The M139 bomblet was an American sub-munition designed for use in warheads as a chemical cluster munition. Each spherical bomblet held  of sarin nerve agent.

History
A spherical chemical cluster munition, the M134, had been developed for the Honest John rocket but not deployed, owing to a variety of problems.

In 1964, a new warhead size was standardized for the smaller,  diameter, Little John rocket. The warhead held 52 M139 bomblets. When the MGM-29 Sergeant was deployed in the 1960s, it had the capacity to deliver a warhead carrying 330 M139 bomblets. In total, about 60,000 M139s were produced and stored; almost all were destroyed between April and November 1976.

Specifications

The M139 was a  spherical bomblet that was filled with  of sarin (GB). On the outside of the device were "vanes"; the vanes created a spin which armed the impact fuze. This "spin-to-arm" type fuze required between 1,000 and 2,000 rotations per minute to arm, which made handling the bomblets simpler because they were insensitive to normal movements. The bomblet's interior contained a central explosive burster charge, containing  of composition B, and two outer compartments which contained the sarin.

Tests involving the M139
The M139 bomblet was used by the U.S. Army in at least two instances of chemical weapons testing. In 1967 there were two series of tests which sought to learn the effects of Sarin dropped in the bomblets over two different types of forest environment. The first series of tests, known as Green Mist, took place March 25–April 24, 1967. Conducted in Hawaii, the purpose of the tests was to ascertain the effect of Sarin-filled M139s being dropped and disseminated over a canopy of rain forest. The Hawaii tests used both sarin nerve agent and the simulant methylacetoacetate.

Another test using the M139 took place at the Gerstle River test site, near Fort Greely, Alaska, from June to July 1967. The purpose of these tests was to determine the effectiveness of Sarin-filled M139 and BLU-19/B23 bomblets when dropped from a SADEYE dispenser in a summer forest environment. The tests were collectively known as "Dew Point". Both 1967 testing operations were overseen by the U.S. Army's Deseret Test Center. Both M139 tests were part of Project 112.

See also
M143 bomblet, a biological weapon analogue to the M139

References

Chemical weapon delivery systems
Submunitions
Chemical weapons of the United States
Military equipment introduced in the 1960s


[[File: Beaumaris aerial.jpg|thumb|Beaumaris Castle in Anglesey in North Wales, with curtain walls between the lower outer towers, and higher inner curtain walls between

A curtain wall is a defensive wall between two fortified towers or bastions of a castle, fortress, or town.

Ancient fortifications

Evidence for curtain walls or a series of walls surrounding a town or fortress can be found in the historical sources from Assyria and Egypt.  Some notable examples are ancient Tel Lachish in Israel and Buhen in Egypt. Curtain walls were built across Europe during the Roman Empire; the early 5th century Theodosian Walls of Constantinople influenced the builders of medieval castles many centuries later.

Curtain wall castles

In medieval castles, the area surrounded by a curtain wall, with or without towers, is known as the bailey. The outermost walls with their integrated bastions and wall towers together make up the enceinte or main defensive line enclosing the site.

In medieval designs of castle and town, the curtain walls were often built to a considerable height and were fronted by a ditch or moat to make assault difficult. Walls were topped with battlements which consisted of a parapet, which was generally crenellated with merlons to protect the defenders and lower crenels or embrasures which allowed them to shoot from behind cover; merlons were sometimes pierced by loopholes or arrowslits for better protection. Behind the parapet was a wall walk from which the defenders could fight or move from one part of the castle to another. Larger curtain walls were provided with mural passages or galleries built into the thickness of the walls and provided with arrowslits. If an enemy reached the foot of the wall, they became difficult to see or shoot at directly, so some walls were fitted with a projecting wooden platform called a hoarding or brattice. Stone machicolations performed a similar function.

Early modern fortifications

The introduction of gunpowder made tall castle walls vulnerable to fire from heavy cannon, which prompted the trace italienne style from the 16th century. In these fortifications, the height of the curtain walls was reduced, and beyond the ditch, additional outworks such as ravelins and tenailles were added to protect the curtain walls from direct cannonading.

See also
Bawn
Enceinte
Rampart

Notes

References

External links

Castle architecture
Types of wall
Fortification (architectural elements)


Christmas is an album by Elaine Paige, released in 1986, the fifth and final album to be released on the label until the release of Piaf in 1994. The album reached number 27 in the UK album charts. The album was re-issued on CD in 2006.

It was the fourth and last of Paige's albums to be produced by Tony Visconti, after Stage (1983), Cinema (1984) and Love Hurts (1985).

The album was recorded at Visconti's Good Earth Studios in September 1986. In contrast to Paige's musical theatre background, a feature of all her Visconti-produced recordings is the pop arrangements.
"Ave Maria" had been recorded and released as a single in 1982, it was also included on the 2-CD set Save The Children - Christmas Carols and Festive Songs in 1988.
"A Winter's Tale" was written by Wombles producer Mike Batt and Paige's then partner, lyricist Tim Rice and had been originally recorded by David Essex. Rice also contributed a voiceover as Santa on the final track. Tommy Körberg who, in 1986, was starring alongside Paige in the London production of Chess performed the Bing Crosby part on "Peace On Earth/Little Drummer Boy".

The album cover artwork featured Paige in a fake fur stole decorated with mistletoe. The reverse cover showed another 12 shots from the photoshoot where Paige makes a variety of humorous poses.

Track listing

 "Walking in the Air" - 3.29 (Howard Blake)
 "Peace on Earth" - 3.01 (Buz Kohan, Larry Grossman, Ian Fraser) / The Little Drummer Boy (Harry Simeone, Henry V. Onorati, Katherine K. Davis)
 "The Little Drummer Boy"
 "Father Christmas Eyes" - 4.36 (Julia Downes, Johnny Warman, Don Black)
 "Ave Maria" - 3.52 (Charles Gounod)
 "Wishin' On a Star" - 3.52 (Billie Calvin)
 "Santa Claus is Coming to Town" - 2.50 (Haven Gillespie, J. Fred Coots)
 "Coventry Carol" - 2.28 (Traditional)
 "The Coldest Night of the Year (Incredible Phat)" - 4.45 (Jimmy Webb)
 "Light of the Stable" - 3.06 (Steve Rhymer, Elizabeth Rhymer)
 "I Believe in Father Christmas" - 3.28 (Greg Lake, Peter Sinfield)
 "A Winter's Tale" - 3.58 (Mike Batt, Tim Rice)
 "Thirty-Two Feet and Eight Little Tails" - 0.51 (John Redmond, James Cavanaugh, Frank Weldon)

Personnel

Musicians
Elaine Paige - vocals
Mel Collins - tenor saxophone
Mitch Dalton - guitars
Mary Hopkin - backing vocals
Mini Pops (Richard Agg, Kelly East, Paul Hardy, Zoe Hart, Robin Wilson, Jessica Visconti) - backing vocals
Steve Pearce - bass guitar
Tim Rice - Santa voiceover on "Thirty-Two Feet and Eight Little Tails"
Robin Smith -  musical director, keyboards
Ali Thomson - backing vocals
Graham Ward - drums
Mari Wilson - backing vocals

The Astarte Orchestra was led by Gavyn Wright

Production
Producer and Mixer - Tony Visconti
Mixer - Sid Wells
Assistant Engineer - Sam Smith
Orchestral Arrangements and "Coventry Carol" Arrangement - Robin Smith
Strings Arrangements - Tony Visconti
"Ave Maria" Producer and Arranger - Mike Batt

Certifications and sales

References

Elaine Paige albums
1986 Christmas albums
Albums produced by Tony Visconti
Christmas albums by English artists
Pop Christmas albums
Warner Music Group albums


La France, number 102, was a locomotive of the Great Western Railway.  It was bought by G.J. Churchward to evaluate French locomotive practice, and particularly the effect of compounding.

History
George Jackson Churchward, on succeeding William Dean as Chief Mechanical Engineer of the Great Western Railway (GWR), planned the introduction of a series of locomotives designed to tackle the South Devon Banks. Churchward looked at the best practice from both Europe and America, and was impressed by the performance of the de Glehn compounds running on the Nord railway in France. A single locomotive, built specifically for the GWR by Société Alsacienne de Constructions Mécaniques on the de Glehn principles was delivered in October 1903. This locomotive was numbered 102 and named La France although the makers plates had to be moved from the cabside to the front splasher to allow the number to be fitted in the usual GWR position.

Description
La France was visibly not a GWR engine, although fitted with a Swindon chimney and paired with a standard tender, as immediately recognisable from firebox and the cab. Initially the locomotive was painted black, looking more LNWR than GWR, but it was repainted in 1905 into the standard GWR green livery. La France had two low pressure cylinders fitted between the frames, and two high pressure cylinders outside. The low pressure cylinders drove the front driving wheels while the high pressure cylinders drove the rear driving wheels. Also notable was the external steam pipe mounted just in front of the dome, and looking rather similar in appearance to a top feed.

Operation
La France was put to work on important expresses in order to fully evaluate it in operation, and worked turn and turn about with GWR 4-4-0 express locos such as the City class and Atbara class. No.102 hauled the inaugural down Cornish Riviera Express from Paddington on 1 July 1904, this becoming a regular turn which required a non-stop run to Plymouth.  In 1913 a top feed and new steam pipes were fitted, and then in 1916 the boiler was replaced by a GWR standard No.1 boiler. In 1926, along with two other French locomotives 103 President and 104 Alliance, 102 was based at Oxford shed. La France was withdrawn in October 1926 having achieved 728,031 miles.

In practice, La France did not provide any significant improvement in either performance or economy compared to No 171 Albion, Churchwards prototype 4-6-0 which was converted to a 4-4-2 specifically for comparison with the French locomotive. Some other benefits were found, however, particularly a much smoother ride and also a reduction in the loads on the rods and axleboxes due to the drive being split between the two driving axles. Despite being remembered for not changing Churchward's views about using a 4-6-0 wheel arrangement for his locomotives, and failing to demonstrate the claimed significant benefits of compounding, La France did leave a lasting legacy on British steam locomotive design. Churchward adopted the de Glehn bogie design for his locomotives, and its success endured with its use by William Stanier on the LMS and subsequently by Robert Riddles on the BR standard designs. It also found its way onto Southern Railway locomotives.

References

0102
Individual locomotives of Great Britain
4-4-2 locomotives
Compound locomotives
Scrapped locomotives
Standard gauge steam locomotives of Great Britain
Railway locomotives introduced in 1903
SACM locomotives
De Glehn compound locomotives
2′B1 n4v locomotives


Vera is an unincorporated community in Sharon Township, Fayette County, Illinois, United States.

History
Vera originally was called Bear Creek. The present name, derived from the Spanish or Latin means "true".

Geography
Vera is located at  at an elevation of .

References

Unincorporated communities in Illinois
Unincorporated communities in Fayette County, Illinois


What I Do is the sixth studio album by Canadian country music artist George Canyon. The album was released on November 11, 2008 by 604 Records. Its first single, "Just Like You," peaked at number 64 on the Canadian Hot 100.

Track listing

Chart performance

Singles

2008 albums
George Canyon albums
Albums produced by Richard Marx


The Jarosekas Quartet was the most popular Lithuanian music group of the 1940s.

