Beer Street and Gin Lane are two prints issued in 1751 by English artist William Hogarth in support of what would become the Gin Act. Designed to be viewed alongside each other, they depict the evils of the consumption of gin as a contrast to the merits of drinking beer. At almost the same time and on the same subject, Hogarth's friend Henry Fielding published An Inquiry into the Late Increase in Robbers. Issued together with The Four Stages of Cruelty, the prints continued a movement started in Industry and Idleness, away from depicting the laughable foibles of fashionable society (as he had done with Marriage A-la-Mode) and towards a more cutting satire on the problems of poverty and crime.

On the simplest level, Hogarth portrays the inhabitants of Beer Street as happy and healthy, nourished by the native English small beer and ale, and those who live in Gin Lane as destroyed by their addiction to the foreign spirit of gin; but, as with so many of Hogarth's works, closer inspection uncovers other targets of his satire, and reveals that the poverty of Gin Lane and the prosperity of Beer Street are more intimately connected than they at first appear. Gin Lane shows shocking scenes of infanticide, starvation, madness, decay, and suicide, while Beer Street depicts industry, health, bonhomie, and thriving commerce; but there are contrasts and subtle details that some critics believe allude to the prosperity of Beer Street as the cause of the misery found in Gin Lane.

Background

Gin Craze

The gin crisis was severe. From 1689 onward the English government encouraged the industry of distilling, as it helped prop up grain prices, which were then low, and increase trade, particularly with England's colonial possessions. Imports of French wine and spirits were banned to encourage the industry at home. Indeed, Daniel Defoe and Charles Davenant, among others, particularly Whig economists, had seen distilling as one of the pillars of British prosperity in the balance of trade. (Both later changed their minds — by 1703 Davenant was warning that, "Tis a growing fad among the common people and may in time prevail as much as opium with the Turks," while by 1727 Defoe was arguing in support of anti-gin legislation.)

In the heyday of the industry there was no quality control whatsoever; gin was frequently mixed with turpentine, and licences for distilling required only the application. When it became apparent that copious gin consumption was causing social problems, efforts were made to control the production of the spirit. The Gin Act 1736 imposed high taxes on sales of gin, forbade the sale of the spirit in quantities of less than two gallons and required an annual payment of £50 for a retail licence. These measures had little effect beyond increasing smuggling and driving the distilling trade underground.

Various loopholes were exploited to avoid the taxes, including selling gin under pseudonyms such as Ladies' Delight, Bob, Cuckold's Delight, and the none-too-subtle Parliament gin. The prohibitive duty was gradually reduced and finally abolished in 1743. Francis Place later wrote that enjoyments for the poor of this time were limited: They had often had only two: "sexual intercourse and drinking," and that "drunkenness is by far the most desired" as it was cheaper and its effects more enduring. By 1750 over a quarter of all residences in St Giles parish in London were gin shops, and most of these also operated as receivers of stolen goods and co-ordinating spots for prostitution.

Prints
The two prints were issued a month after Hogarth's friend Henry Fielding published his contribution to the debate on gin: An Inquiry into the Late Increase in Robbers, and they aim at the same targets, though Hogarth's work lays more blame for the gin craze on oppression by the governing class and focuses less on the choice of crime as a ticket to a life of ease.

Hogarth advertised their issue in the London Evening Post between 14 and 16 February 1751 alongside the prints of The Four Stages of Cruelty, which were issued the following week:

The prints, like The Four Stages of Cruelty, had moralising verses composed by Rev James Townley and, on the surface, had a similar intent — to shock the lower classes into reforming. Engraved directly from drawings, no paintings of the two scenes exist, although there are preliminary sketches. By reducing his prices, Hogarth hoped to reach "the lower Class of People", and while one shilling was still prohibitively expensive for most of the poor, the lower prices did allow him to reach a larger market, and more importantly rendered the prints cheap enough to display in taverns and coffee houses before a wider audience. Hogarth also had an eye on his copyright: the lower prices meant there was less chance of the images being reproduced and sold without Hogarth's permission. Although Hogarth had been instrumental in pushing through the Engraving Copyright Act 1734, so much so that the Act is commonly known as "Hogarth's Act", keeping costs down provided further insurance against piracy.

Gin Lane

Set in the parish of St Giles — a notorious slum district that Hogarth depicted in several works around this time — Gin Lane depicts the squalor and despair of a community raised on gin. Desperation, death and decay pervade the scene. The only businesses that flourish serve the gin industry: gin sellers; a distiller (the aptly named Kilman); the pawnbroker where the avaricious Mr Gripe greedily takes the vital possessions (the carpenter offers his saw and the housewife her cooking utensils) of the alcoholic residents of the street in return for a few pennies to feed their habit; and the undertaker, for whom Hogarth implies at least a handful of new customers from this scene alone.

Most shockingly, the focus of the picture is a woman in the foreground, who, addled by gin and driven to prostitution by her habit — as evidenced by the syphilitic sores on her legs — lets her baby slip unheeded from her arms and plunge to its death in the stairwell of the gin cellar below. Half-naked, she has no concern for anything other than a pinch of snuff. This mother was not such an exaggeration as she might appear: in 1734, Judith Dufour reclaimed her two-year-old daughter, Mary, from the workhouse where she had been given a new set of clothes; she then strangled the girl and left her body in a ditch so that she could sell the clothes (for 1s. 4d.) to buy gin.

In another case, an elderly woman, Mary Estwick, let a toddler burn to death while she slept in a gin-induced stupor. Such cases provided a focus for anti-gin campaigners such as Thomas Wilson, and the image of the neglectful and/or abusive mother became increasingly central to anti-gin propaganda. Sir John Gonson, featured in Hogarth's earlier A Harlot's Progress, turned his attention from prostitution to gin and began prosecuting gin-related crimes with severity.

The gin cellar Gin Royal below advertises its wares with the slogan:

Other images of despair and madness fill the scene: a disturbed man cavorts in the street, beating himself over the head with a pair of bellows while holding a baby impaled on a spike — the dead child's mother rushes from the house screaming in horror; a barber has taken his own life in the dilapidated attic of his barber-shop, ruined because nobody can afford a haircut or shave; on the steps, below the woman who has let her baby fall, a skeletal pamphlet-seller rests, perhaps dead of starvation, as the unsold moralising pamphlet on the evils of gin-drinking The Downfall of Mrs Gin slips from his basket. An ex-soldier, he has pawned most of his clothes to buy the gin in his basket, next to the pamphlet that denounces it. Next to him sits a black dog, a symbol of despair and depression. Outside the distiller a fight has broken out, and a crazed cripple raises his crutch to strike his blind compatriot.

Images of children on the path to destruction also litter the scene: aside from the dead baby on the spike and the child falling to its death, a baby is quieted by its mother with a cup of gin, and in the background of the scene an orphaned infant bawls naked on the floor as the body of its mother is loaded into a coffin on orders of the beadle. Two young girls who are wards of the parish of St Giles — indicated by the badge on the arm of one of the girls — each take a glass.

Hogarth also chose the slum of St Giles as setting for the first scene of The Four Stages of Cruelty, which he issued almost simultaneously with Beer Street and Gin Lane. Tom Nero, the central character of the Cruelty series wears an identical arm badge.

In front of the pawnbroker's door a starving boy and a dog fight over a bone, while next to them a girl has fallen asleep; approaching her is a snail, emblematic of the sin of sloth.

