time \|align=center style="border-style: none none solid solid; background: #e3e3e3"\|Date \|align=center style="border-style: none none solid solid; background: #e3e3e3"\|Location \|align=center style="border-style: none none solid solid; background: #e3e3e3"\|Notes \|-align=center \|Loss \|5-9 \|align=left\| Fabio Tuiach \| TKO \|\| 1 , \|2017-07-08 \|\| align=left\| Trieste \|align=left\| \|-align=center \|Loss \|5-8 \|align=left\| Sean Turner \| KO \|\| 2 ,
276_2	\|2017-03-10 \|\| align=left\| Waterfront Hall, Belfast, Northern Ireland \|align=left\| \|-align=center \|Win \|5-7 \|align=left\| Marin Zulum \| KO \|\| 2 , \|2017-01-29 \|\| align=left\| Sport Hall Graberje, Varazdin \|align=left\| \|-align=center \|Loss \|4-7 \|align=left\| Nathan Gorman \| RTD \|\| 3 , \|2016-11-26 \|\| align=left\| Motorpoint Arena, Cardiff, Wales \|align=left\| \|-align=center \|Win \|4-6 \|align=left\| Mario Jagatić \| PTS \|\| 4, \|2016-11-19 \|\| align=left\| Sport Hall Graberje, Varazdin \|align=left\| \|-align=center \|Win \|3-6 \|align=left\| Tom Dallas \| TKO \|\| 2 , \|2016-10-26 \|\| align=left\| Maidstone Leisure Centre, Maidstone, Kent \|align=left\| \|-align=center \|Loss \|2-6 \|align=left\| Con Sheehan \| PTS \|\| 4 \|2016-09-24 \|\| align=left\| Tudor Grange Leisure Centre, Solihull, West Midlands \|align=left\| \|-align=center \|Loss \|2-5 \|align=left\| Zsolt Bogdan \| TKO \|\| 2 , \|2016-04-16 \|\| align=left\| Sportshall, Sülysáp \|align=left\| \|-align=center \|Loss \|2-4 \|align=left\| David Abraham \| PTS \|\| 4
276_3	\|2016-03-12 \|\| align=left\| York Hall, Bethnal Green, London \|align=left\| \|-align=center \|Loss \|2-3 \|align=left\| Samuel Kadje \| KO \|\| 3 \|2015-11-01 \|\| align=left\| Izegem, West-Vlaanderen \|align=left\| \|-align=center \|Loss \|2-2 \|align=left\| AJ Carter \| TKO \|\| 2 \|2015-09-05 \|\| align=left\| York Hall, Bethnal Green, London \|align=left\| \|-align=center \|Win \|2-1 \|align=left\| Elvir Behlulovic \| PTS \|\| 4 \|2015-08-13 \|\| align=left\| Joker Gym, Split \|align=left\| \|-align=center \|Loss \|1-1 \|align=left\| Dominic Akinlade \| PTS \|\| 4 \|2015-07-04 \|\| align=left\| York Hall, Bethnal Green, London \|align=left\| \|-align=center \|Win \|1-0 \|align=left\| Marin Zulum \| PTS \|\| 4 \|2015-04-08 \|\| align=left\| Varaždin \|align=left\|
276_4	Kickboxing and Muay Thai record
276_5	\|- bgcolor="#dddddd" \| 2018-5-12 \|\| Win \|\| Mahmudin Mahić \|\| Noć Gladijatora 2018 \|\| Karlovac \|\| K.O \|\| 1 \|\| 1:45 \|\| 20-22-1 \|- \|- bgcolor="FFBBBB" \| 2017-09-16 \|\| Loss \|\|align=left\| Enver Šljivar \|\| W5 Legends Collide \|\| Koper, Slovenia \|\| Decision (Unanimous) \|\| 3 \|\| 3:00 \|\|19-22-1 \|- \|- bgcolor="CCFFCC" \| 2017-05-20 \|\| Win \|\|align=left\| Zoran Radić \|\| Noc Gladijatora \|\| Karlovac, Croatia \|\| Decision \|\| 3 \|\| 3:00 \|\|19-21-1 \|- \|- bgcolor="CCFFCC" \| 2016-10-08 \|\| Win \|\|align=left\| Sean Šturbelj \|\| Bilić-Erić Security Fight Night 8 \|\| Zagreb, Croatia \|\| TKO \|\| 2 \|\| 1:50 \|\|18-21-1 \|- \|- bgcolor="FFBBBB" \| 2016-07-28 \|\| Win \|\|align=left\| Daniel Škvor \|\| Yangame's Fight Night 2016 \|\| Czech Republic \|\| TKO \|\| 1 \|\| \|\|17-21-1 \|- \|- bgcolor="FFBBBB" \| 2015-04-29 \|\| Loss \|\|align=left\| Roman Kryklia \|\| Tatneft Cup 2015 - 1st selection 1/4 final \|\| Kazan, Russia \|\| KO (Knee to the Head) \|\| 2 \|\| \|\|17-20-1 \|- \|- bgcolor="CCFFCC"
