Sir John Lade, 2nd Baronet (1 August 1759 – 10 February 1838) was a prominent member of Regency society, notable as an owner and breeder of racehorses, as an accomplished driver, associated with Samuel Johnson's circle, and one of George IV's closest friends. While that monarch was still Prince Regent, Lade attracted high society scorn from the extent of his debts and his choice of marriage to low-born beauty Letitia, who was generally supposed to have been the mistress of the executed highwayman John Rann and the Regent's next-youngest brother, the Duke of York.

Early life
He was born the posthumous child of Sir John Lade, 1st Baronet. A maternal uncle was brewer Henry Thrale. He inherited from his father a vast fortune, also founded on brewing.

According to Abraham Hayward, Samuel Johnson was consulted on his upbringing; but Johnson had no high opinion of the boy's intellect. His original advice to Lady Lade, was "Endeavour, Madam, to procure him knowledge; for really ignorance to a rich man is like fat to a sick sheep, it only serves to call the rooks about him". As Lade grew up, Johnson grew disappointed: Hester Thrale reported that when Sir John asked Johnson for advice on whether he should marry, the reply came as:

"I would advise no man to marry, Sir," replied the Doctor in a very angry tone, "who is not likely to propagate understanding;" and so left the room.

Johnson did propose, "half in earnest", a marriage between Sir John and Fanny Burney while the boy was still a minor.

Lade matriculated at University College, Oxford in 1776. On becoming 21, he received control of his fortune.

In society

Lade lost money at the races and by gambling; but he developed a reputation as a judge of horseflesh. He discovered and owned Medley, a grey horse which was one of the first thoroughbreds to be imported into America, and "the most important horse of the last quarter of the eighteenth century". His "harlequin" colours were a familiar sight at races throughout the British Isles. His horse Crop was second in the 1781 Epsom Derby.

Criticised for spending so much time in the stables and at race meetings, Lade dressed in riding clothes at all times – with many capes – and carried a whip everywhere. According to the dandy Thomas Raikes, his "ambition was to imitate the groom in dress and in language". Raikes reports:

 "I once heard him asking a friend on Egham racecourse to come home and dine. 'I can give you a trout spotted all over like a coach-dog, a fillet of veal as white as alablaster (sic), a pantaloon cutlet, and plenty of pancakes' – so help me! "

Nicknamed "Jehu" as a driver, Lade was a leading light, and one of the founding members, of the "Four-Horse Club", or Four in Hand Club. His slapdash style of dressing gave rise to the simple knot for which the Club is remembered. He himself famously drove a team of six greys, except when he sat up with the Prince Regent in place of the latter's coachman, driving six matched bays on the road from Brighton to London.

Lade wagered heavily on horses, and on inconsequential feats of skill; he once bet a thousand guineas against the Duke of Queensberry He once bet Lord Cholmondeley that he could carry him on his back, from opposite the Brighton Pavilion twice round the Old Steine that faced it. Bets revolved around feats of skill: he "would back himself to drive the off-wheels of his phaeton over a sixpence, and once for a bet successfully took a four-in-hand round Tattersall's Yard at Hyde Park Corner". Tattersall's cramped premises were linked to Lade's social pre-eminence: the phrase he used to describe "settling-up" day at Tattersall's when debts for the quarter were paid, "Black Monday", passed into the language as a descriptor for a day when fortunes are lost.

Letitia
Letitia Derby (or Smith, the sources are unclear) was a woman of uncertain origins who, prior to being discovered by the royal circle, was fairly definitely a member of the working class in the Drury Lane district, and possibly a servant in a brothel. Subsequently she befriended and was probably the mistress of "Sixteen String Jack" Rann. After that notorious highwayman was hanged in 1774, she became the mistress of the Duke of York. Soon enough, however, her looks – and her seat on a horse and skills as a driver – attracted Lade's attention and they were married, after a long affair and in spite of familial disapproval, in 1787. It is conjectured that Lade and Rann knew each other well, as Rann went to races and had once been a coachman of Hester Thrale's sister.

Letitia Lade was a great favourite with the Regent and his set; she was more than willing to join in the culture of excess that they were infamous for, and once wagered on herself in a driving contest at – scandalously – the Newmarket races; and also once bet five hundred guineas on an eight-mile race against another woman. She took after her husband in dress and demeanour, and eventually overtook him: her casual use of profanity was so "overwhelming", in fact, that it came to be acceptable to say of someone using particularly strong language that they "swear like Letty [or Lady] Lade". She is the subject of a famous equestrian portrait by Stubbs in the Royal Collection, that was commissioned by the Regent to hang in his chambers; she and Lade were also the subject of a well-known pair of portraits by Sir Joshua Reynolds that now hang in the National Gallery.

Later years

Gambling, racing, women and moneylenders reduced Lade's fortune, and he spent some time in a debtor's prison. He accepted the Prince Regent's generosity, and received a pension as his "driving tutor"; to save his face, the money was made out to the name of "the Rev. Dr. Tolly".

Lade's marriage, debts and disdain for social conventions caused him to be generally disreputable. Stories of snubs that the Prince Regent received on behalf of his friends centre around Lade, many of them delivered by Lord Thurlow, a friend of George III. On one occasion, when Thurlow met the Prince, Sir John, and Lord Barrymore in Brighton, the Prince asked Thurlow to come and dine with him one day; whereupon Thurlow, in the sight of all present, said "I cannot do so until your Royal Highness keeps better company". On another occasion, the words were more private but no less scathing:

The Prince of Wales in 1805 asked Lord Thurlow to dinner, and also Ladd. 'When "the old Lion" arrived the
Prince went into the ante-room to meet him, and apologised for the party being larger than he had intended, but added, "that Sir John was an old friend of his, and he could not avoid asking him to dinner," to which Thurlow, in his growling voice, answered, "I have no objection, Sir, to Sir John Lade in his proper place, which I take to be your Royal Highness's coach-box, and not your table."

The Lades faded from the social scene when their money ran out, and George IV was crowned. Letitia died in 1825, and is buried at St Mary's, Staines. Lade, who lived quietly on his stud farm in Sussex, continued to receive his pension: his relative Dorothy Nevill, the writer and horticulturist, wrote of him, however, that "my poor crazy cousin" was dependent on the kindness of a court functionary and on hints dropped in suitable ears; Queen Victoria, when a young girl fresh to the throne, records in her diaries that she discovered that she was paying "a Sir John Lade, one of George IV.'s intimates".

In literature

Lade's coming of age moved Samuel Johnson to write his poem "One-and-twenty". It began:

Long-expected one-and-twenty
Ling'ring year, at length is flown
Pride and pleasure, pomp and plenty
Great Sir John, are now your own.
Loosen'd from the minor's tether,
Free to mortgage or to sell.
Wild as wind, and light as feather
Bid the sons of thrift farewell.....
Lavish of your grandsire's guineas
Show the spirit of an heir.

The poem influenced A. E. Housman's A Shropshire Lad.

In Arthur Conan Doyle's Regency novel Rodney Stone, Sir John Lade, a leader of the "Corinthian" set of gentleman-sportsmen, serves to represent the London life the pugilist-hero immerses himself in, and is introduced by means of a race from Brighton to London. Letitia, in 1864 was a central character in George William MacArthur Reynolds's Mysteries of the Court of London. She is also a minor character in several of the Regency novels of Georgette Heyer.

References

Regency era
Regency London
Baronets in the Baronetage of Great Britain
British racehorse owners and breeders
1759 births
1838 deaths


The Slamdunk Film Festival was a "counter-festival" in Park City, Utah, held during and, as an alternative to, the Sundance Film Festival from 1998 to 2003. It was forced out of existence in 2003 by Park City officials along with several other alternative festivals (Slumdance Film Festival and Nodance Film Festival). Prior to this, it had hosted screenings at Cannes and Toronto during the film festivals there.

References

External links
 Slamdunk Film Festival on IMDb

Film festivals in Utah
Park City, Utah


La Fresnais (; ) is a commune in the Ille-et-Vilaine department of Brittany in north-western France.

Population
Inhabitants of La Fresnais are called Fresnaisiens in French.

See also
Communes of the Ille-et-Vilaine department

References

External links

Mayors of Ille-et-Vilaine Association

Communes of Ille-et-Vilaine


Thomas Birch (1779 – January 3, 1851) was an English-born American portrait and marine painter.

Biography
Birch was born in Warwickshire, England. He came to the U. S. in 1794, and assisted his artist father, William Birch, in preparing a 29-plate collection of engravings:Birch's Views of Philadelphia (1800). Subscribers to the series included President John Adams and Vice President Thomas Jefferson. This sold well and went into multiple editions, inspiring similar collected views of New York City, and of suburban estates surrounding Philadelphia and Baltimore. The son's first major painting appears to have been a view of Philadelphia from the Treaty Elm in Kensington, which was also engraved and published in 1804. He painted portraits until about 1807, when he took up marine-painting. Some of his most famous works depict naval battles of the War of 1812.

"Birch was the first American ship portraitist, and his paintings were copied by countless artists and craftsmen in America and Europe." In addition to ships, they provide valuable images of bridges, lighthouses, docksides, and harbor fortifications in the Early Republic, especially those surrounding New York City and Philadelphia. His paintings of suburban mansions and rural snow scenes were often turned into engravings.

Historically, the Birches' most important work may be a circa-1801 engraving documenting the unfinished U.S. Capitol. Another, may be the son's painting depicting an 1812 naval battle between USS United States and HMS Macedonian, that hung in the Oval Office of U.S. President John F. Kennedy. It was sold at auction in 2008, setting a record price for the artist of $481,000.

An assessment from 1867:
Marine landscapes were painted thirty years ago by an Englishman in Philadelphia — Thomas Birch. The freshness of his atmosphere and clearly-painted waves were a marked feature. His delineation of the engagement between the U.S. frigate Constitution and the British frigate Guerriere, and that between the United States and the Macedonian — each four by two feet six inches — are fine specimens of this artist, and of rare historical value.

He exhibited regularly at the Pennsylvania Academy of the Fine Arts for forty years, beginning in 1811, and managed the museum, 1812–17. His work is collected at PAFA, the Library Company of Philadelphia, the Philadelphia Museum of Art, the Smithsonian American Art Museum, the U.S. Naval Academy, the Museum of Fine Arts, Boston, and the Winterthur Museum, Garden and Library, among others. In 1833, he was elected into the National Academy of Design as an Honorary member. He died in Philadelphia, Pennsylvania.

Gallery

References
Marian Carson, "Thomas Birch", Catalogue of the 150th Anniversary Exhibition of the Pennsylvania Academy of the Fine Arts, (PAFA, 1955), p. 34.
Doris Jear Creer, Thomas Birch: A Study of the Condition of Painting and the Artist's Position in Federal America, M.A. thesis, University of Delaware, 1958.
William H. Gerdts, Thomas Birch (1779–1851), Paintings and Drawings, exhibition catalogue, Philadelphia Maritime Museum, 1966.
Richard Anthony Lewis, "Interesting Particulars and Melancholy Occurrences: Thomas Birch's Representations of the Shipping Trade, 1799–1850", 3 vols., Ph.D. dissertation, Northwestern University, 1994.
Tony Lewis, "Sleigh Ride on a Grey Day, 1832", "American Paintings", (Schwarz Galleries, 2003), pp. 36–38.
Stefanie A. Munsing, "Thomas Birch (1779–1851)", Philadelphia: Three Centuries of American Art, (Philadelphia Museum of Art, 1976), pp. 229–30.
Michael W. Schantz, Celebrating Philadelphia's Artistic Legacy, (Woodmere Art Museum, 2000), pp. 23–24.
Martin P. Snyder, "William Birch: His Philadelphia Views", Pennsylvania Magazine of History and Biography, vol. 73 (1949), pp. 271–315.
S. Robert Teitelman, Birch's Views of Philadelphia, with Photographs of the Sites in 1960 & 1982, (Free Library of Philadelphia, 1982, reprinted University of Pennsylvania Press, 1983).