In the rear of the picture the church of St. George's Church, Bloomsbury, can be seen, but it is a faint and distant image, and the picture is composed so it is the pawnbroker's sign, which forms a huge corrupted cross for the steeple: the people of Gin Lane have chosen to worship elsewhere.

Townley's verses are equally strong in their condemnation of the spirit:

Beer Street

In comparison to the sickly hopeless denizens of Gin Lane, the happy people of Beer Street sparkle with robust health and bonhomie. "Here all is joyous and thriving. Industry and jollity go hand in hand". The only business that is in trouble is the pawnbroker: Mr. Pinch lives in the one poorly maintained, crumbling building in the picture. In contrast to his Gin Lane counterpart, the prosperous Gripe, who displays expensive-looking cups in his upper window (a sign of his flourishing business), Pinch displays only a wooden contraption, perhaps a mousetrap, in his upper window, while he is forced to take his beer through a window in the door, which suggests his business is so unprofitable as to put the man in fear of being seized for debt. The sign-painter is also shown in rags, but his role in the image is unclear.

The rest of the scene is populated with doughty and good-humoured English workers. It is George II's birthday (30 October) (indicated by the flag flying on the church of St Martin-in-the-Fields in the background) and the inhabitants of the scene are no doubt toasting his health. Under the sign of the Barley Mow, a blacksmith or cooper sits with a foaming tankard in one hand and a leg of beef in the other. Together with a butcher — his steel hangs at his side — they laugh with the pavior (sometimes identified as a drayman) as he courts a housemaid (the key she holds is a symbol of domesticity).

Ronald Paulson suggests a parallel between the trinity of signs of ill-omen in Gin Lane, the pawnbroker, distiller, and undertaker, and the trinity of English "worthies" here, the blacksmith, pavior, and butcher. Close by a pair of fish-sellers rest with a pint and a porter sets down his load to refresh himself. In the background, two men carrying a sedan chair pause for drink, while the passenger remains wedged inside, her large hoop skirt pinning her in place. On the roof, the builders, who are working on the publican's house above the "Sun" tavern share a toast with the master of a tailor's workshop. In this image it is a barrel of beer that hangs from a rope above the street, in contrast to the body of the barber in Gin Lane.

The inhabitants of both Beer Street and Gin Lane are drinking rather than working, but in Beer Street the workers are resting after their labours — all those depicted are in their place of work, or have their wares or the tools of their trade about them — while in Gin Lane the people drink instead of working. Exceptions to this rule come, most obviously, in the form of those who profit from the vice in Gin Lane, but in Beer Street Hogarth takes the opportunity to make another satirical statement. Aside from the enigmatic sign-painter, the only others engaged in work in the scene are the tailors in an attic. The wages of journeyman tailors were the subject of an ongoing dispute, which was finally settled by arbitration at the 1751 July Quarter sessions (in the journeymen's favour). Some believe that the tailors serve another purpose, in that Hogarth shows them continuing to toil while all the other inhabitants of the street, including their master, pause to refresh themselves. Much as the tailors are ignored by their master and left to continue working, the occupants of Beer Street are oblivious to the suffering on Gin Lane.

Hogarth also takes the opportunity to comment on artistic pretensions. Tied up together in a basket and destined for use as scrap at the trunk-maker are George Turnbull's On Ancient Painting, Hill on Royal Societies, Modern Tragedies, Polticks vol. 9999 and William Lauder's Essay on Milton's Use and Imitation of the Moderns in Paradise Lost, all examples, real and imagined, of the type of literature that Hogarth thought fabricated connections between art and politics and sought out aesthetic connections that did not exist. Lauder's work was a hoax that painted Milton as a plagiarist.

The picture is a counterpoint to the more powerful Gin Lane — Hogarth intended Beer Street to be viewed first to make Gin Lane more shocking — but it is also a celebration of Englishness and depicts of the benefits of being nourished by the native beer. No foreign influences pollute what is a fiercely nationalistic image. An early impression showed a scrawny Frenchman being ejected from the scene by the burly blacksmith who in later prints holds aloft a leg of mutton or ham (Paulson suggests the Frenchman was removed to prevent confusion with the ragged sign-painter).

There is a celebration of English industriousness in the midst of the jollity: the two fish-sellers sing the New Ballad on the Herring Fishery (by Hogarth's friend, the poet John Lockman), while their overflowing baskets bear witness to the success of the revived industry; the King's speech displayed on the table makes reference to the "Advancement of Our Commerce and the cultivating Art of Peace"; and although the workers have paused for a break, it is clear they are not idle. The builders have not left their workplace to drink; the master tailor toasts them from his window but does not leave the attic; the men gathered around the table in the foreground have not laid their tools aside. Townley's patriotic verses further refer to the contrast between England and France:

Paulson sees the images as working on different levels for different classes. The middle classes would have seen the pictures as a straight comparison of good and evil, while the working classes would have seen the connection between the prosperity of Beer Street and the poverty of Gin Lane. He focuses on the well-fed woman wedged into the sedan chair at the rear of Beer Street as a cause of the ruin of the gin-addled woman who is the principal focus of Gin Lane. The free-market economy espoused in the King's address and practised in Beer Street leaves the exponents prosperous and corpulent but at the same time makes the poor poorer. For Paulson the two prints depict the results of a move away from a paternalistic state towards an unregulated market economy. Further, more direct, contrasts are made with the woman in the sedan chair and those in Gin Lane: the woman fed gin as she is wheeled home in a barrow and the dead woman being lifted into her coffin are both mirror images of the hoop-skirted woman reduced to madness and death.

Sign-painter

The sign-painter is the most difficult figure of the two images to characterise. He appeared in preliminary sketches as another jolly fat archetype of Beer Street—but by the time of the first print, Hogarth had transformed him into a threadbare, scrawny, and somewhat dreamy character who has more in common with the inhabitants of Gin Lane than those who populate the scene below him. Most simply, he may be a subtle aside on the artist's status in society—he carries the palette that Hogarth made his trademark, which appears in several of his self-portraits.

However he is painting a sign advertising gin, so his ragged appearance could equally reflect the rejection of the spirit by the people of Beer Street. He may also be a resident of Gin Lane, and Hogarth includes him as a connection to the other scene, and as a suggestion that the government's initial policy of encouraging the distillation of gin may be the cause of both Gin Lane's ruin and Beer Street's prosperity. He is ignored by the inhabitants of Beer Street as they ignore the misery of Gin Lane itself. Paulson suggests that he is the lone "beautiful" figure in the scene. The corpulent types that populate Beer Street later featured as representations of ugliness in Hogarth's The Analysis of Beauty, while the painter, as he leans back to admire his work, forms the serpentine shape that Hogarth identified as the "line of beauty".

Thomas Clerk, in his 1812 The Works of William Hogarth, writes that the sign-painter has been suggested as a satire on Jean-Étienne Liotard (called John Stephen by Clerk), a Swiss portrait painter and enameller whom Horace Walpole praised for his attention to detail and realism, mentioning he was, "... devoid of imagination, and one would think memory, he could render nothing but what he saw before his eyes." In his notes in Walpole's Anecdotes of painting in England, James Dallaway adds a footnote to this statement about Liotard saying, "Hogarth has introduced him, in several instances, alluding to this want of genius." However, Liotard was wearing a full beard, as his self-portrait of 1746 shows.