276_6	\| 2015-01-24 \|\| Win \|\|align=left\| Saša Polugić \|\| Tatneft Cup 2015 - 2nd selection 1/8 final \|\| Kazan, Russia \|\| Ext. R. Decision (Unanimous) \|\| 4 \|\| 3:00 \|\|17-19-1 \|- \|- bgcolor="FFBBBB" \| 2014-09-26 \|\| Loss \|\|align=left\| Enver Šljivar \|\| FFC Futures 3, Super Fight \|\| Zagreb, Croatia \|\| Decision (Unanimous) \|\| 3 \|\| 3:00 \|\|16-19-1 \|- \|- bgcolor="FFBBBB" \| 2014-08-15 \|\| Loss \|\|align=left\| Elmir Mehić \|\| No Limit 7 \|\| Zenica, Bosnia and Herzegovina \|\| Decision (Unanimous) \|\| 3 \|\| 3:00 \|\|16-18-1 \|- \|- bgcolor="#FFBBBB" \| 2014-05-17 \|\| Loss \|\|align=left\| Petr Kalenda \|\| Kings Of The Ring - Youngblood \|\| Brno, Czech Republic \|\| Decision (Unanimous) \|\| 3 \|\| 3:00 \|\|16-17-1 \|- \|- bgcolor="#FFBBBB" \| 2013-12-13 \|\| Loss \|\|align=left\| Tomáš Hron \|\| FFC10: Rodriguez vs. Batzelas \|\| Skopje, Macedonia \|\| Decision (Unanimous) \|\| 3 \|\| 3:00\|\|16-16-1 \|- \|- bgcolor="#FFBBBB"
276_7	\| 2013-09-21 \|\| Loss\|\|align=left\| Yuksel Ayaydin \|\| La Nuit des Challenges 12 \|\| Lyon, France \|\| Decision (Unanimous) \|\| 5 \|\| 3:00\|\|16-15-1 \|- ! style=background:white colspan=9 \| \|- \|- bgcolor="#FFBBBB" \| 2013-09-08 \|\|Loss \|\|align=left\| Uroš Veličević \|\| K-1 Open Challenger \|\| Brežice, Slovenia \|\| Decision (Unanimous)\|\| 3 \|\|3:00\|\|16-14-1 \|- bgcolor="#CCFFCC" \| 2013-05-24 \|\|Win \|\|align=left\| Uroš Veličević \|\| FFC05: Rodriguez vs. Simonjič \|\| Osijek, Croatia \|\|Decision (Unanimous) \|\| 3 \|\|3:00\|\|16-13-1 \|- bgcolor="#CCFFCC" \| 2013-05-10 \|\|Win \|\|align=left\| Ante Verunica \|\| FFC04: Perak vs. Joni \|\| Zadar, Croatia \|\| Decision (Unanimous) \|\| 3 \|\|3:00\|\|15-13-1 \|- bgcolor="#CCFFCC" \| 2013-04-07 \|\| Win \|\|align=left\| Mladen Kujundžić \|\| 8. Kickboxing memorijal "David Šain" \|\| Poreč, Croatia \|\| Decision (Unanimous) \|\| 3 \|\|3:00\|\|14-13-1 \|- bgcolor="#FFBBBB" \| 2012-08-18 \|\| Loss \|\|align=left\| Rok Štrucl \|\| Admiral Markets Fight Night \|\| Portorož, Slovenia \|\| Decision \|\| 3 \|\| 3:00\|\|13-13-1
276_8	\|- \|- bgcolor="#FFBBBB" \| 2012-04-07 \|\| Loss \|\|align=left\| Gregory Tony \|\| K1 Rules World Championship \|\| Sainte-Maxime, Framce \|\| TKO (Low Kicks) \|\| 4 \|\| \|\|13-12-1 \|- ! style=background:white colspan=9 \| \|- \|- bgcolor="#FFBBBB" \| 2012-02-10 \|\| Loss \|\|align=left\| Toni Milanović \|\| VVVF - Veni Vidi Vici Fights \|\| Karlovac, Croatia \|\| Decision (Unanimous) \|\| 3 \|\| 3:00\|\|13-11-1 \|- \|- bgcolor="#CCFFCC" \| 2011-10-21 \|\| Win \|\|align=left\| Dwight Harkinson \|\| RFC - Romanian Fight Challenge \|\|Timișoara, Romania \|\|Decision (Unanimous) \|\| 3 \|\| 3:00\|\|13-10-1 \|- \|- bgcolor="#FFBBBB" \| 2011-05-14 \|\| Loss \|\|align=left\| Tyrone Spong \|\| It's Showtime 2011 Lyon \|\| Lyon, France \|\| KO (Left Knee) \|\| 1 \|\| 2:01\|\|12-10-1 \|- \|- bgcolor="#FFBBBB" \| 2011-03-27 \|\| Loss \|\|align=left\| Luboš Raušer \|\| Heroe's Gate \|\| Prague, Czech Republic \|\| Decision \|\| 3 \|\| 3:00\|\|12-9-1 \|- \|- bgcolor="#FFBBBB"
276_9	\| 2010-10-29 \|\| Loss \|\|align=left\| Cătălin Moroșanu \|\| Sarajevo Fight Night II \|\| Sarajevo, Bosnia and Herzegovina \|\| Decision (Unanimous) \|\| 3 \|\| 3:00\|\|12-8-1 \|- \|- bgcolor="#FFBBBB" \| 2010-04-18 \|\| Loss \|\|align=left\| Igor Jurković \|\| 5. Kickboxing memorijal "David Šain" \|\| Poreč, Croatia \|\| TKO (leg injury) \|\| 2 \|\| \|\|12-7-1 \|- bgcolor="#CCFFCC" \| 2010-02-13 \|\| Win \|\|align=left\| Gary Goodridge \|\| Noc Scorpiona 6 \|\| Karlovac, Croatia \|\| Decision (Unanimous) \|\| 3 \|\| 3:00 \|\|12-6-1 \|- \|- bgcolor="#CCFFCC" \| 2009-04-25 \|\| Win \|\|align=left\| György Mihalik \|\| FFGP \|\| Dubrovnik, Croatia \|\| TKO \|\| 3 \|\| \|\| 11-6-1 \|- \|- bgcolor="#FFBBBB" \| 2009-02-28 \|\| Loss \|\|align=left\| Daniel Ghiță \|\| K-1 Rules Tournament 2009 in Budapest \|\| Budapest, Hungary \|\| KO (Low Kicks) \|\| 1\|\| 0:30\|\|10-6-1 \|- \|- bgcolor="#c5d2ea" \| 2008-02-06 \|\| Draw \|\|align=left\| Rani Berbachi \|\| "K-T" Kick tournament \|\| Marseilles, France \|\| Decision Draw \|\|5 \|\| 3:00\|\|10-5-1 \|- \|- bgcolor="#CCFFCC"
