Sonny Stitt Sits in with the Oscar Peterson Trio is a 1959 album by Sonny Stitt, accompanied by the Oscar Peterson trio.

Reception
The Penguin Guide to Jazz rated the album three and a half stars out of four and wrote of the session, "they intermingle their respective many-noted approaches as plausibly  as if this were a regular band (in fact, they never recorded together again)."  The Allmusic review written by Scott Yanow rated the album four and a half stars out of five.

Track listing
 "I Can't Give You Anything But Love" (Dorothy Fields, Jimmy McHugh) – 4:05
 "Au Privave" (Charlie Parker) – 3:59
 "The Gypsy" (Billy Reid) – 3:25
 "I'll Remember April" (Gene de Paul, Patricia Johnston, Don Raye) – 4:41
 "Scrapple from the Apple" (Parker) – 4:20
 "Moten Swing" (Bennie Moten) – 7:09
 "Blues for Pres, Sweets, Ben and All the Other Funky Ones" (Sonny Stitt) – 6:04
 "Easy Does It" (Sy Oliver, Trummy Young) – 5:21

Personnel

Performance
 Sonny Stitt - alto saxophone (tracks 1-5), tenor saxophone (tracks 6-8)
Oscar Peterson Trio
 Oscar Peterson – piano
 Ray Brown – double bass
 Ed Thigpen - drums

References

1959 albums
Sonny Stitt albums
Oscar Peterson albums
Albums produced by Norman Granz
Verve Records albums


Horseshoe Falls is one of seven waterfalls on the Murtle River west of Murtle Lake in Wells Gray Provincial Park, east-central British Columbia, Canada. Horseshoe Falls has two steps,  apart; the upper drop is  high and the lower and much wider drop is  high.

The waterfall was discovered by  Joseph Hunter, a surveyor working for the future Canadian Pacific Railway, on May 26, 1874. Hunter did not name the falls, but he did name the Murtle River and Murtle Lake for his birthplace in Scotland, Milton of Murtle, near Aberdeen. Horseshoe Falls was named in 1914 by land surveyor Robert Henry Lee, who mapped homesteaders' lots along the south side of the Murtle River. The river is slow-moving between Horseshoe Falls and Meadow Falls,  upstream, and Lee marked a "raft crossing" on his map.

Horseshoe Falls can be reached by a  hiking trail from Pyramid Campground on Clearwater Valley Road. The trail passes volcanic Pyramid Mountain and Majerus Falls, and ends at Horseshoe Falls.

References

Waterfalls of British Columbia
Wells Gray-Clearwater
Kamloops Division Yale Land District


Mike Campbell (Pvt) Ltd et al. v. Republic of Zimbabwe is a case decided by the Southern African Development Community (SADC) Tribunal (hereinafter "the Tribunal"). The Tribunal held that the Zimbabwean government violated the organisation's treaty by denying access to the courts and engaging in racial discrimination against white farmers whose lands had been confiscated under the land reform program in Zimbabwe.

Background
Land reform in Zimbabwe began after the signing of the Lancaster House Agreement in 1979 in an effort to more equitably distribute land between the historically disenfranchised blacks and the minority whites. Government-orchestrated land invasions began in February 2000. The Zimbabwean government formally announced a "fast track" resettlement program in July 2000, stating that it would acquire more than 3,000 farms for redistribution.

During the early 1970s Campbell, a South African Army captain, had been involved in the Rhodesian Bush War that pitted Rhodesia's mostly white government—50 of the 66 parliamentary seats were reserved for whites—against black nationalist guerrillas. He moved to Mount Carmel farm in 1974. He added a neighbouring plot of land in 1980, following Zimbabwean independence. As well as farming, Campbell set up an extensive nature reserve on the property, replete with giraffes, impala and other indigenous animals. He also created the Biri River Safari Lodge, which became a popular tourist attraction.

Campbell purchased Mount Carmel from himself after independence. (The full title was vested in 1999, when the Zimbabwean government declared no interest in the land.) In July 2001, amid large-scale land invasions by "war veterans", Campbell received a government notice to acquire Mount Carmel in the district of Chegutu, but the notice was declared invalid by the High Court. In July 2004, a new notice of intent to acquire Mount Carmel was published in the official Government Gazette, but no acquisition notice was actually issued. However, two months later, according to court filings, "persons purported to occupy the farm on behalf of ZANU–PF spokesman Nathan Shamuyarira, claiming the former minister had been allocated the farm." After three more preliminary notices to take the farm were published in 2004, Campbell applied to the High Court for a protection order.