Influences
Beer Street and Gin Lane with their depictions of the deprivation of the wasted gin-drinkers and the corpulent good health of the beer-drinkers, owe a debt to Pieter Bruegel the Elder's La Maigre Cuisine and La Grasse Cuisine engraved by Pieter van der Heyden in 1563, which shows two meals, one of which overflows with food and is populated by fat diners, while in the other the emaciated guests squabble over a few meagre scraps. Brueghel's compositions are also mirrored in the layers of detail in Hogarth's two images.

Inspiration for these two prints and The Four Stages of Cruelty probably came from his friend Fielding: Hogarth turned from the satirical wit of Marriage A-la-Mode in favour of a more cutting examination of crime and punishment with these prints and Industry and Idleness at the same time that Fielding was approaching the subject in literature. Paulson thinks it likely that they planned the literature and the imagery together as a campaign.

Reception

Charles Knight said that in Beer Street Hogarth had been "rapt beyond himself" and given the characters depicted in the scene an air of "tipsy jollity". Charles Lamb considered Gin Lane sublime, and focused on the almost invisible funeral procession that Hogarth had added beyond the broken-down wall at the rear of the scene as mark of his genius. His comments on Gin Lane formed the centre of his argument to rebut those who considered Hogarth a vulgar artist because of his choice of vulgar subjects:

The critic William Hazlitt shared Lamb's view that Hogarth was unfairly judged on the coarseness of his subject matter rather than for his skill as an artist. He singled out Gin Lane and The Enraged Musician as particular examples of Hogarth's imagination and considered that "the invention shewn in the great style of painting is poor in the comparison".

Both John Nichols and Samuel Felton felt that the inclusion of Turnbull's work in the pile of scrap books was harsh, Felton going as far as to suggest Hogarth should have read it before condemning it.

After the Tate Britain's 2007 exhibition of Hogarth's works the art critic Brian Sewell commented that "Hogarth saw it all and saw it straight, without Rowlandson's gloss of puerile humour and without Gainsborough's gloss of sentimentality," but in a piece titled Hogarth the Ham-fisted condemned the heavy-handedness and lack of subtlety that made his images an "over-emphatic rant in his crude insistence on excessive and repetitive detail to reinforce a point."

The reception by the general public is difficult to gauge. Certainly one shilling put the prints out of reach for the poorest people, and those who were pawning their clothes for gin money would not be tempted to buy a print, but there is evidence that Hogarth's prints were in wide circulation even among those that would have regarded them as a luxury, and there are records from the 18th century indicating that his works were used for moral instruction by schoolmasters. At any rate, the Gin Act — passed in no small measure as the result of Fielding and Hogarth's propaganda — was considered a success: gin production fell from  in 1751 to  in 1752, the lowest level for twenty years. By 1757, George Burrington reported, "We do not see the hundreth part of poor wretches drunk in the street". Social changes, quite apart from the Gin Act (among them the increase in the price of grain after a series of bad harvests) were reducing the dependence of the poor on gin, but the problem did not disappear completely: in 1836, Charles Dickens still felt it an important enough issue to echo Hogarth's observations in Sketches by Boz. Like Hogarth, Dickens noted that poverty rather than gin itself was the cause of the misery:

The vast numbers of prints of Beer Street and Gin Lane and The Four Stages of Cruelty may have generated profits for Hogarth, but the wide availability of the prints meant that individual examples did not generally command high prices. While there were no paintings of the two images to sell, and Hogarth did not sell the plates in his lifetime, variations and rare impressions existed and fetched decent prices when offered at auction. The first (proof) and second states of Beer Street were issued with the image of the Frenchman being lifted by the blacksmith, this was substituted in 1759 by the more commonly seen third state in which the Frenchman was replaced by the pavior or drayman fondling the housemaid, and a wall added behind the sign-painter. Prints in the first state sold at George Baker's sale in 1825 for £2.10s, but a unique proof of Gin Lane with many variations, particularly a blank area under the roof of Kilman's, sold for £15.15s. at the same sale. Other minor variations on Gin Lane exist – the second state gives the falling child an older face, perhaps in an attempt to diminish the horror, but these too were widely available and thus inexpensive. Copies of the originals by other engravers, such as Ernst Ludwig Riepenhausen, Samuel Davenport, and Henry Adlard were also in wide circulation in the 19th century.

Modern versions
The iconic Gin Lane, with its memorable composition, has lent itself to reinterpretation by modern satirists. Steve Bell reused it in his political cartoon Free the Spirit, Fund the Party, which added imagery from a Smirnoff vodka commercial of the 1990s to reveal the then Prime Minister, John Major, in the role of the gin-soaked woman letting her baby fall, while Martin Rowson substituted drugs for gin and updated the scene to feature loft conversions, wine bars and mobile phones in Cocaine Lane in 2001. There is also a Pub Street and Binge Lane version, which follows closely both the format and the sentiment of Hogarth's originals. In 2016 the Royal Society for Public Health commissioned artist Thomas Moore to re-imagine Gin Lane to reflect the public health problems of the 21st Century. The work is displayed in the Foundling Museum, London.

See also
 List of works by William Hogarth

Notes

a.  The snuff may be a reference to Fielding, who was renowned as a heavy snuff taker.

b.  This woman appeared as she does here, wedged into a sedan chair with her hoop skirt pinning her in place, as the subject of a painting displayed in Hogarth's Taste in High Life, a forerunner to Marriage à-la-mode commissioned by Mary Edwards around 1742.

c.  While Davenport's engraving of Gin Lane is a faithful reproduction of Hogarth's original there are multiple minor variations in his engraving of Beer Street: noticeably, elements from different states are mixed, and lettering is altered or removed on the copy of the King's speech and the scrap books.

d.  Baker had bought a number of Hogarth's works at Gulston's sale in 1786 where the first state prints of Gin Lane and Beer Street sold for £1.7s. Whether they were bought by Baker directly is not recorded.

e.  Compare this with the four plates of Four Times of the Day, which sold for £6.12s.6d., and a unique proof of Taste in High Life, which went for £4.4s. A proof (probably unique) of the print of Hogarth's self-portrait (with his pug) Gulielmus Hogarth 1749 sold for £25.

References

Sources

External links
 Discussion by Janina Ramirez and Lars Tharp: Art Detective Podcast, 11 Jan 2017

Prints by William Hogarth
1751 works
Beer culture
Gins
Dogs in art
Streets in art
London in art


Around the World in 18 Days is a 1923 American silent film serial directed by B. Reeves Eason and Robert F. Hill. A total of twelve episodes of the serial were released. The film is now considered lost.

Cast
 William Desmond as Phineas Fogg III
 Laura La Plante as Madge Harlow
 William De Vaull as Jiggs (as William P. DeVaul)
 Wade Boteler as Wallace J. Brenton
 Percy Challenger as Rand
 William Welsh as Matthew Harlow (as William J. Welsh)
 Hamilton Morse as Smith
 Tom Guise as Davis (as Tom S. Guise)
 L.J. O'Connor as Detective (as Louis J. O'Connor)
 Arthur Millett as Detective (as Arthur N. Millett)
 Gordon Sackville as White
 Alfred Hollingsworth as Phineas' Father
 Pat Calhoun as Butler
 Spottiswoode Aitken as Piggott
 Harry De Vere as Book Maker (as Harry T. De Vere)
 Boyd Irwin as Muriarc
 Sidney De Gray as Hyppolyte Darcy (as Sydney De Gray)
 Jean De Briac as Desplayer

See also
 List of American films of 1923
 List of film serials
 List of film serials by studio
 List of lost films

References

External links

1923 films
1923 adventure films
1923 lost films
American silent serial films
American black-and-white films
Films directed by B. Reeves Eason
Films directed by Robert F. Hill
Lost American adventure films
Universal Pictures film serials
1920s American films
Silent American adventure films


Events from the year 1723 in Ireland.