276_10	\| 2008-09-13 \|\| Win \|\|align=left\| Benaid Hodžić \|\| \|\| Solin, Croatia \|\| KO \|\| 1 \|\| \|\|10-5 \|- \|- bgcolor="#FFBBBB" \| 2008-06-07 \|\| Loss \|\|align=left\| Paula Mataele \|\| Dunaujvaros K-1 Max \|\| Dunaújváros, Hungary \|\| Decision \|\| \|\| \|\|9-5 \|- \|- bgcolor="#CCFFCC" \| 2008-04-13 \|\| Win \|\|align=left\| Jasmin Bečirović \|\| 3. Kickboxing memorijal "David Šain" \|\| Poreč, Croatia \|\| Decision (Split) \|\| \|\| \|\|9-4 \|- \|- bgcolor="#FFBBBB" \| 2008-03-21 \|\| Loss \|\|align=left\| Tihamer Brunner \|\| \|\| Karlovac, Croatia \|\| Decision \|\| \|\| \|\|8-4 \|- \|- bgcolor="#CCFFCC" \| 2007-11-18 \|\| Win \|\|align=left\| Daniel Marhold \|\| WFC 4 \|\| Domžale, Slovenia \|\| Decision (Unanimous) \|\| 3 \|\| 3:00\|\|8-3 \|- \|- bgcolor="#FFBBBB" \| 2007-09-01 \|\| Loss \|\|align=left\| Goran Radonjić \|\| Night of Thunderman 3, quarter final \|\| Solin, Croatia \|\| TKO \|\| 1 \|\| \|\|7-3 \|- \|- bgcolor="#CCFFCC" \| 2007-03-18 \|\| Win \|\|align=left\| Radovan Obradović \|\| \|\| Karlovac, Croatia \|\| Decision \|\| \|\| \|\|7-2 \|- \|- bgcolor="#CCFFCC"
276_11	\| 2006-04-29 \|\| Win \|\|align=left\| Mersad Murtić \|\| Noć Gladijatora \|\| Dubrovnik, Croatia \|\| KO \|\| 1 \|\| \|\|6-2 \|- \|- bgcolor="#CCFFCC" \| 2006-03-17 \|\| Win \|\|align=left\| Hrvoje Čokotić \|\| Karlovac Nokaut \|\| Karlovac, Croatia \|\| TKO \|\| 2 \|\| \|\|5-2 \|- \|- bgcolor="#FFBBBB" \| 2006-01-14 \|\| Loss \|\|align=left\| Marin Došen \|\| Pula Sokol Fight Night \|\| Pula, Croatia \|\| Decision (Unanimous) \|\| \|\| \|\|4-2 \|- \|- bgcolor="#CCFFCC" \| 2005-12-18 \|\| Win \|\|align=left\| Igor Alagić \|\| Rijeka Nokaut \|\| Rijeka, Croatia \|\| Decision (Split) \|\| \|\| \|\|4-1 \|- \|- bgcolor="#FFBBBB" \| 2005-05-07 \|\| Loss \|\|align=left\| Ante Lovrić \|\| Obračun u Ringu III \|\| Split, Croatia \|\| Decision (Split) \|\| 3 \|\| 3:00\|\|3-1 \|- \|- bgcolor="#CCFFCC" \| 2005-03-11 \|\| Win \|\|align=left\| Josip Ivanović \|\| \|\| Karlovac, Croatia \|\| Decision \|\| \|\| \|\|3-0 \|- \|- bgcolor="#CCFFCC" \| 2005-02-11 \|\| Win \|\|align=left\| Zvone Hundarin \|\| Trbovlje 2 \|\| Trbovlje, Slovenia \|\| TKO \|\| 2 \|\|\|\|2-0 \|- \|- bgcolor="#CCFFCC"
276_12	\| 2004-11-06 \|\| Win \|\|align=left\| Miro Jurjevič \|\| Trbovlje \|\| Trbovlje, Slovenia \|\| KO \|\| 2 \|\| \|\|1-0 \|- \|- \| colspan=9 \| Legend:
276_13	See also List of male kickboxers List of male mixed martial artists List of It's Showtime events References 1979 births Living people Croatian male kickboxers Heavyweight kickboxers
277_0	Luh Putu Ayu Saraswati (; born July 6, 1997) popularly known as Ayu Saraswati is an Indonesian People's Consultative Assembly Ambassador, Medical practitioner, Feminist book author, Fashion model and beauty pageant titleholder who won the title of Puteri Indonesia Lingkungan 2020. Since 2020, she serves as the Ambassador and Advisory Council of Ministry of Women Empowerment and Child Protection of The Republic of Indonesia and Ministry of Environment and Forestry of the Republic of Indonesia, that works for #SangGuruKehidupan in advocating for women empowerment, Child protection, elderly care, natural disaster and free healthcare programs. Saraswati is the second delegate from Bali to ever be crowned Puteri Indonesia Lingkungan after Ayu Diandra Sari Tjakra in 2009. She will represent Indonesia at the Miss International 2022 pageant held in Japan. Early life and education
277_1	Saraswati was born in Denpasar, Bali, Indonesia to a Balinese father and Taiwanese mother. Since she was 14 years old, Saraswati is working as a fashion model and pilates instructor. She holds a Master of Medical Science (MMSc) in Biomedical sciences from the Faculty of Medicine of Udayana University, Denpasar – Bali, and currently works as a Medical Practitioner in Sanglah Hospital, where both of her parents work as a Medical Doctor. She is also a book author and Feminist activist that writes Gender, Work and Organization based journal and book.