The Jarosekas Quartet was initially formed in May 1940 as an offshoot of the Kaunas University men's choir.  The 2 initiating members were Liudas Jarošekas and V. Baranauskas.  Also part of the initial group were  J. P. Nasvytis, J. Deltuva and A. Matukonis.  Shortly thereafter V. Baranauskas left the group, most likely due to conflicts between the two leaders.  This was soon followed by a rapid change of the group's composition until Liudas Jarošekas, Vytautas Žmuidzinas, Algirdas Matukonis, Aleksas Paulionis and Jurgis Dauknys stabilized the group's foundation.

The first public performance took place in September 1940 in a Kaunas high school.  Until August 1941 the group mainly gave concerts together with the men's choir of Kaunas University.  From September 1941 up through the Soviet invasion of Lithuania in May 1944 the group gave nearly weekly live radio concerts through the main Lithuanian radio station, based in the then capital of Lithuania, Kaunas.

The group was most often accompanied by their koncertmeister Jurgis Dauknys, and they were also accompanied by the Radiofonas radio orchestra, directed by J. Lechavičius.  Sometimes they had guest performers at their concerts from the Lithuanian National Theater, which included soloists - A. Kučingis, J. Mažeika, V. Jonuškaitė-Zaunienė.  At times they were joined by the very popular crooner Antanas Šabaniauskas and akordeonist Četkauskas.  In concerts, which took place in large halls, they were sometimes joined by the popular humorist, actor and director Stasys Čaikauskas to give the audience a pause between songs.

The group was extremely popular from their start and continued their success in Lithuania until the Soviet invasion of Lithuania towards the end of World War II.  With the pending arrival of the Soviet army, Liudas Jarošekas and most of the group fled to Germany where they quickly regrouped and continued their great success until 1949.  While in Germany they not only gave concerts to the Lithiuanian expat communities in Western Europe, but also concerts for general audiences in such places as the Dresden State Theater.  With part of the group again reforming in the early 1950s in Chicago, they continued to give limited concerts in the United States and Canada well into the 1960s.

In the early part of their career, the songs performed were mainly in the style of popular western music of the times.  As time passed, half the program was Lithuanian folk songs and patriotic songs.  In their final days in Lithuania prior to the end of World War II, in their larger concerts, more complex and highly arranged songs and a few arias from operas, were included.  In their period in Lithuania from 1940 - 1944 their repertoire included over 40 different songs.

Main members of the group

Liudas Jarošekas - Founder and second tenor

Vytautas Žmuidzinas - Lead tenor

Algirdas Matukonis - Baritone

Aleksas Paulionis - Bass

Jurgis Dauknys - Accompanist

References

20th-century Lithuanian male singers
Lithuanian pop music groups
Musical groups established in 1940
1940 establishments in Lithuania
Vytautas Magnus University


Outback 8 is a TV show that was broadcast on Network Ten in Australia and BBC in the UK in 2008. The show features two girls and two boys each from the UK and Australia and was set at the Agricultural Training College in Longreach, Queensland. There were 13 episodes, beginning on 22 September 2008 and every Monday for 13 weeks

Synopsis
Outback 8 shows the children learning the skills to become jackaroos and jillaroos in an effort to be able to participate in a final muster of 200 head of cattle from hectares of land. The skills they learnt included horse riding, sheep shearing, pregnancy testing of cattle, bush survival skills, camping and mustering skills.

Episode guide

References

Network 10 original programming
Australian children's television series
2000s British children's television series
2008 Australian television series debuts
2008 Australian television series endings
2008 British television series debuts
2008 British television series endings
Television shows set in the Outback


The Millmerran railway line is a 71 kilometre long branch railway in the Darling Downs region of Queensland, Australia.

History

The Queensland Parliament approved a railway line to link Pittsworth with the east via the Southern railway line from Toowoomba in October 1885.

The line branches off the Southern line in the township of Wyreema (then called Beauaraba) 17 km south of the major regional city of Toowoomba and opened on 19 September 1887. The Southern line branched from Gowrie Junction until the opening of the Drayton Deviation from Toowoomba direct to Wyreema in 1915.

Stops were constructed en route to Pittsworth at The Hollows, Umbiram, Southbrook, Greenhills and Broxburn.

An extension to the agricultural centre of Millmerran via Murlaggan, Yarranlea, Cecilvale, Brookstead, Pampas and Yandilla was approved in November 1909 and opened for business on 18 October 1911. Much of the line closely parallels the Gore Highway.

Grain traffic was substantial and has been the branch lifeblood all along. A rail motor service operated between 1928 and 1969. As occurred elsewhere, road transport took over much of the business with the result that only spasmodic grain transport remains.

The line was closed following the 2010–11 Queensland floods. American operator Watco began operating grain trains to and from Brookstead in April 2022 on behalf of GrainCorp.

The line was laid with 30 kg/m rail with an axle load of 15.75 tonnes. The maximum grade is 1 in 50 (2%) and the minimum radius curves are 160m. The line speed is 50 km/h to Brookstead, and was 30 km/h beyond.

See also

 Rail transport in Queensland

References

 "

External links
 1925 map of the Queensland railway system

Railway lines in Queensland
Railway lines opened in 1897
Toowoomba Region
1897 establishments in Australia


Saint James is an unincorporated community in Wheatland Township, Fayette County, Illinois, United States.

Geography
Saint James is located at , elevated 604 feet.

References

Unincorporated communities in Fayette County, Illinois
Unincorporated communities in Illinois


Love Hurts is the fifth solo album by English singer Elaine Paige, released in 1985, on the Warner Music label. The album peaked at number eight in the UK Albums Chart. Originally released on vinyl record and cassette, the album was later released on CD.

It was the third of Paige's recordings to be produced by Tony Visconti, after Stages in 1983 and Cinema in 1984, and was recorded at his Good Earth Studios in London.

This album saw Paige return to mainstream pop and a move away from her previous two themed albums. Only one song was taken from her musical theatre career: "I Know Him So Well", which had been released as a single in 1984, reaching number one in the UK Singles Chart in early 1985. It was recorded as a duet with Barbara Dickson for the Chess musical concept album.
Paige collaborated with Tim Rice on the lyrics for "All Things Considered", which were set to a melody by Vangelis.

Track listing
 "Love Hurts" - 4.59 (Boudleaux Bryant)
 "Sorry Seems to Be the Hardest Word" - 3.29 (Elton John, Bernie Taupin)
 "This Is Where I Came In" - 3.41 (Wendy Waldman, Phil Galdston)
 "All Things Considered" - 3.39 (Vangelis, Tim Rice, Elaine Paige)
 "MacArthur Park" - 6.46 (Jimmy Webb)
 "For You" - 2.45 (Judie Tzuke, Mike Paxman),
 "My Man and Me" - 4.15 (Andy Hill, Frank Musker)
 "Without You" - 3.15 (Pete Ham, Tom Evans)
 "The Apple Tree" - 4.00 (Chris Difford, Glenn Tilbrook)
 "Shaking You" - 3.50 (Paul Gordon, David Foster, Tom Keane)
 "I Know Him So Well" (Elaine Paige and Barbara Dickson) - 4.14 (Benny Andersson, Tim Rice, Björn Ulvaeus)

Personnel

Musicians
 Elaine Paige – vocals
 Derek Bramble – bass guitar
 Hugh Burns – guitar
 Andy Duncan – drums
 Michael J. Mullins – backing vocals
 Ray Russell – guitar
 Robin Smith – keyboards, backing vocals
 Barbara Thompson – saxophone
 Tony Visconti – banjo, recorders, backing vocals
 Graham Ward – drums

The Mark Peterson Singers and The London Community Gospel Choir also appeared. The Astarte Session Orchestra was led by Gavyn Wright.

Production
 Producer – Tony Visconti
 Assistant engineer – Gordon Futter
 "The Apple Tree" assistant engineer – Chris Porter
 Orchestrations – Robin Smith
 Programming – Tony Visconti

Certifications and sales

References

1985 albums
Elaine Paige albums
Albums produced by Tony Visconti
Warner Music Group albums


Meho Puzić (; 24 July 1937 – 25 June 2007) was a Bosnian sevdalinka-folk singer and songwriter.

Early life
Meho Puzić was born on 24 July 1937 in the town of Odžak, into a Bosniak family. He had two brothers named Adem and Bahrija. The latter was also a professional singer. Meho and Bahrija recorded two songs together, "Pjevaj brate" (Sing, Brother) and "Ko čaršijom konja jaše" (Who is Riding a Horse Down the Bazaar), and released them on an extended play titled Meho i Bahrija Puzić in 1974.

Career
He worked as a bricklayer before becoming a professional singer and releasing his first single in 1966. In 1969, Toma Zdravković wrote a song entitled Majko, majko (Mother, Mother) for him. Puzić sang the song in a duet with his wife Hanka.

Death
Meho Puzić died, holding his wife Hanka's hand, on 25 June 2007, a month shy of his 70th birthday. He died a little over two months before his colleague and friend Safet Isović's death on 2 September 2007.

Puzić was buried the day after his death in his hometown of Odžak. His funeral was attended by Hanka Paldum, Beba Selimović, Azemina Grbić, Emina Zečaj, Elvira Rahić, Jasmin Muharemović, Husein Kurtagić (1938–2008) and Omer Pobrić (1945–2010), among others.

Discography

References

1937 births
2007 deaths
People from Odžak
Bosniaks of Bosnia and Herzegovina
Bosnia and Herzegovina Muslims
Sevdalinka
20th-century Bosnia and Herzegovina male singers
Yugoslav male singers


Profanity in science fiction (SF) shares all of the issues of profanity in fiction in general, but has several unique aspects of its own, including the use of alien profanities (such as the alien expletive "shazbot!" from Mork & Mindy, a word that briefly enjoyed popular usage outside of that television show).

Extent of usage
In his advice to other SF writers, Orson Scott Card states that there are no hard-and-fast rules for the use of profanity in SF stories, despite what may have been expected of writers in the past.  The onus is squarely on the writer to determine how much profanity to use, to enquire as to each publisher's limits, and to think about the effect that the use of profanity will have on the reader, both in perceiving the characters and in possibly being offended by the story as a whole.

Card urges those writers who do decide to omit profanity from their stories to omit it completely.  He regards the coinage of tanj ("There Ain't No Justice") by Larry Niven as a "noble experiment" that "proved that euphemisms are often worse than the crudities that they replace", because they make the story look silly.  In Card's opinion, such nonce words simply do not work.

Ruth Wajnryb shares this opinion, stating that tanj or flarn do not work as profanities because they are not real, and are "just a futile attempt to give clean-cut stories some foul-mouthed action".

Jes Battis observes, in contrast, that the use of frell and dren in Farscape allowed the television series to get away with dialogue that would normally never have made it past broadcasting and network censorship.  The words are respectively equivalent to fuck and shit and are used as both interjections and nouns in the series.  In the episode "Suns and Lovers", for example, Aeryn Sun says "frell me dead!" as an exclamation of surprise, much as a real-world person would utter "well, fuck me!" or, indeed, "fuck me dead!" Battis also notes that Firefly used a similar strategy, by using Mandarin Chinese and Cantonese for all profanities, also using the word gorram as a replacement for god damn, a phrase usually considered blasphemous.  Likewise, dialogue in Battlestar Galactica is liberally peppered with the word frak ('fuck').