Amendment 17 was added to Zimbabwe's constitution on 14 September 2005 to vest ownership of certain categories of land on the Zimbabwean government and to eliminate the courts' jurisdiction to hear any challenge to the land acquisitions. Campbell initiated proceedings in court on 15 May 2006, challenging the validity of Amendment 17. In December 2006 the Gazetted Land (Consequential Provisions) Act passed into law, requiring all farmers whose land was compulsorily acquired by the government and who were not in possession of an official offer letter, permit, or lease, to cease to occupy, hold, or use that land within 45 days and to vacate their homes within 90 days. On 11 October 2007, before the Supreme Court of Zimbabwe had delivered its judgment in the case, Campbell filed an application with the SADC Tribunal challenging the acquisition by the Zimbabwean government. Subsequently, 77 other persons joined as parties in the proceedings against the government of Zimbabwe.

Mike Campbell, his wife Angela, and their son-in-law Ben Freeth were kidnapped, taken to an indoctrination camp and beaten by thugs on 29 June 2008. Campbell died on 6 April 2011; his family stated he died from complications of the 2008 beating.

Decision by the Supreme Court of Zimbabwe
The Supreme Court of Zimbabwe issued a decision in the case on 22 January 2008, dismissing Campbell's challenge. The Court held that: (1) race was not an issue in the case, because neither the relevant provisions of Section 16B of the Constitution nor the land acquisitions made reference to race or color; (2) the Government of Zimbabwe has an inherent right to compulsorily acquire property, and (3) the legislature has full power to change the Constitution. The Court also stated that an "application to a court of law to challenge a lawful acquisition would in effect be an abuse of the right to protection of law."

The SADC Tribunal
The Tribunal was established by the SADC treaty. The SADC has been in existence since 1980, when it was formed as a loose alliance of nine majority-ruled States in Southern Africa known as the Southern African Development Coordination Conference (SADCC), with the main aim of co-ordinating development projects to lessen economic dependence on the then apartheid South Africa. The Tribunal ensures adherence to, and the proper interpretation of, the provisions of the Treaty and the subsidiary instruments made under it, and adjudicates upon disputes referred to it.

Decisions by the SADC Tribunal

The Tribunal concluded that it had jurisdiction to hear the case because the dispute concerned "human rights, democracy and the rule of law", which are binding principles for members of the SADC.

17 December 2007
The Tribunal granted an interim measure ordering the government of Zimbabwe to take no steps, directly or indirectly, to evict Campbell from the farm or interfere with his use of the land.

28 November 2008
The Tribunal's decision on this date addressed four main issues: (1) Whether the Tribunal had jurisdiction to hear the case; (2) whether the plaintiffs had been denied access to domestic courts in violation of the SADC Treaty; (3) whether the Zimbabwean government had discriminated against the plaintiffs on the basis of race, and (4) whether the plaintiffs were entitled to compensation. (1) The Tribunal held that it had jurisdiction to hear the case, because Amendment 17 had eliminated the plaintiffs' access to the domestic courts, and the plaintiffs were therefore entitled to seek remedy before the Tribunal. (2) The Tribunal found that the plaintiffs had been deprived of their right to a fair hearing before being deprived of their rights. (3) On the racial discrimination issue, the Tribunal held that the actions of the Zimbabwean government constituted indirect or "de facto" discrimination because implementation of Amendment 17 affected white farmers only. (4) Finally, the Tribunal held that the plaintiffs were entitled to compensation for the expropriation of their lands.

5 June 2009
After Campbell and another applicant, Richard Thomas Etheredge, filed a new application to declare the Government of Zimbabwe in contempt, the Tribunal held that the Government of Zimbabwe had failed to comply with the Tribunal's previous decision. The Tribunal stated that it would report its finding to the Summit of the SADC.

Post-decision developments
Non-enforcement of the Tribunal's judgment
Mike Campbell applied to register the Tribunal's judgment of 28 November 2008 in the High Court on 23 December 2008, but the application was not accepted with no reasons given. Over a hundred prosecutions of white farmers continue because they remain on their lands. The High Court issued orders in April 2009 to evict the invaders on Mount Carmel, but nothing was done by the police to enforce the orders. No mention of the Tribunal's decision was made at the SADC's summit in early September 2009.

Threats, intimidation and fires
After February 2009, Campbell and Freeth's families received threats from invaders. Campbell and his wife were eventually forced from their home and Mount Carmel was invaded. Ben Freeth's and Mike Campbell's homesteads were destroyed in fires on 30 August 2009 and 2 September 2009, respectively.