277_2	Beside being chosen as Indonesian People's Consultative Assembly Ambassador, Ministry of Women Empowerment and Child Protection of The Republic of Indonesia Ambassador, and Ministry of Environment and Forestry of the Republic of Indonesia Ambassador. Saraswati often representing Indonesia in world forums such as Youth Gathering Sunburst Youth Camp 2014 in Singapore and the 2013 International Community Development and Global Creative Leadership Summit in New Delhi, India. Pageantry Jegeg Bali 2015 Her foray into the world of pageantry began in 2015 when she won Jegeg Bali (Miss Tourism in Bali), where held in Denpasar at the age of eighteen, This also began her charitable activities which she continues to perform to this day.
277_3	As Jegeg Bali 2015 she became a charity ambassador for a local non-profit organization (NPO) Smile Foundation of Bali for the past 6 years, Saraswati donating funds and goods annually, helping to cleft lip and cleft palate patients and witnessed first-hand a Palatoplasty cleft surgery. Puteri Bali 2020 Saraswati joined the contest at the provincial level of the Puteri Indonesia Bali 2020, and ended up was chosen as the winner of Puteri Indonesia Bali 2020, where she also won "Miss Intelligence" special award. Puteri Indonesia 2020 After qualifying the provincial title of Puteri Indonesia Bali 2020, Saraswati represented the province of Bali in the national beauty contest, Puteri Indonesia 2020, which was held on March 6, 2020.
277_4	She was successfully crowned as the winner of Puteri Indonesia Lingkungan 2020 (Miss International Indonesia 2020). by the predecessor of Puteri Indonesia Lingkungan 2019 and Miss International 2019 Top 8 Finalist Jolene Marie Cholock-Rotinsulu of North Sulawesi. and won "Puteri Indonesia Nusa-Bali Islands 2020" special awards. The final coronation night was graced by the reigning Miss International 2019, Sireethorn Leearamwat and Miss International 2017, Kevin Lilliana Junaedy as the guest star. Saraswati successfully raised her charity foundation called #SangGuruKehidupan, which a Women's empowerment platform across the islands of Indonesia that provide child protection, elderly care and free healthcare programs. Saraswati said:
277_5	Miss International 2022 As the winner of Puteri Indonesia Lingkungan 2020, Saraswati will represent Indonesia at the 60th edition of Miss International 2022 pageant, to be held in November 2021 at Pacifico Yokohama, Yokohama City, Kanagawa Prefecture, Japan. By the end of the event, Miss International 2019 Sireethorn Leearamwat of Thailand will crown her successor. Saraswati is expected to continuing the streak of Indonesia's semi-finalists placement in Miss International for the 5th consecutive years since 2016. Bibliography Saraswati is a book author and Feminist activist that writes Gender, Work and Organization based journal and book, she writes and published several books and journals on international University press and World Youth Forum, since her debut as an Author in 2013. Books Awards and nomination See also Puteri Indonesia 2020 Miss International 2022 Raden Roro Ayu Maulida Putri Jihane Almira Chedid References
277_6	External links Puteri Indonesia Official Website Miss International Official Website Living people 1997 births Balinese people Udayana University alumni Puteri Indonesia winners Indonesian beauty pageant winners Indonesian female models Indonesian activists Health activists Elder rights activists Indonesian Hindus Indonesian women short story writers Indonesian short story writers Indonesian columnists Women columnists Indonesian women writers 21st-century women writers 21st-century short story writers 21st-century Indonesian writers 21st-century Indonesian poets 21st-century Indonesian women writers Women literary critics Indonesian women poets Radical feminists Rhetoricians American Book Award winners People from Denpasar People from Bali Indonesian people of Chinese descent
278_0	John Van Antwerp MacMurray (October 6, 1881 – September 25, 1960) was an American attorney, author and diplomat best known as one of the leading China experts in the U.S. government. He served as Assistant Secretary of State from November 1924 to May 1925, and was subsequently appointed Minister to China in 1925. Although MacMurray had coveted the China post, he soon fell into disagreement with the State Department over U.S. policy towards the ruling Kuomintang government. He resigned the position in 1929 and briefly left the foreign service. Following several years in academia, MacMurray returned to the State Department to become Minister to Estonia, Latvia and Lithuania from 1933 to 1936. He later served as ambassador to Turkey from 1936 to 1941, and then was made a special assistant to the Secretary of State until his retirement in 1944.
278_1	In 1935, MacMurray was commissioned to write a memorandum on the conflict between China and Japan. In it, he suggested that the United States, China, and Great Britain were partly to blame for Japan's invasion of China, and argued that unless the United States stopped opposing Japanese domination of China, a war between the two powers was likely. Japan later attacked the United States at Pearl Harbor in December 1941, drawing the US into World War II. Early life MacMurray was born in Schenectady, New York to Junius Wilson MacMurray and Henrietta MacMurray (née Van Antwerp). His father was a career soldier, serving as a captain in the Union Army during the American Civil War, and later joining the regular army. MacMurray's father also taught military tactics at the University of Missouri and Cornell University, and was the author of several books. His mother, Henrietta Wiswall Van Antwerp, was the daughter of a bank president.