Similarly, invented expletives are used throughout the Star Wars expanded universe.  For example, the Alderaanian expletive stang was introduced in the 1978 novel Splinter of the Mind's Eye and subsequently used in Star Wars novels, comic books, and games.  Also, Star Wars authors commonly use the Huttese curse fierfek, first introduced in a short story published in the 1996 anthology Tales from Jabba's Palace, and the Corelian curse sithspawn, first introduced in the 1994/1995 comic book series Dark Empire II.

Parke Godwin opines that excessive profanity, as a part of naturalistic dialogue, "dulls much modern fiction and too many films" and states it to be a pitfall for novice writers, or for writers who never grow up, to fall into.  He states that it is a "lazy copout that no longer frightens horses in the street, merely annoys and ultimately bores an intelligent reader".  He advises writers that "less is more", and that if it really is the right thing for a character to be "salty", it should be made clear to the reader why, observing as an example that in his science fiction novel Limbo Search the profanity used by character Janice Tyne is a symptom of her fear and tension, caused by being burned out at age 27 and afraid of the future.

Wanda Raiford observes that the use of the nonce word frak in both Battlestar Galactica series is "an indispensable part of the naturalistic tone that show strives to achieve", noting that it, and toaster (a racial epithet for Cylons), allow the show to use obscene and racialist dialogue that no real-life educated American adult would consider using the real-life equivalents of in polite company.  She compares the racial hatred associated with the use of nigger (an utterance of which she states to have preceded and accompanied "every lynching of a black person in America") to the racial hatred of the Cylons, by the humans, that the use of such phrases as frakking toasters indicates in the series.  She also observes that several of the characters, including Gaius Baltar, are frakking toaster lovers.

In the series of Star Trek: New Frontier novels by Peter David, the principal protagonist, Captain Mackenzie Calhoun, frequently utters the word grozit, a curse from his home world of Xenex. It is understood to be the equivalent to shit.

The 2005 video game Star Wars: Republic Commando also used fierfek, the expletive popular in the Star Wars franchise.  This word is described in-universe as being an alien loan-word originally meaning 'poison', but has been adopted by the game's special forces protagonists as a curse word to make the illusion of playing as commandos more believable.

Fictional profanities
Profanity in SF also encompasses the idea of things that alien cultures might find profane, and the notion that what non-humans and humans find to be profane may differ markedly. Card observes that human profanity encompasses words dealing with sexual intercourse and states that that tells one something about human beings. He proceeds to suggest that what aliens might find to be profane can be a useful tool for suggesting the alienness of a culture. The first example of this that he gives are alien cultures that have no trouble with words about sexual intercourse, but that find words to do with eating to be profane. Star Trek: Enterprise made use of this concept in the episode "Vox Sola". The second example Card provides is that of alien cultures where the idea of property ownership is considered to be as obscene as pederasty. Douglas Adams's The Hitchhiker's Guide to the Galaxy at one point mentions that the word Belgium is the worst profanity in the galaxy.

In other contexts
As mentioned above, shazbot briefly enjoyed popular usage outside of its television show. Battlestar Galacticas frak, a word that Lee Goldberg characterizes as "something truly amazing and subversive" and that Scott Adams calls "pure genius", has also escaped its original context. Originally spelled frack, it along with felgercarb were coined by writer Glen A. Larson for the 1978 Battlestar Galactica, for much the same reasons that frell and dren were coined for Farscape: the ability to use profane dialogue, with words that would be immediately understood as synonymous with the real profanities that they stood in for, without falling foul of network censorship and broadcasting restrictions accompanying its original Sunday evening broadcast timeslot.

The producers re-spelled the word frak for the 2004 Battlestar Galactica series, in order to make it, literally, a four-letter word; the word appears in several Black Library novels before then, most notably the Ciaphas Cain series. It has escaped, in both forms, from the series to a whole variety of other contexts, from a Dilbert cartoon strip where Dilbert mutters it, through other television shows including The Office, Gossip Girl, Veronica Mars, 30 Rock, and Scrubs, and Robert Crais' Elvis Cole novel Chasing Darkness, to everyday spoken use.

The BBC Two science fiction television series Red Dwarf replaces most of its characters' profanities with invented terms, mainly smeg (possibly a truncation of smegma) and its compound smeg-head.  Other common insults are goit and gimboid.

Footnotes
 Battis has lot to say on Aeryn Sun's use of "frell" here, in terms of its status as a non-performative utterance, and the locutionary and perlocutionary power of the statement.  For more detail, see pages 146 et seq. of Battis 2007.

References

See also
 Minced oaths in literature

Profanity
Euphemisms
Self-censorship
Science fiction themes


Jim Sévellec(21 January 1897 – 21 May 1971), born Eugène Sévellec, was a French painter.

Life
Eugène Sévellec was born at Camaret-sur-Mer.  He grew up in an artistic colony around Symbolist poet Saint-Pol-Roux and drew the life of the port whilst very young. Under the influence of the Saint-Pol-Roux, he left for Paris to train under painter Louis-Marie Désiré-Lucas.

From 1916 he was mobilised in the infantry and served among others as an interpreter for American and Scottish troops. From 1928 he collaborated with the Henriot factory, a faïencerie de Quimper.

In 1936 he was made peintre de la Marine.

He also created dioramas of Brest, France for the Musée de la Tour Tanguy.

He died at Brest, France.

Works
Brest: Son histoire et son rôle dans la vie de la Basse-Bretagne, Jim and Joël Sévellec, Brest, 1955

Notes

1897 births
1971 deaths
20th-century French painters
20th-century French male artists
French male painters
French military personnel of World War I
Peintres de la Marine


On the basis of a secret clause of the Molotov–Ribbentrop Pact, the Soviet Union invaded Poland on September 17, 1939, capturing the eastern provinces of the Second Polish Republic. Lwów (present-day Lviv), the capital of the Lwów Voivodeship and the principal city and cultural center of the region of Galicia, was captured and occupied by September 22, 1939 along with other provincial capitals including Tarnopol, Brześć, Stanisławów, Łuck, and Wilno to the north. The eastern provinces of interwar Poland were inhabited by an ethnically mixed population, with ethnic Poles as well as Polish Jews dominant in the cities. These lands now form the backbone of modern Western Ukraine and West Belarus.

These, added to other posterior and more minor in comparison territorial gains from Romania, resulted in the Ukrainian Soviet Socialist Republic gaining  in area, and increasing its population by over seven million people from 1938 to 1941. Eastern Galicia and Volhynia were the regions that contributed the most to this. Some other Polish territory also invaded by the Soviet Union was given to Soviet Belarus.

History

On September 17, 1939 the Red Army entered Polish territory, acting on the basis of a secret clause of the Molotov–Ribbentrop Pact between the Soviet Union and Nazi Germany. The Soviet Union would later deny the existence of this secret protocol, claiming that it was never allied with the German Reich, and acted independently to protect the Ukrainian and White Ruthenian (modern Belarusian) minorities in the disintegrating Polish state. Composed of mostly ethnic Ukrainian Soviet troops under the command of Marshal Semyon Timoshenko, the Soviet forces occupied the eastern areas of Poland within 12 days, capturing the regions of Galicia and Volhynia with little Polish opposition, and occupying the principal city, Lwów, by September 22.

According to Volodymyr Kubiyovych, Soviet troops were greeted with genuine joy by the Ukrainian villagers due to the Polish government's discrimination against the Ukrainian minority in previous years. Not all Ukrainians trusted the Soviet regime responsible for the Ukrainian Famine of 1932–1933. In practice, the poor generally welcomed the Soviets, while the elites tended to join the opposition, despite supporting the unification of Ukraine.

Immediately after entering Poland's territory, the Soviet army helped to set up "provisional administrations" in the cities and "peasant committees" in the villages in order to organize one-list elections to the new "People's Assembly of Western Ukraine". The elections were designed to give the annexation an appearance of validity, but were far from free or fair. The voters had a choice of only one candidate, often a local communist or someone sent to western Ukraine from Soviet Ukraine  for each position of deputy; the communist party commissars then provided the assembly with resolutions that would push through nationalization of banks and heavy industry and transfers of land to peasant communities. Elections took place on October 22, 1939; the official numbers reported participation of 93 percent of the electorate, 91 percent of whom supported the appointed candidates. Based on these results, the People's Assembly of Western Ukraine, headed by Kyryl Studynsky (a prominent academic and figure in the Christian Social Movement), consisted of 1,484 deputies. They met in Lwów on October 26–28, where they were addressed by Nikita Khrushchev and other representatives of the Ukrainian Soviet Socialist Republic. The assembly voted unanimously to thank Stalin for liberation and sent a delegation headed by Studynsky to Moscow to ask for formal inclusion of the territories into the Ukrainian SSR. The Supreme Soviet voted to do so on November 1, 1939 and on November 15 a law was passed making the former eastern Polish territories a part of the Ukrainian SSR.

Soviet policies in the newly annexed territories

Law and order
A week after the start of World War II, on 8 September 1939, Lavrentiy Beria issued an order, according to which Narkom of NKVD in Ukrainian SSR Ivan Serov had to organize the NKVD operational groups (opergroups). They were tasked among other functions with the clearing of "liberated" regions from the "anti-Soviet elements". Despite that, to assist, the NKVD special groups out of the Kiev Special Military District (from July 1939 to June 1941 Kiev Military District had status "special") were allocated several additional battalions of 300 warriors each, Serov asked Beria to allow him to create new groups and increase staff of "punishers". The First Secretary of the Central Committee of the Communist Party (Bolsheviks) of Ukraine Nikita Khrushchev asked the chief of the Special Department of the Ukrainian Front Anatoliy Mikheyev, a 28 year old major, "What kind of a job is it when no one is executed?"

On 14 December 1939, the Politburo of the Central Committee of the Communist Party (Bolsheviks) of Ukraine adopted a resolution "On the payment of pensions to pensioners of the former Western Ukraine (О выплате пенсий пенсионерам бывшей Западной Украины)" which in the first months in Lviv alone left over 4,300 residents without pensions (those included former police servicemembers, civil officials, judges, "cult servants"). The majority of those pensioners lived the rest of their lives in shelters for the infirm and disabled.

For the Red Army and its servicemembers, law and order in occupied Lviv was a merely a formality. Pogroms, rape, robberies, and unreasonable executions became an everyday occurrence. The military shot prisoners as well as civilians. Looting spread. The unlawful incidents became so big a problem that the 6th Army prosecutor Nechyporenko was forced to write a personal letter to Stalin asking to intervene and stop the atrocities. Special brutality was noted against priests and bishops; in particular, the Chekists (members of Cheka) made bishop Symon walk naked on the streets of Kremenets towards a local prison hitting him with rifle stocks on the way.

Government and administration

The lands annexed by the Soviet Union were administratively reorganized into six oblasts similar to those in the rest of the Soviet Union (Drohobych Oblast, Lviv Oblast, Rivne Oblast, Stanislav (later known as Ivano-Frankivsk) Oblast, Tarnopil Oblast and Volyn Oblast). The civilian administration in those regions annexed from Poland was organized by December 1939 and was drawn mostly from newcomers from eastern Ukraine and Russia; only 20% of government employees were from the local population. It was falsely assumed by many Ukrainians that a disproportionate number of people working for the Soviet administration came from within the Jewish community. The reason for this belief was that most of the previous Polish administrators were deported, and the local Ukrainian intelligentsia who could have taken their place were generally deemed to be too nationalistic for such work by the Soviets. In reality, most positions were staffed by ethnic Ukrainians from the Soviet Union.  Nevertheless, in the eyes of many Ukrainians the Jews came to be associated with Soviet rule, which contributed to rising anti-Jewish sentiments. The Polish language was eliminated from public life, and Ukrainian became the language of the government and the courts. All Polish institutions were abolished, and all Polish officials, civil servants, and police were deported to Siberia or Central Asia.