External links
Biography from ushistory.org
 artcyclopedia.com
 brooklynmuseum.org
 View of the Delaware near Philadelphia, 1831, Corcoran Gallery of Art, Washington, D.C.
The Mariners' Museum

1779 births
1851 deaths
Painters from London
Painters from Philadelphia
English emigrants to the United States
18th-century American painters
18th-century American male artists
American male painters
19th-century American painters
American marine artists
National Academy of Design members
19th-century American male artists


Martin Kusch (born 19 October 1959) is Professor of philosophy at the University of Vienna. Until 2009, Kusch was Professor of Philosophy and Sociology of science at the Department of History and Philosophy of Science at Cambridge University. Prior to Cambridge, Kusch was lecturer in the Science Studies Unit of the University of Edinburgh.

Biography
Kusch's wide-ranging contributions to philosophy reflect both systematic and historical interests and cut across traditional disciplinary divides. He has published in the philosophy of the social sciences, epistemology, philosophy of language and mind, philosophy of the natural sciences, philosophy of technology, and the history of German and Austrian philosophy.

Kusch has also made important contributions to science and technology studies, particularly in the field of the sociology of scientific knowledge.

In addition, Kusch has written on the history of science with a special reference to the history of German psychology.

In 2005, he delivered the Leibniz Lectures at Leibniz University Hannover.

Selected publications

Books
  Reports from the Philosophy Department of the University of Jyväskylä.

Journal articles
  Pdf.

Other

References

External links
 Kusch's web page

1959 births
20th-century German philosophers
21st-century German philosophers
Academics of the University of Cambridge
Academics of the University of Edinburgh
Living people
Sociologists of science
Academic staff of the University of Vienna
German male writers
European Research Council grantees
Epistemologists


Lê Trung Tông () may refer to :
  Lê Trung Tông (Early Lê dynasty) (r. 1005)
  Lê Trung Tông (Revival Lê dynasty) (r. 1548 - 1556)


The Bureau of Information and Propaganda of the Headquarters of Związek Walki Zbrojnej, later of Armia Krajowa ( - in short: BIP), a conspiracy department created in spring 1940 during the German occupation of Poland, inside the Związek Walki Zbrojnej, then of the Supreme Command of Armia Krajowa (as 6th Department).

Initially, its commander was Major Tadeusz Kruk-Strzelecki, then Colonel Jan Rzepecki pseudonym "Wolski" or "Prezes". Until the end of 1940, his deputy was Hipolit Niepokólczycki, while since 1944 until January 1945, Captain Kazimierz Moczarski.

Tasks of BIP included informing of Polish community activities by the Polish Government in London, documenting activities of the German occupiers, psychological warfare against Nazi propaganda, consolidation of solidarity in the fight for independence of the Polish nation, collecting of information, reports and orders. BIP published underground newspapers, such as: Biuletyn Informacyjny (Information Bulletin), Wiadomości Polskie (Polish News) and Insurekcja (Insurrection); some of its departments carried secret trainings: Department A (film) in photoreport, direction, operation of megaphones.

Among others, cameramen and cutters Antoni Bohdziewicz, Wacław Kaźmierczak, Leonard Zawisławski, Seweryn Kruszyński, film/stage directors Jerzy Gabryelski, Jerzy Zarzycki pseudonym "Pik", Andrzej Ancuta, photographers Sylwester Braun and Joachim Joachimczyk, historian Aleksander Gieysztor, philologist professor Kazimierz Feliks Kumaniecki worked for BIP. Among others, Krystyna Wyczańska and Hanna Bińkowska were its liaisons officers.

Organisation of BIP

As of July 1944, the Bureau of Information and Propaganda ZWZ–AK included:
Secretary – Irena Piasecka pseudonym "Elżbieta", "Kreska"
Department of Finance – Maria Wielhorska-Szpręglewska pseudonym "Maska"
Department of Post – name unknown pseudonym "Anna"
Department of Emergency Liaison – Irena Markiewicz pseudonym "Jaga"
Department of Microphotography – Andrzej Pronaszko pseudonym "Majster"
Department of Current Propaganda – Major Tadeusz Wardejn-Zagórski pseudonym "Gozdawa"
Sekretary office – Hanna Hryniewiecka pseudonym "Maryna"
Branch bulletins (editorial teams of Biuletyn Informacyjny (Information Bulletin), "Wiadomości Polskie" (Polish News) and Głos Ojczyzny (Voice of the Homeland))
Bureau of Military History – doctor Stanisław Płoski pseudonym "Sławski"
Department of Information – Major Jerzy Makowiecki pseudonym "Tomasz", Lieutenant Aleksander Gieysztor (pseudonym "Lissowski" or "Borodzicz")
Sekretary office – Zofia Straszewska pseudonym "Magdalena"
Bureau of the Department of Information
Sub-department W – internal situation of occupied Poland – Antoni Szymanowski pseudonym "Brun"
Office W 1 – occupant's policy, germanisation, German propaganda, recording of acts of terror
Office W 2 – administration, occupant's legislation, self-government institutions
Office W 3 – economic matters
Office W 4 – social matters
Office W 5 – cultural matters
Sub-department P – Kazimierz Ostrowski pseudonym "Łaski"
Office P 1 – organised political life in the underground
Office P 2 – communist and communist-like organisations
Office P 3 – attitude of Polish community
Office P 4 – problems of social resistance
Office P 5 – press and program publications of political organisations
Jewish Department – Henryk Woliński pseudonym "Wacław"
Sub-department R of Radio Information – Jerzy Olivier-Merson pseudonym "Wiktor"
Office R 1 – editorial team of Dziennik Radiowy (Radio Daily)
Office R 2 – editorial team of Służba Reutera (Reuter News)
Office R 3 – editorial team of Biuletyn Sztabowy (Staff Bulletin)
Office R 4 – editorial team of Serwis Kościuszki (Kościuszko News) and "Świt" (The Dawn)
Local Inspection
Department of Mobilisation Propaganda – captain Tadeusz Żenczykowski pseudonym "Kania", "Kowalik"
Sub-department of "N" Propaganda (psychological subversion against German community) – captain Tadeusz Żenczykowski
Section I of Organisation – Antoni Szadkowski pseudonym "Leszek"
Courier team
Team of "Service"
Unit of Legalisation
Section II of Studies – Michał Mendys pseudonym "Baca"
Unit of Economy
Unit of History
Unit of Domestic Policy
Unit of Propaganda
Unit of Press
Unit of Foreign Affairs
Section III of Editorial Service – headed by Professor Kazimierz Feliks Kumaniecki pseudonym "Kozakiewicz"
Editorial Teams of German-language clandestine papers "Der Klabautermann", "Die Ostwache"
Section IV of Special Actions – Kazimierz Gorzkowski pseudonym "Godziemba" or "Wolf"
Section V of Publication Distribution – Jerzy Rolicki pseudonym "Jacek"
Sub-department of Mobilisation Propaganda "Rój" – Zygmunt Ziółek pseudonym "Sawa"
Section A of Information and Film – headed by Stanisław Olkusznik pseudonym "Śmiałowski"
Office of Press – Sławomir Dunin-Borkowski pseudonym "Jaskólski"
Office of Radio – Stanisław Zadrożny pseudonym "Pawlicz"
Office of Megaphones – Czesław Kotlarczyk pseudonym "Czema"
Office of Photography – Wacław Żdżarski pseudonym "Kozłowski"
Office of Film – Antoni Bohdziewicz pseudonym "Wiktor"
Section B of Culture Propaganda – Bronisław Rutkowski pseudonym "Korycki"
Office of Photography – Stanisław Ryszard Dobrowolski pseudonym "Goliard"
Office of Music – Bronisław Rutkowski pseudonym "Korycki"
Office of Theatre – Józef Wyszomirski pseudonym "Albin"
Office of Publication – Józef Sosnowski pseudonym "Brzeziński"
Office of Bookstores and Libraries – Tadeusz Suchocki pseudonym "Radwan"
Office of Planning – Mieczysław Jurgielewicz pseudonym "Narbutt"
Section C of Technical Matters – Kazimierz Dobrowolski pseudonym "Szymczak")
Section D of Field Propaganda – Stanisław Ostrowski pseudonym "Bogdan"
Office of Patrols
Office of Field BIPs
Office of Equipment
Editorial Team of Gawędy Żołnierskie (Soldier's Talks) – Zygmunt Ziółek pseudonym "Sawa"
Sub-department of Aid for Soldiers – headed by Major Hanna Łukaszewicz pseudonym "Ludwika"
Section of Organisation
Section of Propaganda and Training
Section of Economy
Section of Social Care
Sub-department "Antyk" – captain Tadeusz Żenczykowski pseudonym "Krawczyk"
Office of Editorial Service – captain Tadeusz Żenczykowski
Office of Organisation – name unknown
Office of Publication Distribution – Bolesław Trenda
Wydział Kolportażu BIP KG AK – kierownictwo: Wanda Kraszewska-Ancerewicz pseudonym "Lena"
Secret Military Publishing House – headed by Jerzy Rutkowski pseudonym "Michał Kmita"
Secretary – Maria Rutkowska-Mierzejewska pseudonym "Janka"
Section of Administration – Igor Telechun pseudonym "Łukasz"
Section of Supplies – Aleksander Wąsowski pseudonym "Józef"
Section of Technical Matters – Stefan Berent pseudonym "Steb"
Cell of Drawings – Stanisław Kunstetter pseudonym "Krzysztof"
Printing house W 2 – Jerzy Paszyc pseudonym "Stefan"
Printing house W 3 – Władysław Pomorski pseudonym "Jerzy"
Printing house W 4 – Michał Wojewódzki pseudonym"Andrzej"
Printing house W 5 – Czesław Mierzejewski pseudonym"Marek"
Printing house W 6 – Jerzy Mierzejewski pseudonym "Jacek"
Printing house W 7 – Michał Wojewódzki pseudonym "Andrzej"
Printing house W 8 – Jerzy Paszyc pseudonym "Stefan"
Printing house W 9 – Marian Jędrzejczyk pseudonym"Kazimierz"
Printing house W 10 – Stanisław Stopczyk pseudonym "Antoni"
Editorial Team of Professional Military Press – Lieutenant-Colonel Mieczysław Biernacki pseudonym "Mieczysław"
Insurekcja (Insurrection) – Mieczysław Biernacki
Żołnierz Polski (Polish Soldier) – Mieczysław Biernacki

Notes

References
Komenda Główna ZWZ - AK w latach 1940-1944

1940 establishments in Poland
1945 disestablishments in Poland
Psychological warfare
Units and formations of the Home Army
Military history of Poland during World War II
Organizations established in 1940
Organizations disestablished in 1945


Forges-la-Forêt (; ) is a commune in the Ille-et-Vilaine department  of Brittany in north-western France.