278_2	In 1892, at the age of eleven, MacMurray attended his father's boarding school near Princeton, New Jersey. Later, while he was attending the nearby Lawrenceville School, his father's death dealt a "deep emotional blow", according to historian Arthur Waldron. After graduating in 1898, MacMurray enrolled at Princeton University. The school's president, Woodrow Wilson, encouraged him to pursue a career in academia, noting his aptitude for language and literature. MacMurray was also said to display an independent nature, declining to participate in eating clubs or attend chapel. In 1903, MacMurray was admitted to the Columbia University Law School, and gained admission to the New York State Bar Association in 1906. He concurrently pursued a master of arts degree in Elizabethan drama at Princeton University, which he received in 1907. Career
278_3	Following his admission to the New York Bar, MacMurray sought a career in government. A letter of commendation from Woodrow Wilson helped MacMurray secure an opportunity to take the foreign service examination. In 1907, he was appointed as Consul-General and Secretary of Legation in Bangkok, Siam, and then became second secretary at the U.S. embassy in St. Petersburg. There he worked under ambassador William Woodville Rockhill, who was credited with helping to shape the United States' open door policy towards China.
278_4	Upon returning to Washington in 1911, MacMurray was made chief of the Division of Near Eastern Affairs, a position he held until 1913. He then had several appointments in East Asia: from 1913 to 1917, he was secretary of Legation in Peking, China, and from 1917 to 1919, he was counselor of the embassy in Tokyo. He had been offered a post as Minister to Siam in 1913, but declined in order to pursue the position in Peking. He again returned to the State Department in 1919 to serve as Chief of Division for Far Eastern Affairs from 1919 to 1924. During that time, MacMurray was involved as an observer to negotiations between China and Japan concerning the status of the Shandong Peninsula, and authored a book titled Treaties and Agreements with and Concerning China. The book was a compilation of all treaties and agreements with China from 1894 to 1919, and was published by the Carnegie Endowment for International Peace.
278_5	MacMurray briefly served as Assistant Secretary of State from 1924 to 1925. In 1925, he was appointed Minister to China under President Calvin Coolidge, who described him as "our top China expert". He assumed the post in July 1925. MacMurray was well regarded within the diplomatic community in Peking; Sir Ronald Macleay with the British delegation described him as friendly and agreeable, and relatively unburdened by the preconceived ideas and sentimentality towards China that afflicted several of his predecessors. Macleay noted that MacMurray could express himself well and forcefully in diplomatic meetings, but that he was "rather academic", and may have lacked confidence in himself. "I imagine that he allows himself very little freedom of action and refers to Washington on every possible occasion," wrote Macleay. Another British diplomat, Sir Miles W. Lampson, recorded MacMurray's complaints that Washington allowed him little initiative, and seldom adopted his proposals.
278_6	Soon after arriving in China, MacMurray fell into disagreement with Washington over U.S. policy towards the ruling Kuomintang (Nationalist) government, which had been demanding immediate revisions to or a cessation of the treaty system in place between the two countries. Whereas Washington wished to make concessions to the Nationalist government, MacMurray favored the enforcement of existing treaties. These differences of opinion led him to resign in November 1929, whereupon he became a professor of International Relations at Johns Hopkins University. In 1933, MacMurray returned to the foreign service. On September 9 of that year, he was appointed Envoy Extraordinary and Minister Plenipotentiary to Estonia, Latvia and Lithuania—a position he held until 1936. From 1936 to 1941, MacMurray served as Ambassador Extraordinary and Plenipotentiary in Turkey. He returned to Washington in 1942 and worked as a special assistant to the Secretary of State until his retirement in 1944.
278_7	1935 Memorandum
278_8	In 1935, as tensions in East Asia were mounting, the Assistant Secretary of State for East Asian Affairs, Stanley Hornbeck, commissioned MacMurray to write a memorandum on the situation. The memorandum, "Developments Affecting American Policy in the Far East", challenged many of the underlying assumptions of U.S. policy towards Japan. The conventional wisdom held that Japan was the unprovoked aggressor in the brewing conflict with China. However, MacMurray posited that Chinese and American policies were partly to blame for Japan's actions; whereas Japan had closely adhered to the treaties and agreements brokered during the Washington Disarmament Conference, the United States, Great Britain and China frequently undermined them. Up until the Japanese invasion of Manchuria in 1931, the "Japanese Government ... was endeavoring in unimpeachable good faith to live up to its undertakings", wrote MacMurray. "The issue of success or failure for the policies evolved at the Washington Conference
278_9	was actually in the hands of China herself, of Great Britain, and of the United States."
278_10	According to Arthur Waldron, MacMurray found that China in particular "systematically flouted the legal framework that alone guaranteed her international position, and by so doing invited Japan's wrath." MacMurray believed that the United States should have valued Japan's efforts to comply with the treaty agreements, and suggested that the United States should accept Japanese aggression against China, rather than aligning ever more closely with China. Barring that, he wrote, an American war with Japan was likely: MacMurray's classified memorandum was immediately shelved by the State Department. Following the Second World War, it was available only in select archives. In 1992, the memorandum was published for first time with an introduction by University of Pennsylvania historian Arthur Waldron. Films and photography
278_11	Throughout his diplomatic tours in China, MacMurray captured thousands of photographs and recorded hours of footage of everyday life. A collection consisting of more than 1,600 of MacMurray's photographs taken in rural China between 1913 and 1917 is held by the Princeton University library.