Ukrainian organizations not controlled by the Soviets were limited or abolished. Hundreds of credit unions and cooperatives that had served the Ukrainian people between the wars were shut down. All local Ukrainian political parties were abolished, and between 20,000 and 30,000 Ukrainian activists fled to German-occupied territory; most of those who did not escape were arrested. For example, Dr. Dmytro Levitsky, former head of the moderate Ukrainian political party Ukrainian National Democratic Alliance (UNDO) that had dominated Ukrainian political life between the world wars and chief of the Ukrainian delegation in the pre-war Polish parliament, was arrested alongside many of his colleagues, deported to Moscow, and never heard from again. The elimination of the individuals, organizations and parties that represented moderate or liberal political tendencies left the extremist Organization of Ukrainian Nationalists, which operated in the underground, as the only political party with a significant organizational presence left in western Ukraine.

Education and healthcare

Due to the sensitive location of western Ukraine along the border with German-held territory, the Soviet administration made attempts, initially, to gain the loyalty and respect of the Ukrainian population. Healthcare, especially in the villages, was improved dramatically. Between the two world wars, Poland had drastically reduced the number of Ukrainian-language schools. Many of these were now reopened and, although Russian became a mandatory foreign-language course, the schools were taught in Ukrainian. Ukrainian was reintroduced in the University of Lviv (where the Polish government had banished it during the interwar years), which became thoroughly Ukrainized and renamed after Ukrainian writer Ivan Franko. The Soviet authorities established a branch of the Ukrainian Academy of Sciences in Lviv, and some leading non-Communist Ukrainian scholars were invited to staff these institutions. University students from Eastern Ukraine were brought to Lviv and western Ukrainian students, professors, and other cultural figures were sent on Soviet-funded trips to Kiev. An unintended result of such exchanges was that the Galician youth were disagreeably surprised by the material poverty and widespread use of Russian in Soviet Ukraine, while the incoming students to western Ukraine became exposed to and sometimes came to adopt the typical form of Ukrainian nationalism dominant in the west. In contrast to the dramatic expansion of educational opportunities within the Soviet system, non-Soviet controlled educational institutions such as the popular Prosvita society reading rooms, the Shevchenko Scientific Society, libraries and community theaters, and the Russophile Stauropegion Institute were closed or abolished.

Land reform
In the annexed territories, over 50 percent of the land had belonged to Polish landlords while approximately 75% of the Ukrainian peasants owned less than two hectares of land per household. Starting in 1939, lands not owned by the peasants were seized and slightly less than half of them were distributed to landless peasants free of charge; the rest were given to new collective farms. The Soviet authorities then began taking land from the peasants themselves and turning it over to collective farms, which affected 13% of western Ukrainian farmland by 1941. This caused the peasants to turn against the Soviet regime.

Religious persecution

At the time of the Soviet annexation of Eastern Galicia and Volhynia, the Ukrainian Greek Catholic Church had approximately 2,190 parishes, three theological seminaries, 29 monasteries, 120 convents and 3.5 million faithful. Its leader, Andrey Sheptytsky, was seen as a "father figure" by most western Ukrainians. The married Western Ukrainian Clergy and their children formed a caste that had a high degree of influence within Ukrainian society. Using his moral influence, Sheptytsky persuaded all but approximately 100 of the Ukrainian Catholic priests in western Ukrainian to stay with their flock in western Ukraine rather than flee from the Soviet regime. Due to its immense popularity, as well as that of Sheptytsky, among the western Ukrainian people, the Soviet Union did not attempt to abolish the Ukrainian Greek Catholic Church nor persecute its leader at that time. Instead, it sought to limit the Church's influence by banishing its presence from schools, preventing it from printing (20 Ukrainian
Catholic journals or newspapers were shut down), confiscating lands from which it derived income, closing monasteries and seminaries, levying high taxes, and introducing anti-religious propaganda into schools and the media. The Soviets also attempted to undermine the Church from within. A prominent Lviv priest and close confidante of Andrey Sheptytsky, Havriil Kostelnyk, who had been the principal critic of the Vatican's Latinization policies and spokesperson for the "Easternizing" trend within the Ukrainian Catholic Church, was asked to organize a "National" Greek Catholic Church, with Soviet support, that would be independent of the Vatican and which would split the faithful in western Ukraine. At this time, he refused to cooperate, even after the autumn of 1940 when the Soviets arrested his youngest son in order to blackmail him. After Sheptytksy's death, however, Kostelnyk would play a significant role in the destruction of the Ukrainian Greek Catholic Church. Arrests, though not of a mass nature, were used in order to terrify the religious leaders. For example, in June 1940, the superior of the Studite convent in Lviv, Olena Viter, was imprisoned and tortured in order to "confess" that Sheptytsky was a member of the Organization of Ukrainian Nationalists and that she was supplying him with weapons. She refused to do so. By the summer of 1941, in Western Ukraine, 11 or 12 Greek Catholic priests were murdered or went missing, and fifty-three were imprisoned or deported.

Despite the various restrictions, the Ukrainian Greek Catholic Church was left as the only remaining independent Ukrainian institution that operated openly in Ukrainian territory. Church attendance soared, and contemporary accounts described churches never having been as full as they became under Soviet rule, with long lines forming in front of confessional booths. The western Ukrainian people attempted to protect their Church from Soviet restrictions. Peasants, even among the poorest ones, were reluctant to accept land taken from the Church and offered to them, and as late as in May 1940, some villages had not yet expropriated church lands, while others distributed much of it to priests' families. Priests made homeless were taken in by parishioners. Children, who no longer learned religion in school, started obtaining religious instruction privately.

The Ukrainian Autocephalous Orthodox Church in Volhynia faced similar restrictions to those of the Ukrainian Greek Catholic Church; moreover it underwent pressure to subordinate itself to the Moscow Patriarch. Many Orthodox priests fled the Soviet regime, resulting in a large number of newly consecrated priests who were not necessarily fit for their duties, weakening and demoralizing the Church somewhat. The Orthodox hierarchs in western Ukraine were left alone, however.

Deportations and demographic changes
Initially, the Soviet authorities deported primarily political figures as well as all Polish officials, civil servants, police, and Polish citizens who had fled from the Germans. The exact number of Poles deported to Siberia or Central Asia between 1939 and 1941 remains unknown, and has been estimated at from under 500,000 to over 1,500,000. Additionally, tens of thousands of German-speaking people from Volhynia were also moved to German-controlled territory.

In April 1940 the Soviet authorities in the annexed territories began to extend their repressive measures towards the general Ukrainian population. This coincided with the removal of Soviet troops of ethnic Ukrainian origin, who had become too friendly with local Ukrainians, and their replacement by soldiers from Central Asia. The Soviet authorities began arresting and deporting anyone suspected of disloyalty to the Soviet regime. In villages, people were denounced by their neighbors, some of whom were Communist sympathizers while others were opportunists. Deportations became indiscriminate, and people and their families were deported for "crimes" such as having relatives or visiting abroad, or visiting friends while the friends were arrested. Because many of those making denunciations were perceived to be Jews, anti-Jewish sentiments among the Ukrainian population increased. Ultimately, between 1939 and the beginning of Operation Barbarossa approximately 500,000 Ukrainians would be deported to Siberia and central Asia. 100,000 Jews fleeing Nazi terror in German-occupied Poland arrived in the territories newly annexed by the USSR.

Aftermath

Following the Soviet annexation of Eastern Galicia and Volhynia, the Ukrainian SSR would gain more land following the Soviet occupation of Bessarabia and Northern Bukovina. Due to it, Ukraine gained Northern Bukovina, Northern Bessarabia, Budjak (Southern Bessarabia) and the Hertsa region from Romania. However, the Moldavian Autonomous Soviet Socialist Republic (Moldavian ASSR) within Ukraine was abolished and large parts of it were given to the newly created Moldavian Soviet Socialist Republic (Moldavian SSR), which emerged from the rest of Bessarabia.

On June 22, 1941 Operation Barbarossa began, and western Ukraine was captured within weeks. Prior to retreating, the Soviet authorities, unwilling to evacuate prisoners, chose to kill all inmates whether or not they had committed major or minor crimes and whether or not they were held for political reasons. Estimates of the number of people killed vary from 15,000 to 40,000. Due to the brutality of the Soviet administration, many Ukrainians initially welcomed the German invasion. On June 30, 1941, Ukrainian nationalist commandos under German command captured Lviv which had been evacuated by Soviet forces and declared an independent state allied with Nazi Germany. This movement was quashed by the Germans, who split up western Ukraine. Galicia, which had once been part of Austria, was made part of the General Government together with occupied Poland, while Volhynia was split off and attached to the Reichskommissariat Ukraine. Romania also regained its former lands and expanded further into Ukrainian territory, including the important city of Odessa, through the formation of the Transnistria Governorate, not formally annexed by Romania but administrated by it. All of these regions would be captured and reintegrated into Soviet Ukraine in 1944.

The Ukrainian SSR's borders would change during the rest of World War II or shortly after it. It was given Carpathian Ruthenia from Czechoslovakia and some Danubian islands and the Snake Island in the Black Sea from Romania but lost Zakerzonia to Soviet-occupied Poland. The same thing would happen with the Belastok Region of Soviet Belarus. The 1954 transfer of Crimea from the Russian SSR to the Ukrainian SSR would ultimately consolidate the legally and internationally recognized borders of Ukraine existing today.

Importance for the Ukrainian and Belarusian statehood

The Soviet annexation of some 51.6% of the territory of the Second Polish Republic, where about 13,200,000 people lived in 1939 including Poles and Jews, was an important event in the history of contemporary Ukraine and Belarus, because it brought within Ukrainian and Belarusian SSR new territories inhabited in part by ethnic Ukrainian and Belarusian people, and thus unified previously separated branches of these nations. The postwar population transfers imposed by Joseph Stalin, and the mass killings of the Holocaust, solidified the mono-ethnic character of these lands by nearly a complete eradication of the Polish and Jewish presence there. Ukraine and Belarus achieved independence in 1991 after the fall of the Soviet Union and became nation states delineated by borders of the 50-year-old republics. "The process of amalgamation", wrote Orest Subtelny, a Canadian historian of Ukrainian descent, "was not only a major aspect of the post-war period, but an event of epochal significance in the history of Ukraine."

See also
Russian occupation of Eastern Galicia, 1914–1915

References

Ukrainian Soviet Socialist Republic
History of Ukraine (1918–1991)
Poland in World War II
Military history of the Soviet Union
Annexation
Territorial disputes of the Soviet Union
Poland–Soviet Union relations
Soviet Union–Ukraine relations
September 1939 events
1939 in Poland
1939 in the Soviet Union


John Halsey (born 23 February 1945) is a rock drummer, best known for his appearance in the television film All You Need is Cash (1978) as Barrington Womble ("Barry Wom") of The Rutles. Previous to this he had played with fellow future Rutle Neil Innes's band Fatso and appeared with them in the BBC Television comedy series, Rutland Weekend Television, fronted by a third Rutle, Eric Idle.