Incumbent
Monarch: George I

Events

March 12 – the title of Viscount Palmerston is created in the Peerage of Ireland for the politician Henry Temple.
December 14 – Bernard O'Gara is selected to succeed Francis Burke as Roman Catholic Archbishop of Tuam.
The first portion of Dr Steevens' Hospital is opened at Kilmainham, Dublin.
Avoca Handweavers, Ireland's oldest surviving business, is established in County Wicklow.

Births
Mervyn Archdall, antiquary (d. 1791)
Approximate date – William Greatrakes, lawyer (d. 1781)

Deaths
February 11 – Captain Hildebrand Alington, 5th Baron Alington, soldier, last Baron Alington of the first creation (b. 1641)
June 2 – Esther Vanhomrigh, Jonathan Swift's "Vanessa" (b. c. 1688)
August – William Handcock, politician (b. 1676)
August/September – Francis Burke, Roman Catholic Archbishop of Tuam
September 16 – Gustavus Hamilton, 1st Viscount Boyne, soldier and politician (b. 1642)
December 22 – Mary Joseph Butler, Benedictine abbess (b. 1641)
Henry Colley, politician (b. c. 1685)
Micheál Ó Mordha, Roman Catholic priest, philosopher and educationalist (b. c. 1639)

References

Years of the 18th century in Ireland
Ireland
1720s in Ireland


WIPC (1280 AM) is a radio station broadcasting a Spanish Christian format. Licensed to Lake Wales, Florida, United States, the station serves the Lakeland area.  The station is currently owned by Super W Media Group, Inc.  It uses the slogan, "La Señal Refrescante" or the refreshing signal.

By day, WIPC broadcasts at 1,000 watts, but to avoid interference with other stations on 1280 AM, at night it reduces power to 150 watts. It uses a non-directional antenna at all times.  Programming is also heard on 250-watt FM translator W245DO at 96.9 MHz in Lake Wales.

History
The station went on the air as WKZJ on May 1, 1989. On March 1, 1990, the station changed its call sign to the current WIPC.

References

External links

IPC
Radio stations established in 1989
1989 establishments in Florida


WWAB (1330 AM) is a radio station broadcasting a variety format. Licensed to Lakeland, Florida, United States, the station is owned by Walco Enterprises, LLC.

History

The Hughes years (1973-2013)

Syndication
WWAB was the originating station of “Straight Talk” and “Conceived in Liberty”, both hosted by Jerry Hughes. The shows were distributed nationally via the Accent Radio Network. Hughes died aged 62 on June 1, 2012.

References

External links
historical information at RadioYears.com

WAB
Radio stations established in 1957
Lakeland, Florida
1957 establishments in Florida


Alcalá or Alcala is a Spanish surname. Alcalá (Spanish), Alcalà (Catalan), Alcala and the derivative Arcala are all ultimately derived (typically through placenames) from the Arabic word al-qalʿah (القلعة), meaning "the citadel" or "fortification".

Alcalá
Notable people with the surname Alcalá include:
 Blanca Alcalá (born 1961), Mexican politician
 Félix Enríquez Alcalá (born 1951), American television and movie director, cinematographer and producer
 Jorge Alcalá (born 1995), Dominican baseball player
 Kathleen Alcalá (born 1954), American author
 Luis Espinosa Alcalá (1932–2009), Mexican poet, songwriter, and music promoter
 Macedonio Alcalá (1831–1869), Mexican violinist, pianist and songwriter
 Niceto Alcalá-Zamora, president of Spain, 1931-36
 Raúl Alcalá (born 1964), Mexican road racing cyclist

Alcala
Notable people with the surname Alcala include:
 Alfredo Alcala (1925–2000), Filipino comic book artist
 Dora Alcala, American politician
 Joshua Alcala (born 1984), American footballer
 Larry Alcala (1926–2002), Philippine cartoonist and illustrator
 Nilo Alcala (born 1978), Philippine composer and chorister
 Rodney Alcala (1943–2021), American rapist and serial killer
 Santo Alcala (born 1952), Dominican baseball player

See also
 Alcalá (disambiguation)
 Alcalá-Galiano
 Alcalá-Zamora
 Alkalai (the Hebrew version of the name, found among Sephardic Jews)

External links
 Alcala

Spanish-language surnames
Toponymic surnames


Laci Endresz Jr. (born 28 July 1974) is an English circus performer who performs as the circus clown Mooky the Clown.

Background
Endresz was born in Eastbourne, East Sussex, England. His father, Laci Endresz Sr., was born in Hungary and is the director of the Tower Circus at Blackpool Tower, a position he has held since 1992. Seven generations of his family have performed in the circus on his father's side and nine generations on his mother's side. He made his first appearance as a clown in a circus at the age of four.

Career

Early career
In 1985 he won a bronze medal as a juggler at the Cirque de Demain Festival in Paris, France. In 1987, at the age of 12, he performed at the 12th International Circus Festival of Monte-Carlo with his sister Kate, juggling with nunchucks, five and seven rings, four and five clubs, three then five balls and finishing his act with five fire torches.

Mooky
As Mooky, Endresz has worked in most of the leading circuses in Europe, appeared on the Paul Daniels television show three times and performed at the Royal Command Performance.

Mooky stars each year in the circus show at the Tower Circus which runs throughout the summer season, and at Christmas he also appears in pantomime at the same venue. From 29 November 2009 to 17 January 2010, the pantomime was Mooky Doolittle Christmas Circus Pantomime.

In 2007 Mooky's partner Attila Endresz left for John Lawsons circus and was replaced by Mooky's brother, Tom Endresz. Tom has worked as Mooky's partner ever since.

The 2010 summer circus, entitled Mooky's Eastern Promise, ran from 27 March to 7 November.

He appeared in the second series of the Channel 4 documentary The Convention Crasher, helping Justin Lee Collins learn clowning before he travelled to the United States to participate in a clowning convention in Houston, Texas.

Other work
Endresz appeared in the 1995 film Funny Bones as a juggler. He has also performed his juggling act on the Children's Variety Performance.

Awards
As Mooky, Endresz has won a number of awards, including:

He was also twice a silver medallist in the Paris Circus Festival with his juggling act and won a Silver Cup from the Hansa Theatre in Hamburg, Germany.

Personal life
Tom Endresz, the brother of Laci, is also a clown and performs as the sidekick Mr Boo to Mooky, a Captain Jack Sparrow-style character. In the act he also performs as an illusionist.

References

Further reading

External links

English clowns
Living people
1975 births
Jugglers


Annmarie Morais (born 1973 in Jamaica) is a Jamaican-Canadian screenwriter best known for writing the film How She Move. She earned a BFA from York University in Film and Video in 1995.