278_12	In 1925, just two years after the advent of the Cine-Kodak motion picture camera, MacMurray began making amateur films of life and travels in China, such as his trips to the Great Wall of China and a journey down the Yangtze River. One film depicted the procession of Sun Yat-sen's body from its original burial place in Peking to a new mausoleum in Nanking. Another film recorded in April 1928 captured scenes of daily life in Kalgan, north of Peking. MacMurray, along with his wife and sister, had traveled to Kalgan and Changpeh with Roy Chapman Andrews, an American explorer and naturalist who made multiple expeditions to the Gobi desert. During the civil war in 1928, however, rogue brigands and soldiers had made travel difficult in the region. To secure passage between Kalgan and Changpeh, MacMurray enlisted the aid of local warlord Chang Tso-lin, who provided an escort of 50 cavalry, 8 cars, and 150 camels.
278_13	Family In 1916, MacMurray married Lois R. Goodnow, the daughter of Frank Johnson Goodnow—a legal scholar, president of Johns Hopkins University, and a former advisor to the government of the Republic of China. Goodnow had been one of MacMurray's professors at Columbia University. The couple had three children: Joan Goodnow MacMurray, Frank Goodnow MacMurray, and Lois Van Antwerp MacMurray. Later life MacMurray died in September 1960, in Norfolk, Connecticut. Works Treaties and Agreements with and Concerning China, 1894-1919: Manchu period (1894-1911) References External links 1881 births 1960 deaths Writers from Schenectady, New York Princeton University alumni Columbia Law School alumni New York (state) lawyers Ambassadors of the United States to Turkey Ambassadors of the United States to China Ambassadors of the United States to Estonia United States Foreign Service personnel 20th-century American diplomats
279_0	Kinetic art is art from any medium that contains movement perceivable by the viewer or that depends on motion for its effect. Canvas paintings that extend the viewer's perspective of the artwork and incorporate multidimensional movement are the earliest examples of kinetic art. More pertinently speaking, kinetic art is a term that today most often refers to three-dimensional sculptures and figures such as mobiles that move naturally or are machine operated (see e. g. videos on this page of works of George Rickey, Uli Aschenborn and Sarnikoff). The moving parts are generally powered by wind, a motor or the observer. Kinetic art encompasses a wide variety of overlapping techniques and styles.
279_1	There is also a portion of kinetic art that includes virtual movement, or rather movement perceived from only certain angles or sections of the work. This term also clashes frequently with the term "apparent movement", which many people use when referring to an artwork whose movement is created by motors, machines, or electrically powered systems. Both apparent and virtual movement are styles of kinetic art that only recently have been argued as styles of op art. The amount of overlap between kinetic and op art is not significant enough for artists and art historians to consider merging the two styles under one umbrella term, but there are distinctions that have yet to be made.
279_2	"Kinetic art" as a moniker developed from a number of sources. Kinetic art has its origins in the late 19th century impressionist artists such as Claude Monet, Edgar Degas, and Édouard Manet who originally experimented with accentuating the movement of human figures on canvas. This triumvirate of impressionist painters all sought to create art that was more lifelike than their contemporaries. Degas’ dancer and racehorse portraits are examples of what he believed to be "photographic realism";. During the late 19th century artists such as Degas felt the need to challenge the movement toward photography with vivid, cadenced landscapes and portraits.
279_3	By the early 1900s, certain artists grew closer and closer to ascribing their art to dynamic motion. Naum Gabo, one of the two artists attributed to naming this style, wrote frequently about his work as examples of "kinetic rhythm". He felt that his moving sculpture Kinetic Construction (also dubbed Standing Wave, 1919–20) was the first of its kind in the 20th century. From the 1920s until the 1960s, the style of kinetic art was reshaped by a number of other artists who experimented with mobiles and new forms of sculpture. Origins and early development
279_4	The strides made by artists to "lift the figures and scenery off the page and prove undeniably that art is not rigid" (Calder, 1954) took significant innovations and changes in compositional style. Édouard Manet, Edgar Degas, and Claude Monet were the three artists of the 19th century that initiated those changes in the Impressionist movement. Even though they each took unique approaches to incorporating movement in their works, they did so with the intention of being a realist. In the same period, Auguste Rodin was an artist whose early works spoke in support of the developing kinetic movement in art. However, Auguste Rodin's later criticisms of the movement indirectly challenged the abilities of Manet, Degas, and Monet, claiming that it is impossible to exactly capture a moment in time and give it the vitality that is seen in real life. Édouard Manet
279_5	It is almost impossible to ascribe Manet's work to any one era or style of art. One of his works that is truly on the brink of a new style is Le Ballet Espagnol (1862). The figures' contours coincide with their gestures as a way to suggest depth in relation to one another and in relation to the setting. Manet also accentuates the lack of equilibrium in this work to project to the viewer that he or she is on the edge of a moment that is seconds away from passing. The blurred, hazy sense of color and shadow in this work similarly place the viewer in a fleeting moment.