Biography

Early life
Halsey was born in Highgate, North London and grew up in North Finchley. He joined the London rhythm and blues band Felder's Orioles in 1965, who released four singles on the Piccadilly Records label.

Career

Timebox and Patto

In 1967 he joined Timebox, a band from Southport, who later became Patto. With record producer Muff Winwood they released three albums. The band disbanded in 1973.

The Rutles

Halsey was a member of The Rutles, a parody group of The Beatles. In it, he portrayed the fictional drummer, Barry Wom (based on Ringo Starr). The Rutles were foreshadowed in episode 3 of Eric Idle's 1975 BBC television series Rutland Weekend Television. He portrayed Wom from 1975 to 1978, and again briefly from 1996 to 1997, and finally from 2002 to its end in 2019.

He appeared on the Channel 4 show What The Pythons Did Next on 1 January 2007, discussing what it was like to work with Eric Idle. In April 2008 he appeared at the Rutles' thirty-year reunion in Los Angeles, where the four original band members played together again.

Other works
In 1972 Halsey played drums on the Lou Reed album Transformer and recorded as a session musician on albums including Mind Your Own Business by Henry McCullough (1975), Back to the Night by Joan Armatrading (1975), Bullinamingvase by Roy Harper (1977), Woman in the Wings by Maddy Prior (1978), and Mail Order Magic by Roger Chapman (1980). He toured with others including Joe Cocker, The Scaffold, Grimms, Chris Jagger, Neil Innes, Viv Stanshall, and Joe Brown.

Personal life
In an interview for the magazine Ptolemaic Terrascope in 1992, he said that he spent much of the 1980s selling fish from the back of a van after a near-fatal accident in Chichester in 1983 and that since then, he has been in the pub trade. Since 1996 he has been the landlord of the Castle Inn public house in Castle Street, Cambridge.
He remains musically active, playing drums and singing with the Peg Leg Pub Band, a nine-piece ensemble he formed in the summer of 2022. Other members of the Peg Leg Pub Band include, Andy Holland (guitar and vocals), John Clark (guitar and vocals), Gary Neal (banjo, accordion and vocals), Sid Sidholm (harmonica), Ray Perkins (guitar, ukulele, kazoo, and vocals), Eric Haynes (bass, mandolin and vocals), Chris Skilton (guitar and vocals) and Lucy Hall (guitar, bass, and vocals).

Discography

With Timebox

Albums

Singles

With Patto

Albums

Live

With The Rutles

Albums

References

External links

1945 births
Living people
People from Highgate
People from Finchley
Musicians from London
English rock drummers
The Rutles members


Louis-Marie Désiré-Lucas (15 October 1869, Fort-de-France, Martinique – 29 September 1949, Douarnenez) was a French painter.

1869 births
1949 deaths
People from Fort-de-France
19th-century French painters
French male painters
20th-century French painters
20th-century French male artists
19th-century French male artists


The Wright Act of 1887 is a state law of California passed by the legislature on March 7, 1887, that allowed farming regions to form and bond irrigation districts which allowed small farm owners to band together, pool resources, and get water to where it was needed. In the state of California, this Act enabled the diverting of waters from the Merced, San Joaquin and Kings rivers in California's Central Valley. California made an amendment to the Wright Act in 1897, which stopped new irrigation districts from being formed. The Irrigation District Bond Certification Commission, which was created in 1913, is now responsible for forming new irrigation districts.

These irrigation districts are public entities. Irrigation canals in California's Central Valley, along with the expansion and creation of railroads, helped farmers to mass produce and transport agriculture nationwide.

See also
California Department of Water Resources

References

Water in California
California statutes
History of the San Joaquin Valley
1887 in California
1887 in American law
1887 in the environment
Kings River (California)
San Joaquin River


Behrami is a village in Bosnia and Herzegovina. According to the 1991 census, the village is located in the municipality of Srebrenik.

Demographics
According to the 2013 census, its population was 310.

References

Populated places in Srebrenik


John Keefe (born October 29, 1979) is an American film and television actor, best known for playing Julian Garrison in Return of the Living Dead: Necropolis and its following sequel, Return of the Living Dead: Rave to the Grave.

He was also the chief visual effects machinist for The Aviator.

Filmography
2004 The Practice (TV series, episode: "In Good Conscience") ... Tom Quillen
2005 Proof ... University Friend
2005 The Inside (TV series, episode: "New Girl in Town") ... Eric
2005 Return of the Living Dead: Necropolis ... Julian Garrison
2005 Return of the Living Dead: Rave to the Grave ... Julian Garrison
2007 Not Another High School Show (TV movie)  ... Brian Atkins
2007 White Air ... Brad Crow
2013 Here We Go

References

External links

1979 births
American male film actors
American male television actors
Living people
Male actors from Boston


Joe Arnold Erwin (born October 23, 1956) is an entrepreneur and politician from South Carolina. He co-founded and former President of Erwin-Penland Advertising, is a former Chairman of the South Carolina Democratic Party, and co-founded the thought leadership conference Food for Thought in 2008. Currently owns Erwin Creates and the co-working space in Downtown Greenville South Carolina, Endeavor Greenville (www.endeavorgreenville.com).

Early years
Erwin was born October 23, 1956, in Florence, South Carolina, to Isabel Erwin Kelly and Henry Erwin. Henry died following a brief illness when Joe was 12, and his mother raised Joe and his younger brother Tony. After living in North Carolina and Florida, the Erwins moved to Greenville, South Carolina, in 1968 to be closer to family.

Erwin attended public schools and graduated from Eastside High School in Greenville in 1975. At Eastside, he served as student body president, the editorial page editor of the school's newspaper, and captained the undefeated varsity soccer team. Following graduation, Erwin enrolled at Clemson University. He was an Intramural Debate champion, an International Debate representative, a varsity cheerleader, and in his senior year, the head cheerleader (also known as the "Mic Man"). He was named an NCAA All-American in 1978. Erwin graduated from Clemson in 1979 with a B.A. in Political Science.

Joe married Gretchen Getchell Erwin in 1984, and they have two children: Douglas (b. 1988) and Valerie (b. 1990). They live in Greenville, South Carolina and are members of Christ Church Episcopal.

Marketing executive
Following graduation, Erwin worked at Leslie Advertising in Greenville, initially in the media department and later as an account executive. In 1982 he was recruited to New York to join national agency Benton & Bowles (later DMB&B) to work on the Corning Glass and Quincy's Family Steakhouse accounts. In addition to account executive duties, Erwin began to write copy–ultimately serving as copywriter for John Madden's broadcast campaign for Quincy's. After their marriage in 1984, Gretchen moved to New York and joined the Media Department at Dancer Fitzgerald Sample (later Saatchi & Saatchi).

While in New York, Joe, Gretchen and their friend Allen Bosworth began to talk of returning south to open an agency of their own. Joe and Gretchen purchased Penland Advertising in Greenville, South Carolina, in 1986, renaming the new agency Erwin-Penland. Allen Bosworth remained in New York for two years before joining EP as Director of Client Service in 1988. Joe served as President and Creative Director, while Gretchen led the Media Department.

Since opening in 1986 with one account and one employee, Erwin-Penland has seen expansion. Now with more than 200 employees working across all marketing disciplines, clients include Verizon Wireless, Denny's, Confluence Watersports, Fatz Cafe, ScanSource, Lockheed Martin and BI-LO Supermarkets. Erwin-Penland is a member of the American Association of Advertising Agencies (AAAA's), and the Intermarket Agency Network.

Erwin-Penland is known for "integrated marketing solutions"–primarily for retail accounts.

Political activity
While at Clemson, Erwin was a member of College Democrats, and volunteered for a number of campaigns, including future South Carolina Congressman Jim Clyburn's campaign for Secretary of State, Richard W. Riley's campaign for governor, and Jimmy Carter's presidential race. During the 1980s and 1990s, he campaigned for South Carolina Governor Jim Hodges, U.S. Senator Ernest Hollings, South Carolina Superintendent of Education Inez Tenenbaum, and statewide candidates Steve Benjamin and Rick Wade.

Erwin was elected Chairman of the South Carolina Democratic Party in 2003, and completed his second two-year term in May 2007. During that time, he negotiated and produced two Democratic presidential debates–one in Greenville in 2003 and one in Orangeburg in 2007–that were broadcast live nationally on NBC. The Greenville debate was the last debate moderated by Tom Brokaw before he left the anchor chair at NBC News. Erwin chose to hold the 2007 debate on the campus of South Carolina State University in Orangeburg, marking the first time a presidential primary debate had been held at an historically black college or university.

Erwin's four-year chairmanship focused on reorganization at the grassroots level; holding a successful, volunteer-run statewide Democratic presidential primary in 2004; producing the two Democratic presidential debates; and seeking the right for South Carolina to hold its 2008 Democratic presidential primary in the "pre-window" period–as the only primary between the New Hampshire primary and Super Tuesday.

South Carolina competed against 10 other states and the District of Columbia for the early primary designation, and ultimately was chosen by the DNC to join New Hampshire as the only other state with a pre-window primary. The January 2008 Democratic presidential primary, in which South Carolina Democrats turned out in record numbers and outpolled Republicans by more than 88,000 votes, was a watershed event in the 2008 Democratic presidential nominating process. Senator Barack Obama won the primary with 55% of the vote.

When Erwin's term as chair expired in May 2007, he chose not to seek re-election, but remained involved in politics. During his chairmanship he remained neutral in the primary battle, seeking to engage all voters and help all candidates grow their South Carolina campaigns. In fall 2007, however, he endorsed Senator Barack Obama for president, and campaigned with and for the senator in the months leading up to the January 2008 primary.

Community service
Erwin is an Ernst & Young Entrepreneur of the Year Award Winner, was inducted into Greenville Tech's Entrepreneurs Forum in 2000 and is a member of the Clemson University Entrepreneurs' Roundtable. He served on the Executive Committee of the Greenville Chamber of Commerce, and was a member of South Carolina Governor Jim Hodges' Commission on Teacher Quality.

In September 2008 Erwin was elected to the national board of the Partnership for a Drug-Free America. He also serves on the Boards of the Upstate Alliance and the BI-LO Charity Classic, and served as 2008 upstate campaign co-chair for the United Negro College Fund. He is a graduate of the Diversity Leadership Academy at Furman University.

Food for Thought
In 2008, Joe Erwin and members of Erwin-Penland's leadership team created and hosted the first annual Food for Thought conference. This event brought leaders from around the country to Greenville for an experiential "unconventional convention," showcasing and inspiring creative thinking across business, non-profit, artistic, educational and culinary endeavors.

References

External links

1956 births
Living people
American marketing people
College Democrats
People from Florence, South Carolina
State political party chairs of South Carolina


Peintre de la Marine (, Painter of the Fleet) is a title awarded by the minister of defence in France to artists who have devoted their talents to the sea, the French Navy and other maritime subjects. It was set up in 1830 by the July Monarchy and can be awarded to painters, photographers, illustrators, engravers, and sculptors.

Rights and privileges

The title is unpaid but does grant certain facilities and privileges:
being able to embark on French Navy vessels
wearing a uniform
being allowed to follow one's artistic signature with an anchor
belonging to the Service historique de la Marine.