Population
Inhabitants of Forges-la-Forêt are called Fèvres in French.

See also
Communes of the Ille-et-Vilaine department

References

External links

Mayors of Ille-et-Vilaine Association

Communes of Ille-et-Vilaine


The Lebanese Democratic Party () is a  political party in Lebanon established by Prince Talal Arslan and Marwan Abou Fadel in 2001. Prince Talal is the son of Lebanese Druze leader Emir Magid Arslan and has presided over the party ever since its establishment.

The Lebanese Democratic Party is officially secular and has members from all Lebanese sects, but most of its support comes from the Druze, who support the Arslan family. It is part of the March 8 Alliance.

The party was represented in the Lebanese parliament in 2000 and in 2009. In the General elections of 2009, Talal Arslan won a seat in the Parliament representing the Aley district, and Fadi Awar the one representing the Baabda district.

References

2001 establishments in Lebanon
Political parties established in 2001
Liberal parties in Lebanon
March 8 Alliance
Secularism in Lebanon
Druze in Lebanon
Conservative parties in Lebanon
History of the Druze


Arizona School of Dentistry and Oral Health (ASDOH) is a graduate school of dentistry located in the city of Mesa, Arizona, United States, and is affiliated with A.T. Still University.

It was the first dental school in Arizona, having opened its doors in 2003 and graduated its first class in 2007. The curriculum places a large focus on public health. The school is accredited by the American Dental Association.

In 2005, the school received a $268,000 Piper Trust Award to purchase equipment, including a CT scan machine, for treating special needs children in the community.

See also
 American Student Dental Association
 A.T. Still University School of Osteopathic Medicine in Arizona
 List of dental schools in the United States

References

Dental schools in Arizona
Private universities and colleges in Arizona
Educational institutions established in 2003
Buildings and structures in Mesa, Arizona
Education in Mesa, Arizona
Universities and colleges in Maricopa County, Arizona
2003 establishments in Arizona


Proclaim! is a Catholic news and discussion broadcast aired on Fox affiliate WWCP-TV in the Johnstown/Altoona/State College PA Television Market since December 2, 2001. They also produce Johnstown-Altoona Diocese Mass live from St. John Gualbert Cathedral in Johnstown. The Mass telecast has aired on local television since September 11, 1988. It is the only locally produced Catholic television Mass in the United States to air live on commercial broadcast television on a weekly basis. The Proclaim! news show airs Sundays at 5:30 AM & 10:30 AM, followed by the Live Mass at 11:00 AM. (The mass is replayed on local public-access television at 9:00 PM)

Proclaim! discusses news from in and around the Roman Catholic Diocese of Altoona-Johnstown as well as national and international religious based stories from Fox News National. The news segments are hosted by Tony DeGol, Director of Communications for The Altoona-Johnstown Diocese. A separate segment, "Keeping the Faith", is hosted by  Bishop Mark Bartchak of The Altoona-Johnstown Diocese.

History
The St. John Gualbert Television Ministry dates back to 1988 when Deacon John Sroka pitched the idea of a live hour-long mass and launched it on Public-access television in Johnstown. Over time, the church underwent renovations to make the Cathedral better suited for the Mass telecast. WWCP-TV picked up the broadcast in 2001, allowing the entire television market to see the broadcast and witness the creation of the Proclaim! news show.  The mass continues to be one of the only produced Mass broadcasts to air live every Sunday in the United States on television.

Proclaim! raises most of its funds through public support by way of their "Minute-A-Month" program. They also raise funds from parish and commercial sponsorship.

Proclaim! Segments

Teen Talk
The segment revolves around a wide variety of issues that matter to teens and how they related to the Catholic Church.

Teen Talk was originally hosted by Aaron Lemmon and Mindy Hartfiel when Proclaim! began in December 2001.  Mindy left the show soon after, and Aaron hosted solo until he went on to attend Boston College in 2004. Mike Amenti took over soon afterwards. Proclaim! and Teen Talk was granted an interview with Aaron Carter at the Palace Theater in 2005. However, this was the last produced episode of the original Teen Talk as the segment would go on hiatus until August 2007 when Proclaim! was granted an interview with The Jonas Brothers moderated by Crispin Havener. Aaron Lemmon returned for a 6 week mini-series the following month with Nick Gregorchik, discussing his study abroad experiences in Australia. Following the success of the interview and the mini-series, Teen Talk returned full-time on November 11, 2007, with Crispin Havener. In August, 2009, Proclaim! announced that Crispin would resign as Teen Talk's host by month's end, with Adam Wood and Samantha Slezak taking over as co-hosts. Crispin aired his last show on August 23. Adam and Samantha took over August 30.

Keeping The Faith
Bishop Mark L. Bartchak hosts this segment, and is joined by a wide variety of guests to discuss matters of theology, faith, ministry, and service.

Guests have included church and school leaders, as well as heads of charities, and leaders of upcoming events in the diocese. Bishop Bartchak also has church parishioners from local parishes talk about their church and faith life. The bishop appears as a guest once a month to discuss church issues and upcoming events, with the current Teen Talk hosts serving as the interviewer.

Bishop Joseph V. Adamec hosted the segment during his time serving the diocese under the title Can We Talk? from Proclaim's premier until his retirement in April, 2011.

Live Diocese Mass
WWCP-TV continues to air the Live Mass as the Johnstown-Altoona Diocese Mass (Also known as The Catholic Mass from St. John Gaulbert Cathedral) at 11:00 AM each Sunday.  The Mass continues to be produced by an all-volunteer television crew that makes up the Proclaim! TV Ministry, which is led by Executive Producer Dino Tessari. The Mass is celebrated by priests from local parishes, as well as  St. John Gaulbert's Rev. Chuck Bridges. Bishop Bartchak presides over the Mass on Easter Sunday, Christmas, and other special occasions.

External links
 Proclaim! TV Ministry Website From The Diocese Website

Religious mass media in the United States
Television shows about Catholicism
American public access television shows


La Fontenelle (; ; Gallo: La Fontenèll) is a former commune in the Ille-et-Vilaine department of Brittany in north-western France. On 1 January 2019, it was merged into the new commune Val-Couesnon.

Population
Inhabitants of La Fontenelle are called in French Fontenellois.

See also
Communes of the Ille-et-Vilaine department

References

External links

Former communes of Ille-et-Vilaine


John Michael West (born October 29, 1964) is an American vocalist, best known as the lead vocalist of Artension and the former lead vocalist of Royal Hunt.

Early career
Prior to his joining Royal Hunt in 1998, West contributed vocals to a variety of projects. His recording career began in 1986 as the singer of Diamond. Later, he sang for Destiny, who released the four-song demo Side By Side in 1989. He had brief stints replacing Ray Gillen in both Badlands and Sun Red Sun in the mid-1990s, also lending his voice to Cozy Powell's final solo album, Especially For You during this period. In lesser known projects, he also sang one track on Marc Ferrari's solo album Guest List in 1995, also handling vocal duties on self-titled albums by Many Moons and Rider the following year.

Artension
In 1996, West joined neoclassical power/progressive metal group Artension, who released their debut album Into The Eye of the Storm the same year. The band went on to release seven studio albums from 1996 to 2004. The group's second album, Phoenix Rising, is especially noted for West's wide-ranging vocal contributions. West and the band regrouped in 2016 with the intention of releasing a new album.

Royal Hunt

In 1998, West replaced D.C. Cooper as the lead singer of Royal Hunt, remaining with the group until 2007. He recorded four studio albums, one live album, and one EP with the group. West's ten-year tenure as the band's vocalist was the longest uninterrupted tenure of any singer in Royal Hunt's 25-year history until Cooper rejoined the band in 2011.

Solo career
West has released four albums under his own name, which have featured a wide variety of contributors. His first two, Mind Journey (1997) and Permanent Mark (1998), adopted a neoclassical metal style with many extended instrumental sections. After concentrating on Royal Hunt for a few years, West returned in 2002 with the concept album Earth Maker, which showcased a more song-oriented writing style while still retaining much of his previous sound. Finally, in 2006, West released Long Time No Sing, which is more of a blues-rock album. The latter disc features West playing guitar as well as singing.

Post-Royal Hunt
Since departing from Royal Hunt in 2007, West has lent his voice to a wide variety of projects. He appeared as the lead singer for Bosnian guitarist Emir Hot on his debut album Sevdah Metal in 2008 and keyboardist Mistheria's solo effort "Dragon Fire" in 2010. In 2012, he sang on symphonic metal band Mythodea's self-titled debut album, and in 2013, he collaborated with former Artension guitarist Roger Staffelbach to form Artlantica, an Artension-styled band that went on to release an album called Across The Seven Seas. He also appeared on Chilean progpower band Delta's fifth album, The End of Philosophy, singing a duet with the band's regular vocalist, Felipe del Valle, on the track "Bringers of Rain". After del Valle left the band in 2014, West recorded new versions of Delta's songs "New Philosophy" and "Regrets" as singles and also appeared with the band on the Progressive Nation at Sea cruise.

West has also toured as the singer for Uli Jon Roth's band and Ronnie James Dio/Ritchie Blackmore tribute band Black Knights Rising. He also collaborated with Danish guitar virtuoso Niels Vejlyt on a project called Sage's Recital, which put out their self-titled debut album in 2013 and followup The Winter Symphony in 2016.

Discography

Solo work
 Mind Journey (1997)
 Permanent Mark (1998)
 Earth Maker (2002)
 Long Time... No Sing (2006)
 Johnny and Lonnie – "Greatest Misses" (2006)

Collaborations

With  Artension
 Into the Eye of the Storm (1996)
 Phoenix Rising (1997)
 Forces of Nature (1999)
 Machine (2000)
 Sacred Pathways (2001)
 New Discovery (2002)
 Future World (2004)

With Rider
 Rider (1996)

With Royal Hunt
 Fear (1999)
 Intervention (2001)
 The Watchers (2001)
 The Mission (2001)
 On The Mission 2002 (2002)
 Eyewitness (2003)
 Paper Blood (2005)
 2006 Live (2006)
 Royal Hunt 2006 (DVD; 2006)

With Ten Man Push
 Ten Man Push (2007)
 Playin' In The Dirt (2009)
 Branded (2013)

With Cozy Powell
 Especially For You (1999)

With Feinstein
 Third Wish (2004)

With Emir Hot
 Sevdah Metal (2008)

With Mythodea
 Mythodea (2012)

With Sage's Recital
 Sage's Recital (2013)
 The Winter Symphony (2016)

With Artlantica
 Across The Seven Seas (2013)

Guest Appearances
Marc Ferrari – Guest List (1995)
Sun Red Sun – Sun Red Sun (1994)
James Murphy – Feeding The Machine (1999)
Iron Maiden Tribute – Slave To The Power (2000)
Savatage – Poets and Madmen (2001)
Roger Staffelbach's Angel of Eden – "The End of Never" (2007)
Mistheria – "Dragon Fire" (2010)
Delta – "The End of Philosophy" (2013)
American Mafia – "Rock 'N' Roll Hit Machine" (2014)
Forces United – II (2015)
Crimson Cry – Lost Reality (2017)

Other releases
Many Moons – "Many Moons" (1996)

References

External links
John West Music

American male singers
American heavy metal singers
American rock guitarists
American male guitarists
Badlands (American band) members
Lynch Mob (band) members
Living people
Native American singers
Musicians from Syracuse, New York
1964 births
20th-century American guitarists
Royal Hunt members
20th-century American male musicians
Yngwie J. Malmsteen's Rising Force members
Frontiers Records artists
Shrapnel Records artists


Fleurigné (; ; Gallo: Floereinyaè) is a commune in the Ille-et-Vilaine department in Brittany in northwestern France. It is set to merge with La Chapelle-Janson to form La Chapelle-Fleurigné on 1 January 2024.