Morais won funding for two Vision TV Cultural Diversity Drama Competition movies: Hotel Babylon and Da Kink in My Hair, which aired on Vision in 2004 and 2005. Hotel Babylon is the story of immigrants working in a hotel in Winnipeg, Canada.  Kink was adapted from the Trey Anthony play about a beauty parlour in a Jamaican-Canadian neighbourhood. Morais was also a writer and story editor on the television series adapted from the play, which aired on Global in 2007.

Nicholl Prize
Morais was the first Canadian to win the prestigious Nicholl Fellowship in Screenwriting. She was also the first person to win the Nicholl with a resubmitted script. Bleeding was a finalist in 1998, and she resubmitted it without changes in 1999.
The prize, administered by the Academy of Motion Picture Arts & Sciences, garnered Morais $25,000.

How She Move
While at York, Morais had produced a short documentary Steppin on step-dancing in Toronto's Jane-Finch neighborhood. In 2004, she received Telefilm financing to produce a feature film based on the same concept. Originally titled Step, the film How She Move was accepted into the 2007 Sundance Film Festival. At Sundance, a bidding war resulted in a $3.4 million offer from Paramount and MTV Films.
 The film received wide release in the United States and Canada in January 2007.

Current projects
Splitting her time between Los Angeles and Toronto, Morais has created a television show for ABC Family about high-school cheerleaders, called The Flip Side. She is also writing a thriller set in London, The Collectors to be directed by fellow Jamaican-Canadian Clement Virgo and adapting Jane Finlay-Young's novel From Bruised Fell.

References

Sources
 Brantford screenwriter hits it big Brantford Expositor February 1, 2008
 Sundance interview

External links

 Nicholl Fellowships

21st-century Canadian screenwriters
Canadian women screenwriters
1973 births
Living people
Screenwriters from Toronto
Jamaican emigrants to Canada
Black Canadian writers
Black Canadian women writers
21st-century Canadian women writers


Dubai Production City (DPC) (), formerly known as International Media Production Zone (IMPZ), is a free zone and freehold area that caters to media production companies in Dubai, United Arab Emirates. It is located in Me'aisem 1. The DPC spreads over an area of  on Sheikh Mohammad Bin Zayed Road, near Dubai Sports City, Jumeirah Golf Estates and Jumeirah Village. The Dubai government has plans to convert this area into the next generation of Dubai Media City.

DPC was launched in 2003.

See also
Radio and television channels of Dubai

References

Free-trade zones of the United Arab Emirates
2003 establishments in the United Arab Emirates


Truman Giles Younglove (October 31, 1815 Edinburg, Saratoga County, New York – September 17, 1882) was an American civil engineer and politician who served four years on the New York State Assembly.

Business career
Younglove was for many years in charge of the construction of the great dam and elaborate system of canals at Cohoes, New York which provided the water power to the cotton mills. He became head of the water power company and supervised the construction of Mill #3 of the Harmony Mills.  He was an incorporator of the Cohoes Savings Institution and the first treasurer, also director of the First National Bank of Cohoes, from its organization to his death.

Political role
He was a member of the New York State Assembly (Saratoga Co., 1st D.) in 1866, 1867, 1868 and 1869;  and was Speaker in 1869.

He was a delegate to the Republican National Convention in 1868 and Temporary Chairman of the Liberal Republican state convention of 1872.

Family
Younglove was the son of Daniel Copeland Younglove (1791–1867) and Elizabeth Stimson Younglove (1793–1850). He married first Elizabeth MacMartin on January 7, 1841; and then Jane MacMartin on November 4, 1850.

His son Truman Giles Younglove Jr. (1858–1920) was accused in 1883 of embezzlement while Secretary and Treasurer of the Cohoes Straw Board Co., and fled to Illinois.

Assemblywoman Maude E. Ten Eyck (1902–1977) was his great-granddaughter.

He was buried at Albany Rural Cemetery in Menands, New York in 1882.

References

1815 births
1882 deaths
Members of the New York State Assembly
Speakers of the New York State Assembly
Burials at Albany Rural Cemetery
19th-century American politicians


Postage stamps and postal history of Israel and Palestine refers to either:
Postage stamps and postal history of Israel
Postage stamps and postal history of Palestine


Sir Thomas Teddeman († 13 May 1668 Old Style) was an English admiral of the 17th century. His name was also written as Teddiman, Tyddiman or Teddyman.

The early career of Thomas Teddeman is unknown; he was not a naval captain during the First Anglo-Dutch War. He was the namesake of his father, who descended from a family of ship-owners in Dover. His cousin was the naval captain Henry Teddeman.

Teddeman, first serving the English Commonwealth, commanded from 1659 till 1660 the Tredagh (after the English Restoration renamed to ) in the Mediterranean during the Anglo-Spanish War. From 31 May till 10 June 1660 he chased six Spanish vessels he encountered off Algiers. In May 1661 he became captain of  and in 1663 commanded  on which he brought the English ambassador to Russia, the Earl of Carlisle, to Archangel in July. In May 1664 Teddeman was made commander of  and the same year promoted to captain of . In 1665, during the Second Anglo-Dutch War, he distinguished himself as rear admiral of the Blue Squadron in the Battle of Lowestoft, with as flagship the new second rate , and was knighted on 30 June (Old Style).

In August 1665 Teddeman was sent on the Revenge to Bergen to capture a Dutch treasure fleet with a flotilla of frigates but was defeated in the Battle of Vågen by Commandeur Pieter de Bitter. Though this was a major disappointment to Charles II of England, Teddeman's career did not suffer much and he fought, again on the Katherine, the next year as vice admiral of the Blue in the Four Days Battle and as vice-admiral of the White in the St James's Day Battle. In 1667 Teddeman had no command, the main vessels of the English fleet having been laid up. In 1668 he commanded on , but was the subject of an investigation by English Parliament, trying to establish the causes of the lost war, by which he was much troubled. On 13 May he died from a fever caused by a thrush in the mouth.

Literature
R.C. Anderson, 1964, List of English Naval Captains 1642–1660

Royal Navy vice admirals
Royal Navy personnel of the Second Anglo-Dutch War
1668 deaths
Year of birth missing


("I Will Praise the Lord of Wisdom"), also sometimes known in English as The Poem of the Righteous Sufferer, is a Mesopotamian poem (ANET, pp. 434–437) written in Akkadian that concerns itself with the problem of the unjust suffering of an afflicted man, named Šubši-mašrâ-Šakkan (Shubshi-meshre-Shakkan). The author is tormented, but he does not know why. He has been faithful in all of his duties to the gods. He speculates that perhaps what is good to man is evil to the gods and vice versa. He is ultimately delivered from his sufferings. It is thought to have been composed during the reign of Kassite king of Babylon Nazi-Maruttaš (), who is mentioned on line 105 of tablet IV.

The poem was written on four tablets in its canonical form and consisted of 480 lines. Alternate names for the poem include the Poem of the Righteous Sufferer or the Babylonian Job. According to William Moran, the work is a hymn of thanksgiving to Marduk for recovery from illness.

The first (but now outdated) edition of the poem was published by W. G. Lambert in 1960 (reprinted in 1996). Amar Annus and Alan Lenzi have edited in 2010 a new edition of the poem for the Neo-Assyrian Text Corpus Project. This volume was published as State Archive of Assyria Cuneiform Text 7 (SAACT 7). The new edition includes tablets published by Wiseman, George and Al-Rawi, Horowitz and Lambert, and several other unpublished tablets from the British Museum.