The peintres agréés are named for a 3-year term by a jury of naval officers and peintres titulaires and presided over by a general officer of the Navy. To become a peintre titulaire, one has to serve as a peintre agréé for more than 4 consecutive terms (12 years).

History

Peintres de la Marine since 1830 (by date of appointment)

1830-1899
 1830 : Louis-Philippe Crépin, Jean Antoine Théodore de Gudin,
 1849 : Eugène Lepoittevin
 1854 : Léon Morel-Fatio,
 1867 : P. de Crisenoy,
 1875 : C. Longueville,
 1876 : F. Roux,
 1880 : F.-P. Barry,
 1882 : L. Le Pic, P. Gaillard, Lepinay,
 1883 : M. Willenich, Pompon,
 1885 : Gaston. Roullet, E. Adam,
 1886 : T. Weber,
 1887 : G. Bourgain,
 1888 : M. N. Saulnier de La Pinelais,
 1889 : Eugène Dauphin,
 1890 : Léon Couturier, G. Le Sénéchal de Kerdreoret, A. Marcottes de Quivières, O. de Champeaux, La Boulaye, E. d'Argence,
 1891 : E. Maillart, L. Dumoulin, Eugène Chigot, P. Jobert, P. Bertrand,
 1892 : Moisson,
 1893 : T. Poilpot,
 1895 : P. Marsac, P. Liot,
 1896 : C. Bellenger, G. Ravanne,
 1898 : G. Vient, A. Johanson,
 1899 : François Charles Cachoud, E. Noirot, M. Perret,
 1900 : G. Galland, F. Legout-Gérard, P. Merwart, R. de Villars.

1901-1950
 1901 : M. Roy - Félix Ziem,
 1902 : P.-H. Simons,
 1903 : F. Regamey,
 1904 : G.-H Aubain, P. Place-Canton, A. Berthon,
 1905 : Gustave Fraipont, L. E. de Jarny, M. Noire, F. Olivier, F. Guey,
 1906 : P. La Gatier, A. Sébille,
 1908 : E. Berthélémy, E. Chevalier, A. Delaistre, Charles Fouqueray,
 1909 : R. Dumont-Duparc,
 1910 : A. Chanteau, G. Chanteau, F.-H. Gauthier, L. P. Félix, H. Farre, Eugène François Deshayes,
 1911 : L. Laurent-Gsell, A. Moreaux,
 1912 : L.-E. Dauphin, F. Salkin,
 1914 : A. Nivard, C. Cazes,
 1915 : Paul Signac,
 1916 : M. Maufra, L. Jonas, R. Desouches,
 1917 : G. Taboureau, dit Sandy Hook,
 1918 : A. Roux-Renard, L. Haffner, J. Lancelin, Gabriel-Hippolyte Lebas,
 1919 : A. Matisse,
 1921 : Charles Millot alias H. Gervèse, G. Arnoux, Pierre Bodard, L. Bonamici, E.-L. Gillot, P. Morchain, R. Pinard, H.-E. Callot, P.-E. Lecomte, Mathurin Méheut, Frédéric Montenard,
 1922 : André Dauchez, B. Lachèvre, F. Lantoine, C. Martin-Sauvaigo, J.-L. Paguenaud,
 1923 : Llano Florez, G. F. Roussel, Du Gardier,
 1924 : E. Barbaroux, J. R. Carrière, Paul Levéré, M. Moisset, R. Quillivic, G. Rollin de Vertury, Jean Roque, A. Theunissen, P. Leconte,
 1925 : L. Madrassi, Vitalis Morin, G. Cochet, G. Drageon,
 1926 : G. Alaux, J. B. Roubaux,
 1927 : J. Gaboriaux,
 1928 : A. Silice, A. Gaussen, M. Gaussen,
 1929 : M. Guyot, dit Guy Loe,
 1930 : F. Alaux,
 1931 : V.-L. Delpy,
 1933 : J.-G. Daragnes, B. Roy, P. Roy, L. Simon, M. Vilalta,
 1934 : E. Blandin,
 1935 : Durand Coupel de Saint Front, dit Marin-Marie,
 1936 : Albert Brenet, F. Pascal, M. Menardeau, P. Bertrand, L. Dalloz, P. Bompard, Roger Chapelet, René-Yves Creston, Jim Sévellec, A. Verdihlan, J. Lacombe,
 1938 : J. Maxence,
 1940 : A. Goichon,
 1942 : E. Berthier de Sauvigny, J. Bouchaud, H. Cahours, H. Cristol, G. Guiraud, M. Laurent, Pierre Péron,
 1943 : Lucien Martial, P. Perraudin,
 1944 : L.-M. Bayle, Fernand Herbo, P. Noël,
 1945 : E. Ceria, J. Helleu, A. Lemoineau, A. Marquet, L. Pascal,
 1947 : H. F. Baille, V. Barbey, F. Decaix, A. Bizette-Lindet, G. Fouille, Henri de Waroquier,
 1948 : P. Dauchez, Charles Lapicque.

1950-99
 1952 : C. Cerny, F. Desnoyers, Jean Even, André Hambourg,
 1955 : R. Bezombes,
 1956 : J. Delpech, Jean Rigaud,
 1957 : Louis Chervin,
 1959 : Jacques Boullaire, L. Gambier,
 1960 : M. Douguet,
 1962 : Albert Decaris,
 1963 : G. Hervigo,
 1973 : François Baboulet, M. Depré, Michel King, Jacques Bouyssou, Henri Plisson, Gaston Sébire, R. Yan,
 1975 : Jean-Pierre Alaux, François Bellec, Jean Dieuzaide, J. Courboules,
 1977 : Michel Hertz, Jean-Jacques Morvan,
 1979 : Jean Le Merdy, J. Peltier, Roger Montane,
 1981 : Arnaud d'Hauterives, Marc Monkowicki, Claude Schürr,
 1983 : André Bourrié, Jean-Marie Chourgnoz, Serge Marko,
 1987 : Michel Bernard, Michel Bez, R. Savary,
 1989 : J. Cluseau Lanauve, Jean-Gabriel Montador, Michel Tesmoingt, Jean-Paul Tourbatez,
 1991 : Marc-Pierre Berthier, Michel Jouenne, Philip Plisson, Stéphane Ruais,
 1993 : Paul Ambille, Pierre Courtois, F. Perhirin,
 1995 : Jacques Coquillay, Christiane Rosset,
 1997 : Claude Fauchère, Christoff Debusschere, Jean-Pierre Le Bras, Alain Bailhache,
 1999 : Roland Lefranc.

21st century

 2001 : Patrick Camus, John Pendray, Ronan Olier
 2003 : Michèle Battut (painter), Michel Bellion, Titouan Lamazou, Christian Le Corre, Richard Texier, Jean-Marie Zacchi
 2005 : Yann Arthus-Bertrand (photographer), Éric Bari, Jean Lemonnier (sculptor), Anne Smith, Dirk Verdoorn,
 2008 : Jean Gaumy, Nicolas Vial.
 2010 : Marie Détrée-Hourrière, Jacques Rohaut, Olivier Dufaure de Lajarte, Guy L'Hostis
 2012 : Sylvie Du Plessis, Jean-Pierre Arcile, Yong-Man Kwon
 2015 : François Legrand, Jacques Perrin
 2018 : Olivier Desvaux, Alain Jamet, Hélène Legrand, Bertrand de Miollis, Thierry des Ouches
 2021 : Emmanuel Lepage, Raphaele Goineau, Jonathan Florent, Ewan Lebourdais

Sources

External links
 Site officiel des Peintres de la Marine
peintres officiels de la marine
 Net-Marine Associations sur la Marine Nationale
 Musée National de la Marine

French Navy
Marine art


Abdul Kareem Sule (born January 20, 1975, in Kaduna) is a former Nigerian football player and current Player Agent.

Career
He began his career in 1993 with his homeclub NUB Kaduna (Nigeria Universal Bank) before leaving in 1994 to Stationery Stores F.C. in Lagos. He was transferred in July 1995 to BCC Lions. After six months, he left BCC Lions and moved to Qatar SC. With the Doha club he was one of the top scorers and was scouted by Danish side Herning Fremad in 1997. He played three years for Herning before moving in 2000 for a then-Danish record nine million DKK to Akademisk Boldklub, where he played five years for the club. He left in 2004 and signed a contract with Køge BK.

He left the club after one year  and moved to AC Horsens in 2005. The next year he transferred to Lolland-Falster Alliancen. In 2007 the striker played in the Malaysian Super League for newcomers Johor FC.

International career
He played ten games and scored two goals in Africa Cup and World Cup matches for the Super Eagles and was in the squad from 1990 to 1993.

After his retirement
Later in 2008 the former Nigerian National Team player joined European Sports management (ESM) as an associated football scout.

References

1975 births
Living people
Footballers from Kaduna
Men's association football midfielders
Nigerian men's footballers
Qatar SC players
Akademisk Boldklub players
Køge Boldklub players
AC Horsens players
FC Midtjylland players
Plateau United F.C. players
Danish Superliga players
Danish 1st Division players
Nigerian expatriate men's footballers
Expatriate men's footballers in Qatar
Expatriate men's footballers in Denmark
Expatriate men's footballers in Malaysia
Nigerian expatriate sportspeople in Qatar
Nigerian expatriate sportspeople in Denmark
Nigerian expatriate sportspeople in Malaysia
BCC Lions F.C. players
Qatar Stars League players
Nigeria men's international footballers
Stationery Stores F.C. players
Johor Darul Ta'zim F.C. players
Sports agents


Oriol () is a Catalan name, which can be found as a given name or a surname. It derives from the Latin word aureus (golden). It was originally just a surname, but started to be used as a given name in honour of Saint Joseph Oriol. It may refer to:

Given name
Oriol Elcacho, Catalan male model
Oriol Junqueras, Catalan politician
Oriol Lozano, Catalan footballer
Oriol Martorell i Codina, Catalan music director, professor and politician
Oriol Riera, Catalan football player
Oriol Ripol, Catalan rugby union player
Oriol Romeu, Catalan football player
Oriol Salvia, Catalan squash player
Oriol Servià, Catalan race car driver

Surname
Estevan Oriol, Mexican American photographer
Saint Joseph Oriol, Spanish Catholic saint
José Luis de Oriol y Urigüen, Spanish Carlist politician
José María de Oriol y Urquijo, Spanish politician

See also
Auriol (disambiguation), French name also derived from "aureus"
Oryol, place in Russia also known as Oriol

References

Catalan masculine given names
Masculine given names
Catalan-language surnames


The 2007 Chinese Professional Baseball League (CPBL) regular season was split into 2 half seasons, 1st half and 2nd half. The former was holding from March 17 to June 17, and the later was holding between June 29 to September 30.

First Half Results

Second Half Results

Chinese Professional Baseball League lists
2007
2007 in Taiwanese sport
2007 in baseball


Wendy Law-Yone (; born 1947) is the critically acclaimed Burmese-born American author of A Daughter's Memoir of Burma (Columbia University Press, 2014), Golden Parasol (Chatto & Windus, 2013), The Road to Wanting (Chatto & Windus, 2010), Irrawaddy Tango (Knopf, 1994), and The Coffin Tree (Knopf, 1983).