279_6	In 1863, Manet extended his study of movement on flat canvas with Le déjeuner sur l'herbe. The light, color, and composition are the same, but he adds a new structure to the background figures. The woman bending in the background is not completely scaled as if she were far away from the figures in the foreground. The lack of spacing is Manet's method of creating snapshot, near-invasive movement similar to his blurring of the foreground objects in Le Ballet Espagnol. Edgar Degas
279_7	Edgar Degas is believed to be the intellectual extension of Manet, but more radical for the impressionist community. Degas' subjects are the epitome of the impressionist era; he finds great inspiration in images of ballet dancers and horse races. His "modern subjects" never obscured his objective of creating moving art. In his 1860 piece Jeunes Spartiates s'exerçant à la lutte, he capitalizes on the classic impressionist nudes but expands on the overall concept. He places them in a flat landscape and gives them dramatic gestures, and for him this pointed to a new theme of "youth in movement".
279_8	One of his most revolutionary works, L’Orchestre de l’Opéra (1868) interprets forms of definite movement and gives them multidimensional movement beyond the flatness of the canvas. He positions the orchestra directly in the viewer's space, while the dancers completely fill the background. Degas is alluding to the Impressionist style of combining movement, but almost redefines it in a way that was seldom seen in the late 1800s. In the 1870s, Degas continues this trend through his love of one-shot motion horse races in such works as Voiture aux Courses (1872).
279_9	It wasn't until 1884 with Chevaux de Course that his attempt at creating dynamic art came to fruition. This work is part of a series of horse races and polo matches wherein the figures are well integrated into the landscape. The horses and their owners are depicted as if caught in a moment of intense deliberation, and then trotting away casually in other frames. The impressionist and overall artistic community were very impressed with this series, but were also shocked when they realized he based this series on actual photographs. Degas was not fazed by the criticisms of his integration of photography, and it actually inspired Monet to rely on similar technology. Claude Monet
279_10	Degas and Monet's style was very similar in one way: both of them based their artistic interpretation on a direct "retinal impression" to create the feeling of variation and movement in their art. The subjects or images that were the foundation of their paintings came from an objective view of the world. As with Degas, many art historians consider that to be the subconscious effect photography had in that period of time. His 1860s works reflected many of the signs of movement that are visible in Degas' and Manet's work.
279_11	By 1875, Monet's touch becomes very swift in his new series, beginning with Le Bâteau-Atelier sur la Seine. The landscape almost engulfs the whole canvas and has enough motion emanating from its inexact brushstrokes that the figures are a part of the motion. This painting along with Gare Saint-Lazare (1877-1878), proves to many art historians that Monet was redefining the style of the Impressionist era. Impressionism initially was defined by isolating color, light, and movement. In the late 1870s, Monet had pioneered a style that combined all three, while maintaining a focus on the popular subjects of the Impressionist era. Artists were often so struck by Monet's wispy brushstrokes that it was more than movement in his paintings, but a striking vibration.
279_12	Auguste Rodin Auguste Rodin at first was very impressed by Monet's 'vibrating works' and Degas' unique understanding of spatial relationships. As an artist and an author of art reviews, Rodin published multiple works supporting this style. He claimed that Monet and Degas' work created the illusion "that art captures life through good modeling and movement". In 1881, when Rodin first sculpted and produced his own works of art, he rejected his earlier notions. Sculpting put Rodin into a predicament that he felt no philosopher nor anyone could ever solve; how can artists impart movement and dramatic motions from works so solid as sculptures? After this conundrum occurred to him, he published new articles that didn't attack men such as Manet, Monet, and Degas intentionally, but propagated his own theories that Impressionism is not about communicating movement but presenting it in static form.
279_13	20th century surrealism and early kinetic art The surrealist style of the 20th century created an easy transition into the style of kinetic art. All artists now explored subject matter that would not have been socially acceptable to depict artistically. Artists went beyond solely painting landscapes or historical events, and felt the need to delve into the mundane and the extreme to interpret new styles. With the support of artists such as Albert Gleizes, other avant-garde artists such as Jackson Pollock and Max Bill felt as if they had found new inspiration to discover oddities that became the focus of kinetic art.
279_14	Albert Gleizes Gleizes was considered the ideal philosopher of the late 19th century and early 20th century arts in Europe, and more specifically France. His theories and treatises from 1912 on cubism gave him a renowned reputation in any artistic discussion. This reputation is what allowed him to act with considerable influence when supporting the plastic style or the rhythmic movement of art in the 1910s and 1920s. Gleizes published a theory on movement, which further articulated his theories on the psychological, artistic uses of movement in conjunction with the mentality that arises when considering movement. Gleizes asserted repeatedly in his publications that human creation implies the total renunciation of external sensation. That to him is what made art mobile when to many, including Rodin, it was rigidly and unflinchingly immobile.
279_15	Gleizes first stressed the necessity for rhythm in art. To him, rhythm meant the visually pleasant coinciding of figures in a two-dimensional or three-dimensional space. Figures should be spaced mathematically, or systematically so that they appeared to interact with one another. Figures should also not have features that are too definite. They need to have shapes and compositions that are almost unclear, and from there the viewer can believe that the figures themselves are moving in that confined space. He wanted paintings, sculptures, and even the flat works of mid-19th-century artists to show how figures could impart on the viewer that there was great movement contained in a certain space. As a philosopher, Gleizes also studied the concept of artistic movement and how that appealed to the viewer. Gleizes updated his studies and publications through the 1930s, just as kinetic art was becoming popular.
279_16	Jackson Pollock When Jackson Pollock created many of his famous works, the United States was already at the forefront of the kinetic and popular art movements. The novel styles and methods he used to create his most famous pieces earned him the spot in the 1950s as the unchallenged leader of kinetic painters, his work was associated with Action painting coined by art critic Harold Rosenberg in the 1950s. Pollock had an unfettered desire to animate every aspect of his paintings. Pollock repeatedly said to himself, "I am in every painting". He used tools that most painters would never use, such as sticks, trowels, and knives. He thought of the shapes he created as being "beautiful, erratic objects".