Šubši-mašrâ-Šakkan
Šubši-mašrâ-Šakkan (sometimes given as Šubši-mešrê-šakkan), inscribed , was the narrator of . According to the text, he occupied high office, had slaves and fields, a family and spoke of the city as if it were subject to his rule. An official of the same name appears in two other documents dated to his reign.

The sources
A tablet recovered in Nippur lists grain rations given to the messenger of a certain Šubši-mašrâ-Šakkan during Nazi-Marrutaš' fourth year (1304 BC). There is a court order found in Ur, dated to the sixteenth year of Nazi-Maruttaš (1292 BC), in which Šubši-mašrâ-šakkan is given the title , "governor of the country." It is an injunction forbidding harvesting reeds from a certain river or canal.

The poetic work, , describes how the fortunes of Šubši-mašrâ-Šakkan, a rich man of high rank, turned one day. When beset by ominous signs, he incurred the wrath of the king, and seven courtiers plotted every kind of mischief against him. This resulted in him losing his property, "they have divided all my possessions among foreign riffraff," friends, "my city frowns on me as an enemy; indeed my land is savage and hostile," physical strength, "my flesh is flaccid, and my blood has ebbed away," and health, as he relates that he "wallowed in my excrement like a sheep." While slipping into and out of consciousness on his death bed, his family already conducting his funeral, Urnindinlugga, a , or incantation priest, was sent by Marduk to presage his salvation. The work concludes with a prayer to Marduk. The text is written in the first person, leading some to speculate that the author was Šubši-mašrâ-Šakkan himself. Perhaps the only certainty is that the subject of the work, Šubši-mašrâ-Šakkan, was a significant historical person during the reign of Nazi-Maruttaš when the work was set. Of the fifty-eight extant fragmentary copies of  the great majority date to the neo-Assyrian and neo-Babylonian periods.

See also
Book of Job
Problem of evil

References

External links
 *Righteous Sufferer (Ludlul bēl nēmeqi) Critical edition and translation of the text (electronic Babylonian Library).
 W.G. Lambert (1960) "The Poem of the Righteous Sufferer", Babylonian Wisdom Literature (Internet Archive)

14th-century BC literature
13th-century BC literature
Ancient Near East wisdom literature
Akkadian literature
Religious poetry
Theodicy
Poems
13th-century BC people
14th-century BC people


Chester v Afshar [2004] UKHL 41 is an important English tort law case regarding causation in a medical negligence context. In it, the House of Lords decided that when a doctor fails to inform a patient of the risks of surgery, it is not necessary to show that the failure to inform caused the harm incurred. Rather, the failure to provide informed consent is sufficient in itself to claim for damages.

Facts
Miss Chester was referred to Dr Afshar, a neurological expert, about some lower back pain. He told her that surgery was a solution, but did not inform her of the 1-2% risk of these operations going wrong. She suffered a complication, called cauda equina syndrome. The judge found that there was a causal connection between the failure to inform and Miss Chester's injuries—if she had been informed, she would have sought further advice or alternatives. In the Court of Appeal, Hale LJ, Sir Christopher Slade and Sir Denis Henry upheld the conclusion of the judge. At appeal, the House of Lords affirmed the lower courts decision.

Judgment
Lord Steyn, Lord Hope and Lord Walker held that the "but for" test was satisfied on the grounds that but for Dr Afshar's failure to inform, Chester would not have undergone the specific surgery performed. In spite of the innate risk of surgery, even if Chester would have undergone the surgery on a later date, she may not have suffered the complication.

Although the risk of the operation going wrong would not at all have been changed had Miss Chester been warned, it was the duty of the doctor to warn her. It is a basic principle of good medical practice that adults should consent on a fully informed basis to surgery, aware of all risks. Dr Afshar had therefore violated her right to choose.

Lord Steyn argued that such a right "must be given effective protection whenever possible", warranting a "modest departure from traditional causation principles", emphasising his view by quoting Ronald Dworkin:

The value of autonomy, on this view, derives from the capacity it protects: the capacity to express one's own character - values, commitments, convictions, and critical as well as experiential interests - in the life one leads. Recognizing an individual right of autonomy makes self-creation possible. It allows each of us to be responsible for shaping our lives according to our own coherent or incoherent - but, in any case, distinctive - personality. It allows us to lead our lives rather than be led along them, so that each of us can be, to the extent a scheme of rights can make this possible, what we have made of ourselves. We allow someone to choose death over radical amputation or a blood transfusion, if that is his informed wish, because we acknowledge his right to a life structured by his own values.

Lord Walker finished his speech with the comment,

I agree with Lord Steyn and Lord Hope that such a claimant ought not to be without a remedy, even if it involves some extension of existing principle, as in Fairchild v. Glenhaven Funeral Services Ltd [2003] 1 AC 32 (see especially the speech of my noble and learned friend Lord Bingham of Cornhill at paras 8-13). Otherwise the surgeon's important duty would in many cases be drained of its content.

Dissent
Lord Bingham felt that even though Dr Afshar had been found not to have informed Miss Chester about the 1–2% risk of surgery failure, this did not mean that causation had been shown. It was necessary to say that if Miss Chester had been informed of the risk, that she would not have undertaken the operation at all. The risk was inherent in surgery, no matter who performed it. Lord Bingham stated of the rules of causation generally:

It is now, I think, generally accepted that the "but for" test does not provide a comprehensive or exclusive test of causation in the law of tort... But, in the ordinary run of cases, satisfying the "but for" test is a necessary if not a sufficient condition of establishing causation. Here, in my opinion, it is not satisfied. Miss Chester has not established that but for the failure to warn she would not have undergone surgery. She has shown that but for the failure to warn she would not have consented to surgery on Monday 21 November 1994. But the timing of the operation is irrelevant to the injury she suffered, for which she claims to be compensated. That injury would have been as liable to occur whenever the surgery was performed and whoever performed it.

Lord Hoffmann started his judgment with a direct answer:

The purpose of a duty to warn someone against the risk involved in what he proposes to do, or allow to be done to him, is to give him the opportunity to avoid or reduce that risk. If he would have been unable or unwilling to take that opportunity and the risk eventuates, the failure to warn has not caused the damage. It would have happened anyway.

He later continues:

In my opinion this argument is about as logical as saying that if one had been told, on entering a casino, that the odds on No 7 coming up at roulette were only 1 in 37, one would have gone away and come back next week or gone to a different casino. The question is whether one would have taken the opportunity to avoid or reduce the risk, not whether one would have changed the scenario in some irrelevant detail. The judge found as a fact that the risk would have been precisely the same whether it was done then or later or by that competent surgeon or by another.

See also
Negligence
 Montgomery v Lanarkshire Health Board

Notes

English tort case law
House of Lords cases
2004 in United Kingdom case law


The postage stamps and postal history of Israel is a survey of the postage stamps issued by the state of Israel, and its postal history, since independence was proclaimed on May 14, 1948. The first postage stamps were issued two days later on May 16, 1948.  Pre-1948 postal history is discussed in postage stamps and postal history of Palestine.