Population
Inhabitants of Fleurigné are called Fleurignéens in French.

See also
Communes of the Ille-et-Vilaine department

References

External links

Mayors of Ille-et-Vilaine Association

Communes of Ille-et-Vilaine


Abraham Gancwajch (1902–1943) was a prominent Nazi collaborator in the Warsaw Ghetto during the World War II occupation of Poland, and a Jewish kingpin of the ghetto underworld. Opinions about his ghetto activities are controversial, though modern research concludes unanimously that he was an informer and collaborator motivated chiefly by personal interest.

Biography
Gancwajch was born in Częstochowa, Poland. As a youth, he apprenticed as a journalist and editor in Łódź, and eventually left Poland for Vienna, Austria, where he worked as a reporter on Jewish affairs for the Gerechtigkeit (Justice) periodical edited by Irena Harand. He was expelled from Vienna around 1936–1938 and returned to Poland, having gained his reputation as a teacher and a Zionist journalist with an oratorical skill.

After the German invasion of Poland, he surfaced in Warsaw as a refugee from Łódź, and as a person with connections to the German Sicherheitsdienst (SD). He first became a Nazi collaborator as a leader of the Hashomer Hatzair, delivering weekly intelligence reports to the Germans. In December 1940 he founded the Group 13 network, a Jewish Nazi collaborationist organization in the Warsaw Ghetto, described by Israel Gutman and Emanuel Ringelblum as the "Jewish Gestapo".

Gancwajch believed the Germans would win the war and called on Warsaw's Jews to serve them as a basic means of surviving. He preached collaboration with the German conquerors in a booklet which outraged Ghetto residents. He was also a proponent of the Nazi Madagascar Plan to create an autonomous settlement for all Jews under the protection of the Third Reich in an overseas country. Adam Czerniaków, whom Gancwajch attempted to usurp as head of the Judenrat, mentioned him in his diary as "a despicable, ugly creature". Janusz Korczak, who ran an orphanage in the Ghetto, when asked why he was dealing with him, replied, "I will see the devil himself to save my children."

Final events and disappearance
In the Warsaw Ghetto Gancwajch lived a lavish life, collecting hefty sums from others by various means. On the other hand, he helped the poor and artists. But all his initiatives became corrupted; for example, he set up a hospital with ambulances, but the network soon came to be used primarily for smuggling by Group 13, a racketeering network that was officially to have combated black-marketeering in the Ghetto.
After most of the Group 13 was eliminated by the Germans in 1943, Gancwajch reemerged outside the ghetto on the Aryan side in Warsaw, where he and other members of his group, pretending to be Jewish underground fighters, were hunting for Poles hiding or otherwise supporting the Jews. He was also the leader of the infamous Żagiew, a Gestapo-sponsored Jewish organization. He is also known to have tried to sabotage attempts at the Warsaw Ghetto Uprising. The Jewish Combat Organization sentenced him to death, but were never able to execute him. His ultimate fate remains unknown.

See also
 Collaboration in German-occupied Poland
 List of people who disappeared

References

1902 births
1940s missing person cases
Holocaust perpetrators in Poland
Jewish collaborators with Nazi Germany
Missing person cases in Poland
People from Częstochowa
Polish Ashkenazi Jews
Polish Zionists
Hashomer Hatzair members
Warsaw Ghetto inmates
Year of death unknown
Polish expatriates in Austria


Le Ferré (; ) is a commune in the Ille-et-Vilaine department in Brittany in northwestern France.

Population
Inhabitants of Le Ferré are called Ferréens in French.

See also
Communes of the Ille-et-Vilaine department

References

External links

Mayors of Ille-et-Vilaine Association

Communes of Ille-et-Vilaine


Two Thousand Miles is the fourth album by American singer/songwriter Owen Temple. It was released in 2008 on El Paisano Records.

Track listing

Credits

Musicians
 Owen Temple - Acoustic and Electric guitar, Harmonica
 Lloyd Maines - Electric guitar, Pedal steel, Mandolin, Dobro
 David Grissom - Electric guitar
 Glenn Fukunaga - bass, upright bass
 Riley Osbourn - Hammond B3 organ
 Richard Bowden - Fiddle
 David Sanger - Drums
 Gordy Quist - Harmony vocals on "You Want to Wear That Ring," "Can't Drink Enough to Sing," "You Don't Have to be Lonely," and "The Pluto Blues"
 Terri Hendrix Harmony vocals on "Two Thousand Miles," "Demolition Derby," and "Like We Still Care"
 Bob Livingston - Harmony vocals on "Red Wine and Tequila," "Swear It Off Again," "Can't Quit Loving You," "On the Lonesome Road," and "Rivers Run From Many Waters"

Production
Produced by Lloyd Maines
Engineered by Cris Burns
Recorded at Bismeaux Studio, Austin, Texas

Artwork
Art Direction/Design by Shauna Dodds
Photography by Eric Ryan Anderson
Photography by Todd V. Wolfson

Charts

Releases

External links
Owen Temple website
El Paisano Records website

References

Owen Temple albums
2008 albums


The House of Yuryevsky was the name of the Russian noble family that originated from the second, morganatic marriage of Emperor Alexander II of Russia to Princess Ekaterina Dolgorukova. Members of this family were styled as Prince Yuryevsky ( - masculine) or Princess Yuryevskaya ( - feminine). The family name was made as an homage to Princess Ekaterina's descent from Yuri Dolgorukiy, Prince of Rostov and Suzdal.

Genealogy
Catherine Dolgorukova (1847–1922), styled Princess Yuryevskaya after her morganatic marriage with Tsar Alexander II of Russia, and their three surviving children:
 Prince George Alexandrovich Yuryevsky (12 May 1872 – 13 September 1913), who married Countess Alexandra von Zarnekau, herself the child of a morganatic marriage, and had issue. They later divorced.
 Princess Olga Alexandrovna Yurievskaya (7 November 1873 – 10 August 1925), who married Georg Nikolaus, Count of Merenberg, likewise the child of a morganatic marriage.
 Princess Catherine Alexandrovna Yurievskaya (9 September 1878 – 22 December 1959), whose first husband was Prince Alexander Vladimirovich Baryatinsky (1870–1910). Her second husband, later divorced, was Prince Serge Obolensky (1890–1978).

Family tree

See also
Svyatoslav Yuryevich, Prince Yuryevsky (Prince of Yuryev), son  of Yury Dolgoruky (1099–1157)
Yuryev (disambiguation)
Branches of the Russian Imperial Family


Feins (, Gallo: Feins) is a commune in the Ille-et-Vilaine department in Brittany in northwestern France.

Population
Inhabitants of Feins are called Finésiens in French.

See also
Communes of the Ille-et-Vilaine department

References

External links

Mayors of Ille-et-Vilaine Association

Communes of Ille-et-Vilaine


The Santa María School massacre was a massacre of striking workers, mostly saltpeter works (nitrate) miners, along with wives and children, committed by the Chilean Army in Iquique, Chile on December 21, 1907. The number of victims is undetermined but is estimated to be over 2,000. It occurred during the peak of the nitrate mining era, which coincided with the Parliamentary Period in Chilean political history (1891–1925). With the massacre and an ensuing reign of terror, not only was the strike broken, but the workers' movement was thrown into limbo for over a decade. For decades afterward there was official suppression of knowledge of the incident, but in 2007 the government conducted a highly publicized commemoration of its centenary, including an official national day of mourning and the reinterment of the victims' remains.

The site of the massacre was the Domingo Santa María School, where thousands of miners from different nitrate mines in Chile's far north had been camping for a week after converging on Iquique, the regional capital, to appeal for government intervention to improve their living and working conditions. Rafael Sotomayor Gaete, the minister of the interior, decided to crush the strike, by army assault if need be. On December 21, 1907, the commander of the troops at the scene, General Roberto Silva Renard, in accordance with this plan, informed the strikers' leaders that the strikers had one hour to disband or be fired upon. When the time was up and the leaders and the multitude stood firm, General Silva Renard gave his troops the order to fire. An initial volley that felled the negotiators was followed by a hail of rifle and machine gun fire aimed at the multitude of strikers and their accompanying wives and children.

Historical background
Chilean society faced a crisis from the late 19th century onwards: what was delicately referred to at the time as the "social question"—namely, "the problem of worsening living and working conditions in the country's mining centers and major cities" The nitrate miners' strike of December 1907 was the last of a series of strikes and other forms of unrest that began in 1902, chief among them being the strike in Valparaíso in 1903 and the meat riots in Santiago in 1905. In Chile, the workers' movement in general, and syndicalism in particular, got started among the nitrate miners.

Geographically, the region Chileans today have come to refer to as the Norte Grande (Big North) lies within the Atacama Desert, the driest region on Earth. The Norte Grande and the Norte Chico immediately to the south belong to the Chilean pampa, a vast plain located between the Pacific Ocean and the western foothills of the Andes mountains. The Norte Grande, which administratively consisted (before 1974) of the two Provinces of Tarapacá and Antofagasta, had been seized by Chile from Bolivia and Peru in the War of the Pacific (1879–1884), giving Chile an area rich in minerals, principally copper and saltpeter (sodium nitrate). Tensions provoked by the control of the mines had been one of the leading causes of the 1891 Chilean Civil War, when pro-Congress forces triumphed.

The mining of nitrate had become the mainstay of the nation's economy at the end of the 19th century, Chile being the exclusive producer worldwide. According to the census of November 28, 1907, Tarapacá Province held 110,000 inhabitants. In the provinces of Tarapacá and Antofagasta about 40,000 workers were active in the nitrate industry, of whom about 13,000 came from Bolivia and Peru.

Life in the mining camps—a nitrate works was known locally as an oficina, "office", a term whose use extended to the adjoining settlement—was grueling and physically dangerous. The enterprises exercised a severe control over the life and working conditions inside the mines, which rendered the workers extremely vulnerable to arbitrary actions perpetrated by the owners. Each oficina was a company town in which the mine owner owned the workers' housing, owned the company store (known in Chile as a pulpería), monopolized all commerce, and employed a private police force. Each mining camp ran its own money system, paying its workers in tokens, which could be spent only within the mining camp. Mine managers frequently put off paydays for up to three months.

At the beginning of the 20th century, the above mentioned "social question" prompted unrest among the workers at the nitrate oficinas in the Tarapacá Province. They began to mobilize politically, repeatedly petitioning the national government in Santiago to get involved and bring about improvements in their dreadful living and working conditions. The Parliamentary Period governments, however, were reluctant to intervene in negotiations between employers and workers, and they tended to see large scale workers' movements (especially if accompanied by massive demonstrations) as incipient rebellions.