Biography
The daughter of notable Burmese newspaper publisher, editor and politician Edward Michael Law-Yone, Law-Yone was born in Mandalay but grew up in Rangoon. Her background is diverse, with one grandfather a merchant from Yunnan and another a colonial officer from Great Britain. Law-Yone states that she is "half Burman, a quarter Chinese and a quarter English".

Law-Yone has indicated that her father's imprisonment under the military regime limited her options in the country. She was barred from university, but not allowed to leave the country. In 1967, an attempt to escape to Thailand failed and she was imprisoned, but managed to leave Burma as a stateless person. She relocated to the United States in 1973, attending Eckerd College for comparative literature and modern languages before receiving a Carnegie Fellowship and settling in Washington, D.C. for thirty years. In 1987, she was the recipient of a National Endowment for the Arts Literature Award for Creative Writing. In 2002, she received a David T.K. Wong Creative Writing Fellowship from the University of East Anglia. Her novel The Road to Wanting was long-listed for the Orange Prize 2011. In 2015, she was Dürrenmatt guest professor at University of Bern, Switzerland.

Law-Yone cites as a strong influence on her writing career her father's love of language, noting that his work as the founder of Burmese English-language newspaper The Nation was a daily factor in her childhood.

Selected bibliography

 The Coffin Tree (1983)
 Irrawaddy Tango (1993)
 The Road to Wanting (2010)
 Golden Parasol: A Daughter's Memoir of Burma (2013)
 Dürrenmatt and me. Eine Passage von Burma nach Bern (2021, German-English edition)
 Aung San Suu Kyi: Politician, Prisoner, Parent (2023)

Further reading
Law-Yone, Wendy. (2010-04-03) "My Father's Burmese Newspaper, The Rangoon Nation",The Guardian.
Law-Yone, Wendy. (2003-08-25) "The Outsider", Time Magazine.

Notes

Sources

1947 births
Academics of the University of East Anglia
American women journalists of Asian descent
American women writers
Burmese emigrants to the United States
Burmese journalists
Burmese women journalists
Burmese people of Chinese descent
Burmese people of English descent
American journalists of Chinese descent
American writers of Chinese descent
Living people
People from Mandalay
Writers from Yangon
20th-century Burmese women writers
21st-century Burmese women writers
20th-century Burmese writers
21st-century Burmese writers
Burmese memoirists
American women academics
21st-century American women


In France, the Defence Historical Service (Service historique de la défense or SHD) is the archives centre of Ministry of Defence and its armed forces. It was set up by decree in 2005.

The SHD consists of the "Centre historique des archives" at Vincennes, the "Centre des archives de l’armement et du personnel" at Châtellerault and a number of smaller repositories. In total, the archives contain about 450 km of records of which 100 km are at Vincennes and 70 km at Châtellerault.

The SHD also harbors a research lab in War Studies, the "Division Recherches, Études et Enseignement (DREE)", staffed by ca. 20 professional historians, including both military officers and academic scholars. It deals prominently with French military history (17th-20th century) but some of its members also research broader issues of European, North American or global history.

References

Military history of France
Archives in France
Buildings and structures in Val-de-Marne
Defence agencies of France


Jacques Legendre may refer to:

 Jacques Legendre (Canadian politician), Canadian former Ottawa politician
 Jacques Legendre (French politician) (born 1941), French politician and member of the Senate of France


Cerovec Stanka Vraza () is a village in the Municipality of Ormož in northeastern Slovenia. The area traditionally belonged to the Styria region and is now included in the Drava Statistical Region.

Name
The name of the settlement was changed from Cerovec to Cerovec Stanka Vraza in 1980.

Cultural heritage
The village is the birthplace of Stanko Vraz, after whom it was renamed (as well as to differentiate it from a number of other settlements in Slovenia named Cerovec). The house in which Vraz was born in 1810 is preserved and a commemorative plaque was unveiled on it in 1951.

References

External links
Cerovec Stanka Vraza on Geopedia

Populated places in the Municipality of Ormož


The Central Council of Probation and After-Care Committees was the body which co-ordinated probation services (which were generally organised on a county basis) in England and Wales and acted as their central representative to the UK Government.  It was one of the founder members of the Central Council for Education and Training in Social Work in 1971.

In 1978 it produced briefing papers for local Probation and After-Care Committees on the Royal Commission on Criminal Procedure (Philips Commission), and the diminished use of probation orders.

In the 1981 Birthday Honours John Patrick Marland, Chairman of the Council was made a Commander of the Order of the British Empire.

It was succeeded by the Probation Boards Association.

Its records are held in the Home Office archives.

Footnotes

Penal system in England
Organisations based in England
Penal system in Wales


Philippe Leroy may refer to:

Philippe Leroy (actor)
Philippe Leroy (politician)


Solaris (, tr. Solyaris) is a 1972 Soviet science fiction drama film based on Stanisław Lem's 1961 novel of the same title. The film was co-written and directed by Andrei Tarkovsky, and stars Donatas Banionis and Natalya Bondarchuk. The electronic music score was performed by Eduard Artemyev and features a composition by J.S. Bach as its main theme. The plot centers on a space station orbiting the fictional planet Solaris, where a scientific mission has stalled because the skeleton crew of three scientists have fallen into emotional crises. Psychologist Kris Kelvin (Banionis) travels to the station to evaluate the situation, only to encounter the same mysterious phenomena as the others.

Solaris won the Grand Prix Spécial du Jury at the 1972 Cannes Film Festival and was nominated for the Palme d'Or. It received critical acclaim, and is often cited as one of the greatest science fiction films in the history of cinema. The film was Tarkovsky's attempt to bring greater emotional depth to science fiction films; he viewed most Western works in the genre, including 2001: A Space Odyssey (1968), as shallow due to their focus on technological invention. Some of the ideas Tarkovsky expresses in this film are further developed in his film Stalker (1979).

Plot
Psychologist Kris Kelvin is being sent on an interstellar journey to evaluate whether a decades-old space station, positioned over the oceanic planet Solaris, should continue to study it. He spends his last day on Earth with his elderly father and retired pilot Burton. Years earlier, Burton had been part of an exploratory team at Solaris but was recalled when he described strange happenings, including seeing a four-meter-tall child on the surface of the water on the planet. These were dismissed as hallucinations by a panel of scientists and military, but now that the remaining crew members are making similarly strange reports, Kris' skills are needed.

Upon his arrival at Solaris Station, a scientific research station, none of the three remaining scientists greet Kelvin, and he finds the space station in strange disarray. He soon learns that his friend among the scientists, Dr. Gibarian, has killed himself. The two surviving crewmen—Snaut and Sartorius—are erratic. Kelvin also catches fleeting glimpses of others aboard the station who were not part of the original crew. He also finds that Gibarian left him a rambling, cryptic farewell video message, warning him about the strange things happening at the station. The video also shows two appearances of a little girl who should not be aboard the station, with Gibarian asking Kelvin if he has seen her and insisting he is not insane, and should strange things happen to Kelvin, it will not be Kelvin having gone insane.

After a fitful sleep, Kelvin is shocked to find Hari, his wife who died ten years earlier, sitting in his sleeping quarters. She is unaware of how she got there. Terrified by her presence, Kelvin launches the replica of his wife into outer space. Snaut explains that the "visitors" or "guests" began appearing after the scientists conducted radiation experiments, directing X-rays at the swirling surface of the planet in a desperate attempt to understand its nature.

That evening, Hari reappears in Kelvin's quarters. This time, he calmly accepts her and they fall asleep together in an embrace. Hari panics when Kelvin briefly leaves her alone in the room, and injures herself attempting to escape. But before Kelvin can give first aid, her injuries spontaneously heal before his eyes. Sartorius and Snaut explain to Kelvin that Solaris created Hari from his memories of her. The Hari present among them, though not human, thinks and feels as though she were. Sartorius theorizes that the visitors, also called "guests", are composed of "neutrino systems" rather than atoms, but that it might still be possible to destroy them through use of a device known as "the annihilator". Later, Snaut proposes beaming Kelvin's brainwave patterns at Solaris in hopes that it will understand them and stop the disturbing apparitions.

In time, Hari becomes more human and independent and is able to exist away from Kelvin's presence without panic. She learns from Sartorius that the original Hari had committed suicide ten years earlier. Sartorius, Snaut, Kelvin and Hari gather together for a birthday party, which evolves into a philosophical argument, during which Sartorius reminds Hari that she is not real. Distressed, Hari kills herself again by drinking liquid oxygen, only to painfully resurrect after a few minutes. On the surface of Solaris, the ocean begins to swirl faster into a funnel.

Kelvin falls ill and goes to sleep. He dreams of his mother as a young woman, washing away dirt or scabs from his arm. When he awakens, Hari is gone; Snaut reads her farewell note, in which she explains how she petitioned the two scientists to destroy her. Snaut then tells Kelvin that since they have broadcast Kelvin's brainwaves into Solaris, the visitors have stopped appearing and islands have started forming on the planet's surface. Kelvin debates whether to return to Earth or remain on the station.

Kelvin appears to be at the family home seen at the beginning of the film. He sinks to his knees and embraces his father. The camera slowly cranes away to reveal that they are on an island in the Solaris ocean.

Cast

Production

Writing
In 1968 the director Andrei Tarkovsky had several motives for cinematically adapting Stanisław Lem's science fiction novel Solaris (1961). First, he admired Lem's work. Second, he needed work and money, because his previous film, Andrei Rublev (1966), had gone unreleased, and his screenplay A White, White Day had been rejected (in 1975 it was realised as The Mirror). A film of a novel by Lem, a popular and critically respected writer in the USSR, was a logical commercial and artistic choice. Another inspiration was Tarkovsky's desire to bring emotional depth to the science fiction genre, which he regarded as shallow due to its attention to technological invention; in a 1970 interview, he singled out Stanley Kubrick's 1968 film 2001: A Space Odyssey as "phoney on many points" and "a lifeless schema with only pretensions to truth".

Tarkovsky and Lem collaborated and remained in communication about the adaptation. With Friedrich Gorenstein, Tarkovsky co-wrote the first screenplay in the summer of 1969; two-thirds of it occurred on Earth. The Mosfilm committee disliked it, and Lem became furious over the drastic alteration of his novel. The final screenplay yielded the shooting script, which has less action on Earth and deletes Kelvin's marriage to his second wife, Maria, from the story. In the novel Lem describes science's inadequacy in allowing humans to communicate with an alien life form, because certain forms, at least, of sentient extra-terrestrial life may operate well outside of human experience and understanding. In the movie, Tarkovsky concentrates on Kelvin's feelings for his wife, Hari, and the impact of outer space exploration on the human condition. Dr. Gibarian's monologue (from the novel's sixth chapter) is the highlight of the final library scene, wherein Snaut says: "We don't need other worlds. We need mirrors". Unlike the novel, which begins with Kelvin's spaceflight and takes place entirely on Solaris, the film shows Kelvin's visit to his parents' house in the country before leaving Earth. The contrast establishes the worlds in which he lives – a vibrant Earth versus an austere, closed-in space station orbiting Solaris – demonstrating and questioning space exploration's impact on the human psyche.