Historical context
The postal history of Israel builds upon the centuries-long development of postal services in Palestine. During the rule of the Mamluks, mounted mail service was operated in Deir al-Balah, Lydda and other towns on the Cairo to Damascus route. During the Ottoman period, postal services relied upon Turkey's stamps. Foreign consulates set up the early post offices. During World War I, the British Egyptian Expeditionary Force occupied Palestine and demarcated stamps as "E.E.F." in 1918.

During the British Mandate, postage stamps and services were provided by British authorities. At first using temporary stamps issued in February 1918 by the British Expeditionary Forces in Palestine, and in February 1920 issuing permanent stamps bearing the imprint: "Palestine Eretz Israel."  From 1933 to 1948, mandate services included airmail stamps and, as an innovation, air letter cards.

In April 1948, the British discontinued all postal services, and post offices and operations were, in part, turned over to the Israeli government. In May 1948, as the British withdrew and postal services broke down, the provisional government issued overprints on Jewish National Fund stamps and ad hoc postage was created in Nahariya and Safed.

Postal history

Stamps have been issued by Israel Post, the Israeli postal operator, since Sunday, 16 May 1948, the first business day after Israel declared independence, Saturday being a day of rest. The first set of stamps was entitled Doar Ivri ("Hebrew Post") because the country's name had not yet been chosen. The first set of definitive stamps included values of 3, 5, 10, 15, 20, 50, 250, 500, and 1000 mils. The stamps were printed by letterpress, perforated or as a rouletted variation, and with Israel's emblematic "tabs" with marginalia about the stamp. Stamp booklets were issued for the 5, 10, 15 and 20 mil stamps. The Doar Ivri stamps were designed by Otte Wallish using ancient coins from the First Jewish–Roman War and later Bar Kokhba revolt (as pictured at top of article).

Israeli stamps are trilingual, in Arabic, English and Hebrew, following the practice of the British Mandate of Palestine (as required by the League of Nations). Israel Post first issued postage due stamps, tête-bêche and gutter pairs in 1948, airmail stamps in 1950, service stamps, for government offices, in 1951 and provisional stamps in 1960. The tabs have gone through three unofficial phases. From 1948 to 1954, the tabs were written in Hebrew (with four exceptions: the Maccabia, Israel Bonds, Zionist Congress and Z.O.A. stamps). From 1954 until 1967, the inscriptions were usually in Hebrew and French. Since 1967, the tabs are typically Hebrew and English. Rarely, a tab is matched with the wrong stamp, as with two mix-ups on some Doar Ivri stamps.

From the outset, Israel created its own commemorative cancellations, including a first day cancel for the new Doar Ivri on May 16, 1948, and cancels for the Maccabiah Games and its major cities the same year. By 1960, more than 325 unique postmarks had been designed. Beginning with the Doar Ivri stamps, too, Israel has provided first day covers. For instance, on July 5, 1967, a first day cover featuring Moshe Dayan was issued from the new post office in Jerusalem, soon after the Six-Day War.

Israel has 64 post offices in 1950, expanding to 114 by 1960 and, after the Six-Day War, to 178 branches by 1970.  In 1955, two settlements in the Negev began Israel's first mobile post office, a red truck. By 1990, Israel ran 53 routes for 1,058 locations, including Israeli settlements in the West Bank and Gaza.

Due to hyperinflation, in 1982 and 1984 Israel issued non-denominated stamps with an olive branch design. These stamps were said to be dreary yet convenient, insofar as they avoided the need for both the government and the customers to constantly update their postage.

During the 1990s, Israel experimented with vending machines for postal labels (franking labels). The Klussendorf machines and their labels were withdrawn from service in 1999. Twenty-two colorful designs were issued, including 12 tourist sites and seven holiday season designs. Israel Post also provides the Express Mail Service in cooperation with 143 other postal authorities.

The Israel Defense Forces provide mail services for the military. During the 1973 Yom Kippur War, for example, the IDF postal agency issued a series of postcards with cartoons to boost morale. Postcards show an Israeli cartoon character looming over Damascus, hail and fire raining down on Egyptian pyramids (quoting Exodus 9:24), and "Judgment Day, pictured here."

Postage stamps
In its early years, Israel issued stamps picturing the Jewish holidays, Jerusalem, Petah Tikva, the Negev, the Maccabiah Games, and Independence bonds. Every year, Israel issues a festival series to commemorate Rosh Hashanah. In 1948, the festival series featured the "flying scrolls." In a self-reflective gesture, the postal authority also issued a souvenir sheet commemorating its own first stamps. In 1952, Israel issued its first stamp honoring a named person, Chaim Weizmann. Other honorees of the 1950s included Theodor Herzl, Edmond de Rothschild, Albert Einstein, Sholem Aleichem, Hayim Nahman Bialik and Eliezer Ben-Yehuda. The first woman honored was Henrietta Szold (1960), the first rabbi was the Baal Shem Tov (1961), and the first non-Jew was Eleanor Roosevelt (1964).

In 1998, Israel was the first country to honor Chiune Sugihara, who has since been honored on stamps from Gambia, Grenada, Guinea, Japan, Liberia, Lithuania, and Sierra Leone. Stamps were issued in memory of two Arab leaders, King Hassan II of Morocco and King Hussein of Jordan, in 2000.

Researchers at Emory University found that, through 2005, 161 Israeli stamps deal with women, though most do so anonymously. Of the 45 stamps dedicated to individual women, 11 concerned Biblical characters and eight were of fighters: Haviva Reik, Hannah Szenes, Rachel Yanait Ben Zvi, Rivka Guber, Rene Levy, Zivia Lubetkin, Sarah Aaronsohn, and an unnamed member of the Jewish Brigade.

Israeli stamps cover general themes, including philately itself, such as the 1954 stamp exhibition in Jerusalem, as well as themes emblematic of the state, such as Judaism and Jewish history. For instance, in its first 40 years, nearly 10% of Israeli stamps included archeological motifs, for intellectual and ideological reasons.

The country produced a total of 110 new issues in the 1960s, 151 in the 1970s, 162 in the 1980s and 216 in the 1990s. Israel Post produces several dozen new issues each year: 40 new issues in 2000, 33 in 2001, 50 in 2002, 46 in 2003, 38 in 2004, 42 in 2005, 38 in 2006, and 44 in 2007. In 2008, new issues have honored Israel Rokach and Akiva Aryeh Weiss, two UNESCO World Heritage Sites (The Biblical Tels and the Incense Route), and Mekorot (the national water system).

Joint issues
Since its 1993 stamp for the 50th anniversary of Warsaw Ghetto Uprising, issued jointly with Poland, such joint issue stamps have been produced with other postal authorities and in 1996, a joint Hanukkah stamp was issued with the United States, in miniature sheet format. This was Israel's first self-adhesive stamp.

On January 27, 2008, a joint issue with the United Nations debuted for International Holocaust Remembrance Day. Stamps were also issued jointly with Germany (in 2005) to honor their diplomatic relations, Austria and Hungary (2004, honoring Theodor Herzl), Italy (2004, honoring the Great Synagogue of Rome), Georgia (in 2001, honoring Shota Rustaveli), and Hungary (in 2001, honoring the Dohány Synagogue of Budapest).

Withdrawals
Israel Post has been forced on a number of occasions to withdraw certain stamps which caused concern in religious circles. In November 2006 a stamp bearing the Divine Name was taken out of circulation over fear that it may be treated with disrespect. Similar action was taken over a series that depicted passages from the Talmud.