The 18 Pence Strike and the massacre
On December 10, 1907, a general strike broke out in Tarapacá Province. This was the start of the 18 Pence Strike (la huelga de los 18 peniques), the name referring to the size of the wage being demanded by workers in one particular mining occupation, workers known as jornaleros. A large contingent of strikers traveled to the provincial capital, the port city of Iquique, carrying the flags of Chile, Peru, Bolivia, and Argentina. As workers from other nitrate works swelled the ranks of this movement, nearly all commerce and industry in the north of the country was brought to a halt. The demands published by the strikers on December 16 in a memorial were as follows:

On December 16, thousands of striking workers from other industries arrived at Iquique in support of the nitrate miners' demands upon the provincial authorities, with the aim of prodding the authorities to act. Previous entreaties to the government, in particular petitions presented by delegations in 1901, 1903, and 1904, had been fruitless.

The national government in Santiago sent extra regiments by land and sea to reinforce the two regiments stationed in Iquique. President Pedro Montt appointed General Roberto Silva Renard to handle the situation. Silva Renard, under confidential orders from the minister of the interior, Rafael Sotomayor, was ordered to use all necessary means to force the miners to dissolve and return to work.

More and more worker contingents joined the strike by the day. It has been estimated that by December 21 the strikers in Iquique numbered ten to twelve thousand. Soon after the journeys to Iquique began, this great conglomeration of workers met in Manuel Montt plaza and at the Santa María School, asking the government mediate between them and the bosses of the foreign (English) nitrate firms to resolve their demands. For their part, the bosses refused to negotiate until the workers went back to work.

The acting intendant of Tarapacá Province, Julio Guzmán García, mediated negotiations with representatives of the pampinos (plains dwellers) until the arrival at the port December 19 of the titular intendant, Carlos Eastman Quiroga, and General Roberto Silva Renard, chief of the First Military Zone of the Chilean Army, accompanied by Colonel Sinforoso Ledesma. Their arrival was cheered by the workers because a nitrate miners' petition to the government nearly two years earlier, under the previous president, had received an encouraging response, although the demands had not been satisfied. But the interior ministry felt no solidarity with the demands of the strikers. The ministry relayed orders to the strikers to leave the plaza and the school and gather at the horse racing track, where they were to board trains and return to work. They refused, sensing that if they went back to work, their requests would be ignored.

In the face of the growing tension between the groups, on December 20, 1907, the strikers' representatives held a meeting with Intendant Eastman. Simultaneously, a decree published in the press announced the declaration of a state of siege, which entailed the suspension of constitutional rights. While the meeting with Intendant Eastman was taking place in the Buenaventura nitrate works, a group of workers and their families tried to leave the spot, but troops opened fire on them by the railroad tracks and kept shooting. As a result, six workers died and the rest of the group was wounded.

The funerals of the slain workers were held the next day, December 21, 1907. Immediately at their conclusion, all workers were ordered to leave the school premises and vicinity and relocate to the Club Hípico (Horse Club). The workers refused to go, fearing they might be bombarded by the guns of warships which were lined up alongside the road they would have to travel.

At 2:30 in the afternoon, General Silva Renard told the leaders of the workers' committee that if the strikers did not start heading back to work within one hour, the troops would open fire on them. The workers' leaders refused to go, and only a small group of strikers left the plaza.

At the hour indicated by Silva Renard, he ordered the soldiers to shoot the workers' leaders, who were on the school's roof, and they fell dead with the first volley. The multitude, desperate and trying to escape, surged toward the soldiers, and were fired upon with rifles and machine guns. After a period of firing from the Manuel Montt plaza, the troops stormed school grounds with machine guns, firing into the school's playgrounds and classrooms, killing in a frenzy without regard to the women and children screaming for mercy. The survivors of the massacre were brought at saber point to the Club Hípico, whence they were sent back to work and subjected to a reign of terror.

Victims
The government ordered that death certificates not be issued for the fallen and had them buried in a mass grave in the city cemetery. The remains were not exhumed until 1940. They were reinterred in the courtyard of the Legal Medical Service of that city.

The number of victims claimed by the action is disputed. On one hand, the official report of General Silva Renard speaks at first of 140 dead, later to rise to 195. This is the number offered by a witness to the massacre, Nicolás Palacios, a physician in the mines and a political dissident of national renown. However, this figure is considered unrealistic given the number of workers present. The highest estimate has been 3,600, although this is considered speculative.

Consequences
General Silva Renard reported to the government in Santiago as to what happened, minimizing his role and laying responsibility on the strikers. The National Congress's reaction was lukewarm.

Improvements in the conditions of the workers came slowly. It would not be until 1920 that minimum labor standards started to be enacted, such as mandating payment in legal tender and setting the maximum length of the working day. General Silva Renard was seriously wounded in 1914 in an assassination attempt on the part of a Spanish anarchist, Antonio Ramón, whose brother, Manuel Vaca, had been one of the victims of the massacre. General Renard would die a few years later as a result of these injuries.

100th anniversary observances
On the occasion of the centenary of the massacre a mausoleum was inaugurated in the local cemetery, where the remains of one victim and one survivor of the massacre were re-interred. Public exhibits were mounted. President Bachelet decreed a national day of mourning for December 21, 2007.

Cultural influence
The facts of the massacre were suppressed by the government for many years. With the passage of time, its tragic details inspired singers and poets, while its social effects were investigated from the middle of the 20th century on. Chief among these artistic and academic works are:

Books
 1915 – Francisco Pezoa, Canto a la Pampa
 1952 – Volodia Teitelboim, Hijo del salitre, novel.
 2002 – Hernán Rivera Letelier, Santa María de las flores negras.

Music
 1970 – Luis Advis, Cantata de Santa María de Iquique. (performed by Héctor Duvauchelle and Quilapayún)
 2009 – Luis Advis, Cantata Rock de Santa María de Iquique. (performed by Colectivo Cantata Rock)
2011 - Diablo Swing Orchestra, Justice for Saint Mary

Theater
 2004 – La Patogallina troupe, 1907.
 2007 – Teatro del Oráculo troupe, Santa María de Iquique: La Venganza de Ramón Ramón.

Film
 1975  Humberto Solás, Cantata de Chile

See also

Humberstone and Santa Laura Saltpeter Works
List of massacres in Chile
Marusia massacre
Forrahue massacre
Santa María de Iquique (cantata)
List of saltpeter works in Tarapacá and Antofagasta

Notes

References

Citations

Sources

Anonymous. No date. Pioneros del Salitre (Nitrate Pioneers)
Anonymous. No date. El trabajo obrero en las salitreras (II). Photos taken at Chilean nitrate works
Artaza Barrios, Pablo, et al. 1998. A 90 años de los sucesos de la Escuela Santa María de Iquique.  Santiago: LOM Ediciones.
Bravo Elizondo, Pedro. 1993. Santa María de Iquique 1907. Documentos para su historia. Santiago: Ediciones del Litoral.
Barr-Melej, Patrick. 2001. Reforming Chile: cultural politics, nationalism, and the rise of the middle class. Chapel Hill : University of North Carolina Press.
Correa, Sofia et al. 2001. La hora de los desafíos. In Historia del siglo XX chileno: balance paradojal. Santiago: Editorial Sudamericana.
Fuentes, Jordi et al. 1989. Diccionario Histórico de Chile. Santiago: Editorial Zig-Zag S.A.
Grez Toso, Sergio, compiler. 1995. La «Cuestión Social» en Chile. Ideas y Debates precursores. (1804–1902). Santiago de Chile : Dirección de Bibliotecas, Archivo y Museos, Centro de Investigaciones Diego Barros Arana. Series: Fuentes para la historia de la república ; v. 7.
Pizarro, Crisóstomo. 1986. La huelga obrera en Chile: 1890–1970. Santiago: Editorial Sur

External links

Memoria Chilena. 2007-12-19. A cien años de la masacre de Santa María de Iquique
Central Unitaria de Trabajadores de Chile (CUT) et al. 2007-12-19. 100 años de Santa María de Iquique
Grez Toso, Sergio. La guerra preventiva: Escuela Santa María de Iquique
Biblioteca del Congreso Nacional de Chile Libro en línea "La masacre de la Escuela Santa María de Iquique"
Experiencias Colectivas Columna Negra. "Escuela Santa María de Iquique: Apuntes para la destrucción del mito y la construcción de la memoria no-espectacular"

Massacres in Chile
School massacres
1907 in Chile
Conflicts in 1907
Massacres in 1907
Deaths by firearm in Chile
History of labour relations in Chile
Iquique
Political repression in Chile
Protest-related deaths
Protests
Saltpeter works in Chile
December 1907 events
1907 labor disputes and strikes


The M621 is a 20 mm automatic cannon of French design, developed by Nexter as on-board armament for armored vehicles, aircraft, helicopters and small coastal vessels of the French Navy.

Variants

THL 20
Turreted cannon for helicopters.

POD NC 621
Cannon pod for helicopters and light aircraft.

ARX 20
Remotely controlled weapon station with M621 and a 7.62×51mm machinegun.

SH20
Door mounted cannon for helicopters.

CP 20
Pintle-mounted cannon for vehicles and boats.

15A
Cannon for naval ships.

NARWHAL
As remote-controlled naval gun on the Nexter Narwhal 20A.

See also
GIAT 30
20 mm modèle F2 gun
M197 electric cannon

References

20x102mm
Aircraft guns
Autocannon
Artillery of France
Nexter Systems


József Borovnyák or Borovnják (; 1826 – 19 September 1909) was a Prekmurje Slovene writer, politician, and Roman Catholic priest in Hungary.

Borovnják was born in the village of Ivanócz (later Alsószentbenedek, Slovenian Ivanovci). His family was originally Protestant. His father converted to Catholicism.

Borovnják first served as a priest from 1851 to 1852 at the Istvánfalvian Church in the village of Apátistvánfalva (Vas Country).  He was later a priest in Felsőlendva and Cankova (where he died).

Borovnják was a defender of the local Prekmurje dialect. He wrote books in it; for example, a catechism and prayer books. In 1877 he posthumously reprinted Miklós Küzmics' Prekmurje dialect translation of the gospels. He was also involved in politics.

Works
 Jezus moje poslenje (Jesus Is My Desire),
 Veliki katekizmus (Large Catechism)
 Kniga molitvena sztara szlovenszka (Old Slovene Prayer Book)
 Dühovna hrána (The House of the Soul)
 Máli politicsni vodnik (Little Political Mirror)
 Szvéti Angel Csuvár (Holy Guardian Angel)

See also
 List of Slovene writers and poets in Hungary

References
 Anton Trstenjak. Slovenci na Ogrskem (Hungarian Slovenes. Maribor 2006.

1826 births
1909 deaths
People from the Municipality of Moravske Toplice
Slovenian writers and poets in Hungary
Slovenian writers
Slovenian politicians
People from the Municipality of Cankova


Witham on the Hill is a village and civil parish in the South Kesteven district of Lincolnshire, England. The population of the civil parish was 260 at the 2011 census.

History

The hall is a Grade II listed building, dating from ca 1730 but extended several times. The hall  was once owned by descendants of Archdeacon Robert Johnson, the founder of Oakham and Uppingham Schools, including Lieutenant-General William Augustus Johnson MP.