279_17	This style evolved into his drip technique. Pollock repeatedly took buckets of paint and paintbrushes and flicked them around until the canvas was covered with squiggly lines and jagged strokes. In the next phase of his work, Pollock tested his style with uncommon materials. He painted his first work with aluminum paint in 1947, titled Cathedral and from there he tried his first "splashes" to destroy the unity of the material itself. He believed wholeheartedly that he was liberating the materials and structure of art from their forced confinements, and that is how he arrived at the moving or kinetic art that always existed.
279_18	Max Bill Max Bill became an almost complete disciple of the kinetic movement in the 1930s. He believed that kinetic art should be executed from a purely mathematical perspective. To him, using mathematics principles and understandings were one of the few ways that you could create objective movement. This theory applied to every artwork he created and how he created it. Bronze, marble, copper, and brass were four of the materials he used in his sculptures. He also enjoyed tricking the viewer's eye when he or she first approached one of his sculptures. In his Construction with Suspended Cube (1935-1936) he created a mobile sculpture that generally appears to have perfect symmetry, but once the viewer glances at it from a different angle, there are aspects of asymmetry.
279_19	Mobiles and sculpture Max Bill's sculptures were only the beginning of the style of movement that kinetic explored. Tatlin, Rodchenko, and Calder especially took the stationary sculptures of the early 20th century and gave them the slightest freedom of motion. These three artists began with testing unpredictable movement, and from there tried to control the movement of their figures with technological enhancements. The term "mobile" comes from the ability to modify how gravity and other atmospheric conditions affect the artist's work. Although there is very little distinction between the styles of mobiles in kinetic art, there is one distinction that can be made. Mobiles are no longer considered mobiles when the spectator has control over their movement. This is one of the features of virtual movement. When the piece only moves under certain circumstances that are not natural, or when the spectator controls the movement even slightly, the figure operates under virtual movement.
279_20	Kinetic art principles have also influenced mosaic art. For instance, kinetic-influenced mosaic pieces often use clear distinctions between bright and dark tiles, with three-dimensional shape, to create apparent shadows and movement. Vladimir Tatlin Russian artist and founder-member of the Russian Constructivism movement Vladimir Tatlin is considered by many artists and art historians to be the first person to ever complete a mobile sculpture. The term mobile wasn't coined until Rodchenko's time, but is very applicable to Tatlin's work. His mobile is a series of suspended reliefs that only need a wall or a pedestal, and it would forever stay suspended. This early mobile, Contre-Reliefs Libérés Dans L'espace (1915) is judged as an incomplete work. It was a rhythm, much similar to the rhythmic styles of Pollock, that relied on the mathematical interlocking of planes that created a work freely suspended in air.
279_21	Tatlin's Tower or the project for the 'Monument to the Third International' (1919–20), was a design for a monumental kinetic architecture building that was never built. It was planned to be erected in Petrograd (now St. Petersburg) after the Bolshevik Revolution of 1917, as the headquarters and monument of the Comintern (the Third International). Tatlin never felt that his art was an object or a product that needed a clear beginning or a clear end. He felt above anything that his work was an evolving process. Many artists whom he befriended considered the mobile truly complete in 1936, but he disagreed vehemently. Alexander Rodchenko
279_22	Russian artist Alexander Rodchenko, Tatlin's friend and peer who insisted his work was complete, continued the study of suspended mobiles and created what he deemed to be "non-objectivism". This style was a study less focused on mobiles than on canvas paintings and objects that were immovable. It focuses on juxtaposing objects of different materials and textures as a way to spark new ideas in the mind of the viewer. By creating discontinuity with the work, the viewer assumed that the figure was moving off the canvas or the medium to which it was restricted. One of his canvas works titled Dance, an Objectless Composition (1915) embodies that desire to place items and shapes of different textures and materials together to create an image that drew in the viewer's focus.
279_23	However, by the 1920s and 1930s, Rodchenko found a way to incorporate his theories of non-objectivism in mobile study. His 1920 piece Hanging Construction is a wood mobile that hangs from any ceiling by a string and rotates naturally. This mobile sculpture has concentric circles that exist in several planes, but the entire sculpture only rotates horizontally and vertically. Alexander Calder Alexander Calder is an artist who many believe to have defined firmly and exactly the style of mobiles in kinetic art. Over years of studying his works, many critics allege that Calder was influenced by a wide variety of sources. Some claim that Chinese windbells were objects that closely resembled the shape and height of his earliest mobiles. Other art historians argue that the 1920s mobiles of Man Ray, including Shade (1920) had a direct influence on the growth of Calder's art.
279_24	When Calder first heard of these claims, he immediately admonished his critics. "I have never been and never will be a product of anything more than myself. My art is my own, why bother stating something about my art that isn’t true?" One of Calder's first mobiles, Mobile (1938) was the work that "proved" to many art historians that Man Ray had an obvious influence on Calder's style. Both Shade and Mobile have a single string attached to a wall or a structure that keeps it in the air. The two works have a crinkled feature that vibrates when air passes through it.
279_25	Regardless of the obvious similarities, Calder's style of mobiles created two types that are now referred to as the standard in kinetic art. There are object-mobiles and suspended mobiles. Object mobiles on supports come in a wide range of shapes and sizes and can move in any way. Suspended mobiles were first made with colored glass and small wooden objects that hung on long threads. Object mobiles were a part of Calder's emerging style of mobiles that were originally stationary sculptures.

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