Relations with Palestinian postal services
Starting in 1994-1995, Israel shifted away from providing postal services for territories that, under the Oslo Accords, were to come under the auspices of the Palestinian National Authority (PNA). The PNA established post offices throughout the PNA, developed its own unique postmarks and issued stamps. The PNA's Ministry of Telecom & Information Technology issued a critical report on postal services in areas under Israeli control.

Israeli stamp collecting

The Israel Philatelic Federation lists 12 stamp clubs, and 11 philatelic businesses in Israel. The country has stamp fairs (using its own cancellation), annual souvenir sheets, postage exhibitions, philatelic journals, and catalogs (pictured). In 1998, the Israel Post established the Postal and Philatelic Museum in Tel Aviv. Tel Aviv was selected to host the 2008 World Stamp Championship under the auspices of the Fédération Internationale de Philatélie, the international organization for philately.

Collecting stamps of broadly Jewish interest, forming topical Judaica collections, is a hobby of philatelists everywhere. While the sources listed in the previous paragraph catalogue Israeli stamps, there is no central catalogue of topical Judaica stamps. There is, however, the Judaica Topical Association and Judaica Topical News.

Emory University in Atlanta (GA, USA) created an ongoing database for both Israeli and topical Judaica stamps rooted in, but not limited to, its own Sol Singer Collection of Philatelic Judaica. The database, composed of downloadable “stampcharts” and articles of philatelic interest, is available to the public and Emory University welcomes comments

Owing to sales to collectors, including those in the Jewish diaspora, philatelic items has been a considerable revenue stream for Israel's government and the Israeli post office is a client of the Inter-Governmental Philatelic Corporation.

See also
 Postage stamps and postal history of Palestine
 Postage stamps and postal history of the Palestinian National Authority
 Postage stamps of Israel

References
Notes

Sources

Further reading

Agudah le-toldot ha-doʼar shel Erets-Yiśraʼel. "Holy Land Postal History." (1979).
Aron, Joseph. Forerunners to the forerunners: a pre-philatelic postal history of the Holy Land. Jerusalem: Society of the Postal History of Eretz Israel, 1988.
Forsher, Bruno J. and Society of Israel Philatelists. The Interim Period Postage Stamps of Israel, March to July 1948: a Handbook. New York: Society of Israel Philatelists, 1969.
Jewish National Fund. Youth and Education Dept. Catalogue of Jewish National Fund Stamps. Jerusalem: 1966.
Leibu, E. and Zvi Shimʻoni. The Postal History of the Transition Period in Israel, 1948. Jerusalem: Society of the Postal History of Eretz-Israel, 1991.
Levison, Milton E. and Society of Israel Philatelists. Educational Fund. The Plate Blocks and Tabs of the Doar Ivri Issue. Cleveland: Society of Israel Philatelists, Educational Fund, 1976.
Loebl, W. Y. Postal Mechanisation in the Holy Land, 1925-1981. British Association of Palestine-Israel Philatelists. Vol. 1982. Rickmansworth, Herts.: British Association of Palestine-Israel Philatelists, 1982.
Morginstin, Sid. The Postal Stationery of Israel. Beachwood, Ohio: Educational Fund of the Society of Israel Philatelists, 1998.
Persoff, Meir. The Running Stag : The Stamps and Postal History of Israel. London: R. Lowe, 1973.
Ribalow, Harold Uriel. The History of Israel's Postage Stamps. New York: Twayne Publishers, 1956.
Siegel, Marvin and World Philatelic Congress of Israel, Holy Land, and Judaica Societies. 20th Anniversary Publication. Downsview, Ont., Canada: World Philatelic Congress of Israel Holy Land & Judaica Societies, 1986.
Sondak, M. Jerusalem Postal Services during the Siege of 1948 : Compilation of Articles and Manuscripts. Jerusalem, Israel: Society of the Postal History of Eretz Israel, 1987.
Stadtler, Bea. A History of Israel through Her Postage Stamps. New York: Society of Israel Philatelists Educational Fund, 1993.
Tsaḥor, Yaʻaḳov. Israel Postage Stamps, 1948-1988. Catalogue. Vol. 11. Carta Jerusalem: Israel Postal Authority/Philatelic Service, 1989.
Wozniak, Maurice D. and Marios Theodossiou. Krause-Minkus Standard Catalog of Israel Stamps : Listings 1948-1999''. Global Stamp Series. 2001st ed. Iola, WI: Krause Publications, 2000.

External links
 Israel Philatelic Federation with full catalog
 Israel Postal Authority: History and Postal and Philatelic Museum
 Society of Israel Philatelists (SIP)
 Oriental Philatelic Association of London (OPAL)
 Palestine Philatelic Society (PPS) (semi-dead website)
 Sandafayre Stamp Atlas: Israel (commercial website)
 Holyland Philatelic Society (HPS-BAPIP) Index to The BAPIP Bulletin
 Cercle Français Philatélique d'Israël (fr)
 Postage Rates 1948-1952 (commercial website)

Philately of Israel


The Dome: Ground Zero is a one-shot graphic novel published in 1998 under the short-lived DC Comics imprint Helix. Written and laid out by Dave Gibbons and illustrated by Angus McKie, The Dome used computer-rendered graphics to augment the latter's illustrations. Despite suffering by its association with the poorly received Helix line, The Dome won praise both for the high quality of its art and for its well-constructed storyline set in the south Pacific waters of a recognizably contemporary Earth environment, replete with the conflicting ideologies of US techno-military forces and Christian fundamentalist eco-warriors.

Plot synopsis
The US military has successfully test-detonated a Quantum Bomb, an unpredictable new weapon, on a disused island deep in the Pacific ocean despite intervention from Elias Walsh and his hang-gliding congregation of activist ecological protestors. Cities around the Pacific Rim are soon damaged by a variety of seemingly natural phenomena.  It becomes apparent to observing military forces that the Quantum Bomb has triggered fallout of a most unexpected kind - a gigantic reflective hemisphere, some ten-miles across and growing, has projected out of the ocean to cover ground zero at the site of the detonation.

Adam Berg, a geologist responsible for surveying the blast-site prior to detonation and Lieutenant Elizabeth Lopez are despatched with a team of marines to investigate the interior of the dome, which itself is discovered to be not solid but rather a field of energy. Inside it they find the original island has spontaneously terraformed itself into a greenhouse-like environment occupied by the hostile remnants of an ancient alien robotic civilisation. Berg and Lopez encounter both the fanatical Elias Walsh and the unbalanced Major Henderson, a survivor of the initial expeditionary force sent by the military. They must resolve the unworldly forces which have been brought into play inside of twenty-four hours, after which time the island has been scheduled for destruction by The Pentagon by conventional nuclear weapons.

Artwork
As part of the creative process for The Dome, Angus McKie employed some illustrative techniques which were considered novel at the time, involving a computer-driven process from start to finish. After Gibbons finished the script he produced page layouts using Photoshop which he then provided to McKie who combined them with the letters and panel borders using Freehand. Painted 3D images were rendered and then opened using Photoshop for reworking and finally pasted onto the letters and panel borders. The result was to produce computer generated characters which were considered (at the time) more lifelike and preserved the recognizable biomechanical attributes of human anatomy without sacrificing texture and detail.

References

1998 comics debuts
Science fiction comics
Comics by Dave Gibbons