The parish church is dedicated to Saint Andrew. The tower and steeple were re-built in a medieval revival style by the Stamford architect George Portwood in 1737–8.

The original village stocks and whipping post are preserved under a modern canopy.

In 2002, West Farm (on the Little Bytham road) had trials for GM rapeseed planted by Aventis.

Geography
The village is between the east and west tributaries of the River Glen, and despite its name, is not on the top of its 'hill', which reaches a peak  west towards Careby. It is approximately  from the A6121 Bourne-Stamford road. To the west is Little Bytham, and to the east are Manthorpe and Toft. The predominant landowner in the area is the Grimsthorpe Estate.

The civil parish covers a large area, extending north into Grimsthorpe Park and Dobbins Wood where it meets the boundary of Edenham, and the boundary with Toft with Lound and Manthorpe is mostly along the A6121. Manthorpe, Bourne used to be part of the civil parish.

Community

The village has a  co-educational preparatory school, Witham Hall, which marked its 50th year in 2009. The nearest state primary school is on Creeton Road in Little Bytham. Secondary schools are in Bourne.

The Six Bells public house was built in 1905 by the architect A. N. Prentice and is Grade II listed. It is on the road to the A6121. When built, the parish church did have six bells, but in 1932 they were augmented to eight.

References

External links

 St Andrew's Church, Witham on the Hill - Church Website
 Bourne Online's Witham page
 Parliamentary Gazetteer entry 1843
 Witham Hall school web site

Villages in Lincolnshire
Civil parishes in Lincolnshire
South Kesteven District


The Duchy of Tridentum (Trent) was an autonomous Lombard duchy, established by Euin during the Lombard interregnum of 574–584 that followed the assassination of the Lombard leader Alboin. The stronghold of Euin's territory was the Roman city of Tridentum in the upper valley of the Adige, in the foothills of the Alps in northern Italy, where the duchy formed one of the marches of the Lombard Kingdom of Italy. There he shared power with the bishop, who was nominally subject to the Patriarch of Aquileia. In 574–75, Lombard raiding parties pillaged the valley of the Rhône, incurring retaliatory raids into the duchy by Austrasian Franks, who had seized control of the mountain passes leading into the kingdom of Burgundy. Euin was at the head of the army loyal to Authari that went into the territory of the duke of Friuli in Istria, c 589, and he was sent by Agilulf to make peace with the Franks his neighbors, in 591. After Euin's death c 595, Agilulf installed Gaidoald, who was a Catholic, rather than an Arian Christian. After some friction between king and duke, they were reconciled in 600. The separate Lombard duchy of Brescia was united with Tridentum in the person of Alagis, a fervent Arian and opponent of the Lombard king, Perctarit, who was killed in the battle of Cornate d'Adda (688).

With the collapse of the Lombard kingdom in 773–74, the duchy of Tridentum passed into Frankish control and was transformed. After German king Otto I had subdued the Italian kingdom in 952 he incorporated Tridentum into the March of Verona. Its strategic position controlling the Alpine mountain passes encouraged the eleventh-century Holy Roman Emperors to invest the Bishop Ulrich II of Trent with temporal powers over a sizable territory, as an independent prince of the Empire, with the powers and privileges of a duke. A succession of Prince-Bishops ruled, except for a few short intervals, until 1802, when the bishopric was secularized and became a part of Austrian Tyrol.

Notes

Lombards
States and territories established in the 6th century
Former duchies
Former monarchies of Europe
Former theocracies


In cellular biology, labile cells are cells that continuously multiply and divide throughout life .  Labile cells replace the cells that are lost from the body. When injured, labile cells are repaired rapidly due to an aggressive TR response. This continual division of labile cells allows them to reproduce new stem cells and replace functional cells that are lost in the body. Functional cells may be lost through necrosis, which is the premature death of cells caused by environmental disturbances, such as diseases or injuries. Functional cells may also need to be replaced after undergoing apoptosis, which is the programmed death of cells that occurs normally as part of an organism's development. Labile cells continually regenerate by undergoing mitosis and are one of three types of cells that are involved in cell division, classified by their regenerative capacity.  The other two cell types include stable cells and permanent cells. Each of these three cell types respond to injuries to their corresponding tissues differently. Stable cells, unlike labile cells, are typically not dividing and only do so when an injury occurs. Permanent cells are not capable of division after maturing.

Some examples of labile cells, which act as stem cells, include skin cells, such as the epidermis , the epithelia of ducts, hematopoietic stem cells, cells within the gastrointestinal tract, and some cells found within bone marrow.

Labile cells exhibit a very short G1 phase and never enter G0 phase (the resting phase), as they are continually proliferating throughout their life.

Hazards
Cells that are constantly dividing have a higher risk of dividing uncontrollably and becoming malignant, or cancerous. Muscle tissue does not consist of constantly dividing cells, which is likely why cancer of the muscle is not nearly as common as, for example, cancer of the skin.

In addition, cytotoxic drugs used in chemotherapy target dividing cells and inhibit their proliferation. The cytotoxic drugs aim to target the dividing cells which are malignant in the body; however, these drugs target all dividing cells and are not capable of only selecting the cancerous ones. Healthy cells, that are normally dividing in the body, are targeted and affected as well. For this reason, adverse effects are often produced from chemotherapy. The labile cells within epithelial tissue and bone marrow, for example, may be targeted, resulting in possible hair loss or bone marrow suppression.

See also

 Stable cells, which only multiply when receiving external stimulus to do so
 Permanent cells, which don't have the ability to multiply

References

Cell biology


The Slumdance film festival was a film festival held in Park City, Utah in January 1997 by founder Brian Flemming in a converted Mrs. Fields cookie factory on Main Street.

History
Slumdance was formed after Flemming's film Hang Your Dog in the Wind was rejected by Sundance Film Festival. Slumdance showed seven features and two shorts.  Besides two screening rooms, there was a Build Your Own Festival option that used videocassettes and VCRs. Slumdance was set up like a slum, and had a mission area that served free soup, a "Tent City" which was decorated like hobo housing. The converted Slumdance space was 6000 square feet in total. A total of 150 submissions were entered by opening night, and made a press release that stated "Slumdance Stuns Movie World by Existing".

The event garnered some media attention, and the parties attracted celebrities including Tim Robbins. A brief interview followed on the Sundance Channel and included what the Deseret News called "uncomfortable comments" directed at Sundance mogul Robert Redford. An internet based site calling itself the "Slumdance Historical Preservation Society" confirmed that Slumdance would not occur the following year.  An online-only festival was held in 2000.

References

Film festivals in Utah
Defunct film festivals in the United States
1997 film festivals
Underground film festivals


is a major Japanese retail chain specializing in electronics, PCs, cameras and photographic equipment.

Yodobashi Camera's sales rank fourth among consumer electronics mass retailers in Japan, after Yamada Denki, Bic Camera and EDION. There are 23 stores operating as of October 2015. In recent years, the online shopping platform has been developed to become the second largest in Japan only behind Amazon (though sales of Amazon are over 10 times higher).

Overview
Yodobashi Camera was founded by  in 1960. The original product line up focused on cameras and photographic equipment. Fujisawa adopted a technique of opening up the entrances of his first stores in Shinjuku, Ueno and Yokohama to allow a large number of the available products to be seen at a glance, facilitating high volume sales at low prices. The stores were in relatively small buildings at prime locations in front of train stations with heavy footfall. Catchy, simple versions of the songs in Yodobashi Camera TV commercials were played in the stores. The store name always included "Shinjuku Station West Entrance" when mentioned to promote as sense of familiarity in potential customers unfamiliar with the location. Cameras at the time tended to be high-end with prices as high as several hundred thousand yen for a single camera, but customers were incentivized to spend the train fare and time going to inspect these cameras costing tens of thousands of yen below market prices. There was also the advantage of being able to compare products, which attracted consumers.

The Yodobashi Camera product range expanded significantly over time to include home electronics, PCs, audio visual (AV) equipment, toys, branded goods and reading material. The Multimedia Pavilion concept was created, starting with the purpose-built Multimedia Sendai on the site of the former JNR Settlement Corporation freight yard in front of the Sendai train station, where the existing stores were combined and relocated at the east entrance (March 1997), significantly increasing shop floor area.

Yodobashi Camera headquarters moved from Kitashinjuku, Shinjuku, Tokyo to the current location in March 2019.

History

1960 – Started off as Fujisawa Shashin Shokai
1974 – Changed its name to Yodobashi Camera Co.,Ltd.
1975 – Shinjuku Nishiguchi Store opens (first store created)
1989 – Publishes Yodobashi Point Card
1998 – Internet shopping store opens
2005 – Akiba megastore location opens
2019 – Moved headquarters to Shinjuku, Shinjuku-ku

Stores
There are 15 stores in the Kanto region (8 in Tokyo, 2 in both Yokohama and Kawasaki in Kanagawa Prefecture, 1 in Saitama, 1 in Chiba, and 1 in Utsunomiya in Tochigi Prefecture). Outside of the Kanto region, Sapporo in Hokkaido, Sendai in Miyagi Prefecture and Koriyama in Fukushima Prefecture in the Tohoku region, Niigata in Niigata Prefecture and Nagoya in Aichi Prefecture in the Chubu area (only in the Tokai area), the city of Kyoto in Kyoto Prefecture, the city of Osaka in Osaka Prefecture in the Kinki area, and the city of Fukuoka in Fukuoka Prefecture in Kyushu all have each one store. Expansion to all three of the large metropolitan areas and to all of the central regional metropolitan areas with the exception of Hiroshima was achieved with the opening of the store in Nagoya in 2015).

Each store is close to a train station, with the company embracing a "rail-side" strategy of being convenient and visible to potential customers traveling by train. Other companies in the industry such as Bic Camera and Yamada Denki under the LABI banner use the same strategy. In most cases, with notable exceptions such as Yodobashi Nagoya, Yodobashi Camera acquires land and constructs premises or purchases a site with a building for conversion. Yodobashi's inventory and distribution functions have been optimized using a large warehouse distribution network that began with YAC Kawasaki in Tonomachi (King Skyfront) in 2005. YAC is an acronym for "Yodobashi Assembly Center".

The Yodobashi's first store in Shinjuku West has expanded into a complex of 12 pavilions: Multimedia North Building, South Building, East Building, Travel Building, Camera Building, an adult (erotic) software sales area, Print Building, Repair & Film Building, Mobile Phone Accessories Building, Game & Hobby Building, Gashapon (vending machine toys in capsules) and Multi-purpose Clock & Watch Building, occupying a significant area around Shinjuku Station West. The location of the first ever store is the current Multimedia East Building. Since the 1980s, surrounding buildings have been purchased for store expansion with repeated renovations to combine multiple buildings into a single entity. Differences in the heights of the floor surfaces remain as a reminder of the numerous buildings that have been combined to create the superstore. This is particularly noticeable in the Multimedia North Building with the largest area that was converted from a former office building and adjacent multi-story car park purchased in 1998. Initially, the first floor was partially open and the sales area went as far as the third floor, but the selling space was expanded to cover the entire building, now consisting of a basement floor and 8 floors above ground connected by an escalator. In addition, Yodobashi Camera opened Multimedia Shinjuku East at the east entrance to the Shinjuku Station as well.