The set design of Solaris features paintings by the Old Masters. The interior of the space station is decorated with full reproductions of the 1565 painting cycle of The Months (The Hunters in the Snow, The Gloomy Day, The Hay Harvest, The Harvesters, and The Return of the Herd), by Pieter Brueghel the Elder, and details of Landscape with the Fall of Icarus and The Hunters in the Snow (1565). The scene of Kelvin kneeling before his father and the father embracing him alludes to The Return of the Prodigal Son (1669) by Rembrandt. The references and allusions are Tarkovsky's efforts to give the young art of cinema historical perspective, to evoke the viewer's feeling that cinema is a mature art.

The film references Tarkovsky's 1966 film Andrei Rublev by having an icon by Andrei Rublev being placed in Kelvin's room. It is the second of a series of three films referencing Rublev, the last being Tarkovsky's next film, The Mirror, which was made in 1975 and which references Andrei Rublev by having a poster of the film hung on a wall.

The cast
Tarkovsky initially wanted his ex-wife, Irma Raush, to play Hari, but after meeting actress Bibi Andersson in June 1970, he decided that she was better for the role. Wishing to work with Tarkovsky, Andersson agreed to be paid in roubles. Nevertheless, Natalya Bondarchuk was ultimately cast as Hari. Tarkovsky had met her when they were students at the State Institute of Cinematography. It was she who had introduced the novel Solaris to him. Tarkovsky auditioned her in 1970, but decided she was too young for the part. He instead recommended her to director Larisa Shepitko, who cast her in You and I. Half a year later, Tarkovsky screened that film and was so pleasantly surprised by her performance that he decided to cast Bondarchuk as Hari after all.

Tarkovsky cast Lithuanian actor Donatas Banionis as Kelvin, the Estonian actor Jüri Järvet as Snaut, the Russian actor Anatoly Solonitsyn as Sartorius, the Ukrainian actor Nikolai Grinko as Kelvin's father, and Olga Barnet as Kelvin's mother. The director had already worked with Solonitsyn, who had played Andrei Rublev, and with Grinko, who appeared in Andrei Rublev and Ivan's Childhood (1962). Tarkovsky thought Solonitsyn and Grinko would need extra directorial assistance. After filming was almost completed, Tarkovsky rated actors and performances thus: Bondarchuk, Järvet, Solonitsyn, Banionis, Dvorzhetsky, and Grinko; he also wrote in his diary that "Natalya B. has outshone everybody".

Filming
In the summer of 1970 the State Committee for Cinematography (Goskino SSSR) authorized the production of Solaris, with a length of , equivalent to a two-hour-twenty-minute running time. The exteriors were photographed at Zvenigorod, near Moscow; the interiors were photographed at the Mosfilm studios. The scenes of space pilot Burton driving through a city were photographed in September and October 1971 at Akasaka and Iikura in Tokyo. The original plan was to film futuristic structures at the World Expo '70, but the trip was delayed. The shooting began in March 1971 with cinematographer Vadim Yusov, who also photographed Tarkovsky's previous films. They quarreled so much on this film that they never worked together again. Eastman Kodak color film was used in the color scenes. Not widely available in the Soviet Union, it had to be specially procured for the production. The first version of Solaris was completed in December 1971.

The Solaris ocean was created with acetone, aluminium powder, and dyes. Mikhail Romadin designed the space station as lived-in, beat-up and decrepit rather than shiny, neat and futuristic. The designer and director consulted with scientist and aerospace engineer Lupichev, who lent them a 1960s-era mainframe computer for set decoration. For some of the sequences, Romadin designed a mirror room that enabled Yusov to hide within a mirrored sphere so as to be invisible in the finished film. Akira Kurosawa, who was visiting the Mosfilm studios just then, expressed admiration for the space station design.

In January 1972 the State Committee for Cinematography requested editorial changes before releasing Solaris. These included a more realistic film with a clearer image of the future and deletion of allusions to God and Christianity. Tarkovsky successfully resisted such major changes, and after a few minor edits Solaris was approved for release in March 1972.

Music
The soundtrack of Solaris features Johann Sebastian Bach's chorale prelude for organ Ich ruf' zu dir, Herr Jesu Christ, BWV 639, played by , and an electronic score by Eduard Artemyev. The prelude is the central musical theme. Tarkovsky initially wanted the film to be devoid of music and asked Artemyev to orchestrate ambient sounds as the score. The latter proposed subtly introducing orchestral music. In counterpoint to classical music as Earth's theme, is fluid electronic music as the theme for the planet Solaris. The character of Hari has her own subtheme, a cantus firmus based on Bach's music featuring Artemyev's music atop it; it is heard at Hari's death and at the story's end.

Reception and legacy
Solaris premiered at the 1972 Cannes Film Festival, where it won the Grand Prix Spécial du Jury and was nominated for the Palme d'Or. In the USSR, the film premiered in the Mir film theater in Moscow on February 5, 1973. Tarkovsky did not consider the Mir cinema the best projection venue. Despite the film's narrow release in only five film theaters in the USSR, the film sold 10.5 million tickets. Unlike the vast majority of commercial and ideological films in the 1970s, Solaris was screened in the USSR in limited runs for 15 years without any breaks, giving it cult status. In the Eastern Bloc and in the West, Solaris premiered later. In the United States, a version of Solaris that was truncated by 30 minutes premiered at the Ziegfeld Theatre in New York City on October 6, 1976.

Although Lem worked with Tarkovsky and Friedrich Gorenstein in developing the screenplay, Lem maintained he "never really liked Tarkovsky's version" of his novel. Tarkovsky wanted a film based on the novel but artistically independent of it, while Lem opposed any divergence of the screenplay from the novel. Lem went as far as to say that Tarkovsky made Crime and Punishment rather than Solaris, omitting epistemological and cognitive aspects of his book. But Lem also said in an interview that he had only seen part of the finale, much later, after Tarkovsky's death. Tarkovsky claimed that Lem did not fully appreciate cinema and expected the film to merely illustrate the novel without creating an original cinematic piece. Tarkovsky's film is about the inner lives of its scientists. Lem's novel is about the conflicts of man's condition in nature and the nature of man in the universe. For Tarkovsky, Lem's exposition of that existential conflict was the starting point for depicting the characters' inner lives.

In the autobiographical documentary Voyage in Time (1983), Tarkovsky says he viewed Solaris as an artistic failure because it did not transcend genre as he believed his film Stalker (1979) did, due to the required technological dialogue and special effects. M. Galina in the 1997 article Identifying Fears called this film "one of the biggest events in Soviet science fiction cinema" and one of the few that do not seem anachronistic nowadays.

A list of "The 100 Best Films of World Cinema" compiled by Empire magazine in 2010 ranked Tarkovsky's Solaris at No. 68. In 2002, Steven Soderbergh wrote and directed an American adaptation of Solaris, which starred George Clooney.

Salman Rushdie has called Solaris "a sci-fi masterpiece", adding, "This exploration of the unreliability of reality and the power of the human unconscious, this great examination of the limits of rationalism and the perverse power of even the most ill-fated love, needs to be seen as widely as possible before it's transformed by Steven Soderbergh and James Cameron into what they ludicrously threaten will be 2001 meets Last Tango in Paris. What, sex in space with floating butter? Tarkovsky must be turning over in his grave."

Film critic Roger Ebert reviewed the 1976 release for The Chicago Sun-Times, giving the film three out of four stars and writing, "Solaris isn't a fast-moving action picture; it's a thoughtful, deep, sensitive movie that uses the freedom of science fiction to examine human nature. It starts slow, but once you get involved, it grows on you.' He added Solaris to his "Great Movies" list in 2003, saying he had initially "balked" at its length and pacing but later came to admire Tarkovsky's goals. "No director makes greater demands on our patience. Yet his admirers are passionate and they have reason for their feelings: Tarkovsky consciously tried to create art that was great and deep. He held to a romantic view of the individual able to transform reality through his own spiritual and philosophical strength." Ebert later compared the 2011 film Another Earth to Solaris, writing that Another Earth "is as thought-provoking, in a less profound way, as Tarkovsky's Solaris, another film about a sort of parallel Earth".

The Japanese filmmaker Akira Kurosawa cited Solaris as one of his favorite films.

In an example of life imitating art, Natalya Bondarchuk (Hari) revealed in a 2010 interview that she fell in love with Tarkovsky during the filming of Solaris and, after their relationship ended, became suicidal. She claims that her decision was partly influenced by her role.

Adam Curtis's 2015 documentary film Bitter Lake includes scenes from this film. The metaphor is that just as the planet influences the cosmonauts who try to influence the planet, there have been cross-influences among Afghanistan and its Soviet, American and British invaders.

The influence of Tarkovsky's Solaris on Christopher Nolan's Inception was noted.

Roger Ebert and other critics noted Solaris's influence on the 1997 film Event Horizon.

The film was selected for screening as part of the Cannes Classics section at the 2016 Cannes Film Festival.

The film also has a "Certified Fresh" rating of 92% on Rotten Tomatoes based on 65 reviews with an average rating of 8.5 out of 10, with the consensus reading: "Solaris is a haunting, meditative film that uses sci-fi to raise complex questions about humanity and existence." It also has a score of 93 out of 100 on Metacritic, based on 9 critics, indicating "universal acclaim". In 2018 the film ranked 57th on the BBC's list of the 100 greatest foreign-language films, as voted on by 209 film critics from 43 countries.

Home media
Solaris was released on LaserDisc in Japan in 1986.

On May 24, 2011, The Criterion Collection released Solaris on Blu-ray Disc. The most noticeable difference from the previous 2002 Criterion DVD release was that the blue and white tinted monochrome scenes from the film were restored.

See also
 List of films featuring space stations
 Cinema of the Soviet Union
 Ocean world

References

External links

 .

 Video – Solaris (divided into two parts) – Mosfilm site [Eng subs/click "cc"].
 Solaris: Inner Space an essay by Phillip Lopate at the Criterion Collection
 Lem Vs. Tarkovsky: The Fight Over ‘Solaris’ from Culture.pl

1972 films
1970s science fiction drama films
1970s psychological drama films
Soviet science fiction drama films
1970s Russian-language films
Fiction set on ocean planets
Films about astronauts
Films about psychiatry
Films based on Polish novels
Films based on science fiction novels
Films based on works by Stanisław Lem
Films directed by Andrei Tarkovsky
Films scored by Eduard Artemyev
Films set on fictional planets
Films shot in Crimea
Films shot in Moscow
Films shot in Moscow Oblast
Films shot in Tokyo
Films partially in color
Metaphysical fiction films
Mosfilm films
Russian nonlinear narrative films
Russian science fiction drama films
Russian mystery films
Space adventure films
Existentialist films
1972 drama films
Cannes Grand Prix winners


The golden spider beetle, Niptus hololeucus, is a species of spider beetle in the family Ptinidae.

Description
Niptus hololeucus is 3–4.5mm in length. Its body is covered in silky golden hairs and fine scales.

Habitat
Niptus hololeucus may be a pest of a wide variety of cereal based food products.
In 1981 an account of an infestation of these beetles was located in a roof void above offices in Rotherham, U.K. This was found to be due to wild pigeons which were nesting within the loft: the beetles and their larvae were feeding upon their waste matter.

Distribution
It is a temperate species originating in West Asia but now cosmopolitan. It is widespread across western Europe. A single record was first recorded in Iran in a cave 2014. N. hololeucus is one of the two species of Niptus to be found in caves.

Gallery

References

Household pest insects
Beetles described in 1836
Ptinidae