All large stores opened since the launch of Multimedia Sendai in 1997 bear the "Multimedia" name. The majority of the existing stores were also remodeled to fit the Multimedia format, and as of March 2016 the only stores not bearing the "Multimedia" name were the Shinjuku West Flagship, Hachiōji and Chiba outlets.

In 1997 the company successfully bid 101 billion yen to purchase the JNR Osaka Railroad Administration site north of the Osaka Station from the Japanese National Railway Settlement Corporation (JNRSC). 150 billion yen was invested in the construction of Yodobashi Umeda that opened in November 2001. Yodobashi Umeda resembles a large shopping center with the core Yodobashi Camera Multimedia Umeda supplemented by specialty stores and restaurants. Multimedia Umeda has annual sales of more than 100 billion yen, the highest sales of any retail outlet in Japan.

Subsequently, Yodobashi Camera opened a series of superstores close to train stations taking advantage of department store and rail network hubs. These include: building the multimedia store at the Hakata Station Shinkansen entrance; acquiring a freight depot site on the east side of Akihabara Station from the JNRSC for Multimedia Akiba (Yodobashi Akiba); a half-year full renovation of the Yokohama Mitsukoshi site to open Multimedia Yokohama (Yodobashi Yokohama), thus consolidating the Nishiguchi Gobangai (5th Avenue at the west entrance) operations; acquiring the north side Kichijōji Station site (previously the Tokyo branch of the Kintetsu Department Store) and remodelling the buildings to open Multimedia Kichijoji (Yodobashi Kichijoji).

5 November 2010 saw the opening of Multimedia Kyoto, purpose built on the site of the Kyoto branch of the Kintetsu Department Store (Platz Kintetsu Kyoto) in front of JR Kyōto Station's Karasuma Central Entrance. Yodobashi Akiba, Yodobashi Kichijoji, Yodobashi Yokohama, Kyoto Yodobashi and Yodobashi Hakata are large shopping centers that include multiple tenants in the same way as Yodobashi Umeda.

The Multimedia Nagoya Matsuzaka Store was opened on 29 October 2015, covering floors 4 to 6 of the south building of the Matsuzakaya store in Nagoya. There had been no store in the Tokai region up to that point. The Matsuzakaya store in Nagoya was expected to revitalize the area as there was no large electronics retailer in the Sakae area. The 7,200 m2 sales floor makes this is a medium-sized Yodobashi outlet (stores near train stations typically have a 20,000 m2 or more sales floor). There was initially a plan to open a store in front of Nagoya Station, but it was announced on 14 May 2015 that this had been canceled due to financial problems arising from delays with the Gate Tower Building opening (ultimately Bic Camera opened in the JR Gate Tower premises).

List of all Yodobashi stores
Tokyo
 Shinjuku Nishiguchi Honten (Shinjuku Station – West Exit)
 Multimedia Shinjuku Higashiguchi (Shinjuku Station – East Exit)
 Multimedia Akiba
 Multimedia Ueno
 Multimedia Kichijōji
 Hachiōji
 Multimedia Machida
 Multimedia Kinshichō

Saitama Prefecture
 Multimedia Saitama Shintoshin

Kanagawa Prefecture
 Multimedia Kawasaki Le Front
 Yodobashi Outlet Keikyū Kawasaki
 Multimedia Yokohama
 Multimedia Keikyu Kamiōoka

Chiba Prefecture
 Chiba

Tochigi Prefecture
 Multimedia Utsunomiya

Aichi Prefecture
 Multimedia Nagoya

Kyoto Prefecture
 Multimedia Kyoto

Osaka
 Multimedia Umeda

Fukuoka
 Multimedia Hakata

Hokkaido
 Multimedia Sapporo

Miyagi Prefecture
 Multimedia Sendai

Fukushima Prefecture
 Multimedia Kōriyama

Niigata Prefecture
 Multimedia Niigata

Planned store openings

Harajuku (Shibuya, Tokyo)
The former Kokudo Headquarters close to the Harajuku Station was acquired for a store to be opened in 2015. The plan was for a medium size store with a total floor area of approximately 10,000 m2, based on a concept of youth-focused communication with a full range of smart phones, tablets and related merchandise.

New Sendai store (Miyagino ward, Sendai)
The plan is for this store to be built on the site of the original Multimedia Sendai, opened as the anchor store for Yodobashi Sendai Building No. 1. The timing of the opening was initially set for 2014, later changed to October 2018 due to the redevelopment of Sendai Station East outlet. The area of the directly managed selling space is expected to be approximately 25,000 m2. Before construction, the original Multimedia Sendai was closed on 24 April 2012 and operations temporarily relocated (Yodobashi Sendai Building No. 2, Floors 1–3) from 26 April. The sales space in the temporary store was roughly 1.5 times the size of the old store.

New store in Shinjuku (Shinjuku ward, Tokyo)
The "MY [Meiji Yasuda] Shinjuku Building No. 2" (previously Yasuda Seimei Building No. 2), opposite the Shinjuku West Multimedia Store, was acquired in July 2010, with the plan to construct a newly built skyscraper following demolition and open for business in 2017. The Shinjuku West Flagship Store, currently operating out of multiple buildings, is expected to be transformed by 2020 and rebuilt as a skyscraper in conjunction with the MY Shinjuku Building No. 2 site, creating approximately 40,000 m2 of retail space.

New Sapporo store (Chuo ward, Sapporo)
The land and buildings (main building and loft building) of the Seibu store in Sapporo, that closed in September 2009, were acquired in January 2011 to be remodeled as a large shopping complex. The scheduled opening date is not yet known. The area of the directly managed selling space is expected to be more than 20,000 m2. Yodobashi Camera is conducting a study on the relocation of the current Multimedia Sapporo at Sapporo Station North to the new store. It is also studying integrated redevelopment with the city of Sapporo and the property owners of the surrounding buildings.

Online shopping and e-Commerce
Yodobashi Camera operates the e-commerce website yodobashi.com for online shopping. Operations commenced in 1998 with a range of 8,000 products, expanding to reach 3 .7 million products in July 2015. High sales growth has also been achieved with 33.778 billion yen, 35.5 billion yen, 45.8 billion yen and 65.0 billion yen respectively for the fiscal years ending in March 2010, 2011, FY2012 and FY2013, and sales are expected to be 100 billion yen in FY2015

This growth was due to an increased number of products, free delivery for all products, even down to a single battery, and a proprietary distribution network. From the original "rail-side" retail outlet strategy with brick-and-mortar stores, the company had prepared for direct shipment from distribution centers to every home for large household appliances that are difficult for customers to transport home and take up significant shelf space in prime retail locations. Sales were increased by expanding the mail order department to create local distribution centers for direct home delivery of even large products.

The convenience of online shopping is used to counter purchasing behavior known as "show-rooming", where customers examine the products in-store and purchase from another retailer online. Yodabashi provides free Wi-Fi to facilitate price comparisons and although Yodobashi Camera may be at a disadvantage with respect to their prices being not as low as those on other e-commerce websites, this is compensated for by issues with the other websites such as additional delivery fees, the time and effort required to complete transactions, shipment and delivery times, and the fear of problems such as products not arriving and poor after sales service. Leveraging the credibility and scale of Yodobashi Camera with the delivery service means small e-commerce websites cannot compete and the nuisance of show-rooming is converted into actual sales for Yodobashi Camera. Yodobashi Camera is also aiming to make inroads into the user bases of other major e-commerce websites such as online supermarkets, online bookstores and online pharmacies with an expanded product range including daily necessities, food, books and pharmaceutical drugs.

Commercials and jingles

Yodobashi Camera's theme song
Versions of "The Battle Hymn of the Republic" (known as the versions 'Gonbee-san-no-akachan (Gonbee's baby)" and "Tomodachi Sanka" in Japan) with arrangements for specific locations are used in TV commercials and are broadcast within the stores. These versions are referred to as Yodobashi Camera's theme song. For a version featuring the Yamanote and Chuo train lines for use in the Shinjuku West Main Store, the lyrics were written by the company founder, Terukazu Fujisawa.

Initially, a male choral group sang over march-style background music. But a male-female version and a female version (frequently used), a male version, and an English version with a male/female duet were added later. In 1986 the theme song was changed to a rock song by the female vocalist Sumiko Fukuda. At the time of the stores founding the "Yama-No-Te Line" was called the "Yamate" and in the English version it was called "Yamate line". A version sung by the Anime song vocalist, MIQ, was first broadcast in 1990 with the "Yamate-sen" train line lyric retained, although this was a short-lived change.

Services

In April 1989, the first point cards using barcodes in Japan were introduced. These were initially limited to the CD department and were made of paper (card stock) with a blue-green base color. The card was valid for one year (with the possibility of being transferred to someone else through a procedure at the sales point). In November 1990 a transition was made to a Gold Point Card made of plastic that could be used in any store section. It can be said that today's point cards where a point card is issued to an assigned cardholder and points are managed electronically were initially devised by Yodobashi Camera.

At that time when the consumption tax rate was 3%, tax-inclusive pricing was displayed. Yodobashi Camera initiated a policy of "not receiving consumption tax" in 1992, but in April 1997, the tax rate increased to 5% impacting profits, so commencing 1 April 1998, one year later, the tax was displayed separately (following the amendment to the law on 1 April 2004, the tax was not shown separately but was included in the price). At that time, the percentage of points earned was 5%, and in cases where payment was made in cash, with J Debit or prepaid e-money this was increased to 10%, for credit cards and store finance it was increased from 3% to 8% (Visa debit cards that subsequently appeared on the market were also 8%). Furthermore, an additional rate may also be added with specific products and for a limited time period. The percentage of points added with credit cards was increased to 10% on 25 June 2015, the same as for cash, for users who standardized their points information at "Yodobashi.com"

Gold Point Card – Plus
Compatibility with the Edy payment system was ended in the middle of May 2012 and updates to existing cards or re-issue results in a change to cards without Edy compatibility.

Controversies
There was a trial where a temporary worker as well as the worker's mother, Harimi Shimoda (a writer), sought compensatory damages of ¥18 million yen from Yodobashi Camera, employees of the temping agency and others. The worker was dispatched to the Yodobashi Camera mobile phone sales department where he was subsequently told that he "does not smile enough". In the trial, the Tokyo District Court (Kenichi Kato, presiding judge) rendered a judgment ordering that Yodobashi Camera employees, Yodobashi Camera and the employees of the temping agency and the temping agency itself pay total compensation of approximately 5.6 million yen.

This temporary worker was affiliated with a temping agency in the Shibuya ward of Tokyo from October 2002 to March 2003. The worker was working under an illegal two-layer dispatch structure with the temping agency → DDI Pocket (now Softbank Mobile) →Yodobashi Camera. The worker endured acts of violence committed against him on more than 4 occasions by temping agency employees and Yodobashi Camera employees.

The judgment recognized the facts of the violence as claimed by the plaintiff and ordered the Yodobashi employees and Yodobashi to pay damages of one hundred thousand yen on account of the assault by the Yodobashi employees. Furthermore, although the temping agency and its employees were ordered to pay combined damages of about 1.5 million yen, any responsibility of the employees of Yodobashi Camera and DDI Pocket was denied. Some people involved in the judicial field have criticized this judgment as being unfair and skewed too far to the side of the companies involved, because the responsibilities of the companies using the employee's services were not recognized despite the fact that the victim suffered violence within the company premises.

References

External links

Japanese brands
Japanese companies established in 1960
Consumer electronics retailers of Japan
Photographic retailers
Photography companies of Japan
Retail companies based in Tokyo
Retail companies established in 1960


Participatory art is an approach to making art which engages public participation in the creative process, letting them become co-authors, editors, and observers of the work. This type of art is incomplete without viewers' physical interaction. It intends to challenge the dominant form of making art in the West, in which a small class of professional artists make the art while the public takes on the role of passive observer or consumer, i.e., buying the work of the professionals in the marketplace. Commended works by advocates who popularized participatory art include Augusto Boal in his Theater of the Oppressed, as well as Allan Kaprow in happenings.

One of the earliest usages of the term appears in photographer Richard Ross's review for the Los Angeles Institute of Contemporary Art journal of the exhibition "Downtown Los Angeles Artists," organized by the Santa Barbara Contemporary Arts Forum in 1980. Describing in situ works by Jon Peterson, Maura Sheehan and Judith Simonian anonymously placed around Santa Barbara, Ross wrote, "These artists bear the responsibility to the community. Their art is participatory."

Definition
Participatory art requires of the artist that they either not be present, or that they somehow are able to recede far enough to become equal with the participants. This is the only way that participants might be offered the agency of creation; without this detail, participants will always respond within the domain of authority of the artist; they will be subjugated in this way, and the work will fail to be participatory. This detail is centrally important in asserting participation as a form in itself, and effectively differentiates participation from interactive, community based art and socially engaged art. Any of these techniques can include the presence of the artist, as it will not impinge upon the outcome of the work in the same way.

There are various degrees of participation from nominal manipulation of an object like the wearable sculptures of Lygia Clark to the relinquishing of the artist's body to the whims of the audience in the 1974 performance Rhythm 0 by Marina Abramović. New media theorist Beryl Graham has compared the varying degrees of participation in the arts to the eight rungs of power described in Sherry Arnstein's "Ladder of Citizen Participation"—ranging from manipulation to token consulting, to complete citizen control.

In the Fall/Winter issue of Oregon Humanities magazine, writer Eric Gold describes "an artistic tradition called 'social practice,' which refers to works of art in which the artist, audience, and their interactions with one another are the medium. While a painter uses pigment and canvas, and a sculptor wood or metal, the social practice artist often creates a scenario in which the audience is invited to participate. Although the results may be documented with photography, video, or otherwise, the artwork is really the interactions that emerge from the audience's engagement with the artist and the situation."

Participatory or interactive art creates a dynamic collaboration between the artist, the audience and their environment. Participatory art is not just something that you stand still and quietly look at–it is something you participate in. You touch it, smell it, write on it, talk to it, dance with it, play with it, learn from it. You co-create it.

The problem of naming in participatory art
There are many examples of artists making interactive, socially-engaged, or community-based projects. The problem these pose arises when they are each used interchangeably with the term "participatory art". It is tempting but wrong to use the term in this way because participatory art is a form unto itself, while other types of art that interface with the public (social practice, socially-engaged art, community-based art, etc.) are its sub-types. While it may seem paradoxical, it is essential to understand that just because an artwork engages with the public, that does not make it participatory. It is important to point out that there has been some nominal obfuscation of participatory art, causing its appreciation as a distinct form to be stymied. It is most likely that this occurred simultaneously with the development of the term Relational Aesthetics by Bourriaud in the late 1990s. Some other art-making techniques, such as 'community-based art', 'interactive art', or 'socially-engaged art' have been (mis) labeled as participatory art, simply because the subtleties of distinction are not always clearly understood or cared about. Many forms of popular culture and media beyond visual art have grown increasingly participatory with the rise of the Internet and social media, which allow users to "participate" at a distance. We are led to believe this is 'participatory' but as we know, engaging with social media platforms (participating) is actually contributing free labor. This type of 'participation' has nothing to do with art, but it does reflect the core problem with naming in this area of art-making. Participation can be used as an umbrella term for the various types of interfacing that artworks have created with the public. For example, 100 people working directly with an artist to make art in a museum is entirely different from an artist project sited in a local community center in an impoverished area of a city. We can say that both necessarily include engaging the public, but it is important that they not be conflated with participatory art simply because on the one hand, the outcomes of each are so entirely different, and intended to be so (where the former is enmeshed in and remains in the rarefied art world, while the latter is only of true public value in its original setting) while on the other, engagement is not participation. As we see in this example, the sub-tyes of participatory art are recognizable by their names, but they are not all the same. Further complexity can be seen in the fact that participatory art can itself be a form. It is distinguished from its sub-types by the absence of the author. this is the primary important factor in defining what is truly participatory art because when the author is not present or known, the participant gains true agency, and is fully participating. In any of the sub-forms (socially-engaged art, community-based art, etc.) participants are at best collaborators and at worst, human media. In either case, all 'participants' become subjugated by the physical presence of the artist, denying them autonomy.

Examples
Janet Cardiff has created various audio tours that users experience by walking site-specific routes and listening to soundscapes composed by the artist.

Figment is an annual showcase of participatory art in New York City.

Antony Gormley has involved the public in the creation of several works, most notably One & Other which invited hundreds of participants to occupy the vacant plinth in Trafalgar Square and perform or otherwise contribute to the work.

Carsten Höller has created interactive installations like Test Site (2006), which invites participants to play on giant slides installed in the Tate Modern.

Allan Kaprow pioneered the field of participatory art with his Happening events staged in 1960's New York City, which used physical installations and prompts to facilitate aesthetic experiences for participants.

Learning to Love you More (2002–2009) was a work of Internet art by Miranda July and Harrell Fletcher that invited participants to submit responses to written prompts, and displayed an archive of the resulting works of conceptual art.

Adrian Piper led a series of events titled Funk Lessons (1982–1984) that combined participatory dance-parties with conversations and lectures about African-American culture.

Influences
Folk and tribal art can be considered to be a predecessor or model for contemporary "participatory art" in that many or all of the members of the society participate in the making of "art". However, the ideological issue of use arises at this point because art made in the institutions of art is by default, already part of the art world, and therefore its perceived use is entirely different from any ritualistic or traditional practices expressed by folk or tribal groups. As the ethnomusicologist Bruno Nettl wrote, the tribal group "has no specialization or professionalization; its division of labor depends almost exclusively on sex and occasionally on age, and only rarely are certain individuals proficient in any technique to a distinctive degree ... the same songs are known by all the members of the group, and there is little specialization in composition, performance or instrument making.”

See also
 Community art
 Public participation
 Relational art
 Social practice art
 Systems art
 Specialization

Subtypes of participatory art
 Photovoice
 Comic Book Project
 Create a Comic Project

References

Bibliography
 Claire Bishop (ed.), Participation: Documents of Contemporary Art, Whitechapel Gallery/The MIT Press, 2006.
 Robert Atkins, Rudolf Frieling, Boris Groys, Lev Manovich, The Art of Participation: 1950 to Now, Thames & Hudson, 2008.
 Anna Dezeuze (ed.), The 'Do-it-yourself' Artwork: Participation from Fluxus to New Media, Manchester University Press, 2010.
 Claire Bishop, Artificial Hells: Participatory Art and the Politics of Spectatorship, Verso Books, 2012.
 Kathryn Brown (ed.), Interactive Contemporary Art: Participation in Practice, I.B. Tauris, 2014.

External links
 "What Is a Participatory Practice?" by David Goldenberg and Patricia Reed (interview)
 "Participatory Arts: The Stranger Brings a Gift" by Pia Moriarty (essay)
 "Participatory Art: A Paradigm Shift from Objects to Subjects" by Suzana Milevska (essay) 2006
 "Infelicitous Participatory Acts on the Neoliberal Stage" by Suzana Milevska (essay) 2016
 Bryant College Community/Performance Conference (2004)
 Oregon Humanities magazine, Fall/Winter 2008. (Discusses participatory art by Portland, Oregon artists including Harrell Fletcher, Julie Keefe, Sam Gould, Tiffany Lee Brown, M. K. Guth, Gary Wiseman, and M.O.S.T.)
 "Art Alienated: An Essay on the Decline of Participatory Art"
 The Art of Taking Part: Participation at the Museum,  ARKEN Bulletin, vol. 7, ed. Christian Gether, Ishøj : ARKEN Museum of Modern  Art, 2017

Visual arts genres


Francesco, Principe Ruspoli (23 February 1899 – 27 October 1989) was the 8th Principe di Cerveteri, 8th Marchese di Riano, 13th Conte di Vignanello and Prince of the Holy Roman Empire, son of Alessandro Ruspoli, 7th Prince of Cerveteri and wife Marianita dei Duchi Lante Montefeltro della Rovere. His maternal grandmother was an American heiress from New York City, New York. His great-great-great-great-uncle was Bartolomeo Ruspoli and his great-great-great-great grandfather was Ippolito Lante Montefeltro della Rovere. He later became a poet and fought in both World Wars.

Marriages and children
He married firstly in São Paulo, São Paulo, on 28 February 1924, Claudia dei Conti Matarazzo (Castellabate, 12 March 1899 – Rome, 30 October 1935), daughter of Francesco, 1st Conte Matarazzo, Italian-Brazilian industrialist and tycoon, and wife Filomena Sansivieri, and grandaunt of Brazilian television and film director Jayme Monjardim, heiress to one of the largest fortunes in Brazil, by whom he had two sons:

Alessandro Ruspoli, 9th Prince of Cerveteri
Don Sforza Marescotto dei Principi Ruspoli (Rome, 23 January 1927 –), married firstly at Migliarino on 30 November 1946 and divorced in 1983 Flavia Domitilla dei Duchi Salviati (Rome, 28 April 1925 – Migliarino Pisano, 6 April 2007), and had two daughters. And married secondly at Vignanello on 15 October 1983 Pia Giancaro (Palermo, 12 March 1950, and had one daughter:
Donna Claudia dei Principi Ruspoli (São Paulo, São Paulo, 30 August 1947 –), unmarried and without issue
Donna Giada dei Principi Ruspoli (Rome, 8 March 1949 –), married Giovanni Angelo Theodoli di San Vito e Pisoniano, 6th Duke of Nemi (Bologna, 1 May 1942).
Giacinta Ortensia Rosa Maria dei Principi Ruspoli (Paris, 3 March 1988 –)

He married secondly, on 4 May 1946, Maria Celeste Rossi (3 October 1916 – Rome, 12 February 1997), without issue.

Ancestry

References

External links
Francesco Ruspoli on a genealogical site

Notes

See also
Ruspoli

1899 births
1989 deaths
Francesco
Francesco
Nobility from Rome
Military personnel from Rome


Club de Fútbol Sala Bilbao is a futsal club based in Bilbao, city of the province of Vizcay in the autonomous community of Basque Country.

The club was founded in 1984 and her home arena is La Casilla with capacity of 5,200 seaters.

Its main sponsor is Tecuni.

Season to season

1 season in Primera División
15 seasons in Segunda División
4 seasons in Segunda División B
6 season in Tercera División

External links
Official website

Futsal clubs in Spain
Football clubs in the Basque Country (autonomous community)
Futsal clubs established in 1984
1984 establishments in Spain
Sports clubs and teams in Bilbao