Zimbabwe denies the legitimacy of the Tribunal
Zimbabwe's Justice Minister Patrick Chinamasa wrote to the Tribunal to inform of Zimbabwe's withdrawal from the Tribunal in a letter written on 7 August 2009, arguing that it did not have jurisdiction over Zimbabwe because the Tribunal's Protocol has not yet been ratified by two-thirds of the total members of the SADC, as required by the organisation's treaty, and stated that Zimbabwe would no longer be bound by any of the Tribunal's past or future judgments.

Decision by the High Court not to register the SADC Tribunal's judgement in Zimbabwe
Judge Patel of the High Court issued a decision on 26 January 2010 in which he held that the SADC Tribunal was properly constituted and had jurisdiction to hear Campbell's case, but its decision could not be registered for purposes of enforcement. Judge Patel's decision relied on two main reasons. First, the Supreme Court of Zimbabwe had confirmed the constitutionality of the land reform program, and registering the SADC Tribunal's judgment in Zimbabwe would challenge the Supreme Court's decision and undermine its authority; this would be contrary to public policy. Second, if the Zimbabwean government complied with the SADC Tribunal's decision, it would contravene section 16B of the Constitution (introduced by Amendment 17 in 2005, see above); this could not be allowed because the Constitution is the supreme law of Zimbabwe.

The SADC Summit orders a review of the role, functions and terms of the SADC Tribunal
On 17 August 2010 the Summit of the SADC heads of state and government decided "that a review of the role functions and terms [sic] of reference of the SADC Tribunal should be undertaken and concluded within 6 months." According to an opinion submitted by a group of legal and human rights organisations, the SADC Summit effectively suspended the Tribunal, as it failed to renew the tenure of five judges and failed to appoint new ones, leaving the Tribunal improperly constituted in violation of the Tribunal's Protocol; this decision may have been precipitated by Zimbabwe's challenge to the legality of the Tribunal after the Tribunal decided against Zimbabwe in cases concerning land disputes.

In a draft report commissioned by the SADC and dated 14 February 2011, WTI Advisors (an affiliate of the World Trade Institute) recommended, among other things, the following: SADC Member States should ensure that they give the force of law to SADC law by amending national law; Member States should consider amending the SADC Treaty to state that SADC law is supreme over national law, including constitutional law; the Tribunal should be given power to determine its own Rules of Procedure; the Tribunal's Protocol should be amended to provide that membership and rights of Member States may be suspended, with the Summit taking account of the possible consequences of suspension; the Tribunal should be able to order remedies (including fines) for non-compliance.

Legal action against heads of State
In April 2011 Mike Campbell, his company Mike Campbell (Pvt) Ltd, and another farmer, Luke Tembani, applied to the courts for an order against the 'Summit of the Heads of State or Government of SADC' and the presidents of 15 member countries, the Council of Ministers of SADC, and the Republic of Zimbabwe, demanding that the [SADC] Tribunal continues to function in all respects as established by Article 16 of the Treaty.

Compensation battle in South Africa
On 6 June 2011, the North Gauteng High Court in Pretoria, South Africa cleared the way for seized Zimbabwean government assets in Cape Town to be sold by auction to compensate three Zimbabwean farmers, including the late Mike Campbell. It is thought to be the first ruling in international legal history that a country's assets should be sold to provide compensation for human rights violations. The Zimbabwean government appealed the High Court's decision, but both the Supreme Court (in September 2012) and the Constitutional Court of South Africa (in June 2013) dismissed the appeal.

SADC Tribunal suspended
On 20 May 2011, an Extraordinary Summit of Heads of State and Government of SADC, held in Namibia, decided not to reappoint or replace SADC Tribunal members, effectively suspending the tribunal.

Mike Campbell's death
Mike Campbell died on 6 April 2011, aged 78. His family stated his death was due to the consequences of having been tortured.

See also
 Mugabe and the White African, a documentary film on Mike Campbell

References

External links

Text of the decision
Official site of the SADC
The Zimbabwe Situation contains articles and other materials about Zimbabwe.
Timeline of events
The Mike Campbell Foundation, established to work to restore human rights and the rule of law in Zimbabwe and other SADC countries.
 Decision of the Supreme Court of Appeal of South Africa, 20 September 2012
 Decision of the Constitutional Court of South Africa, 27 June 2013

Southern African Development Community
Racism in Zimbabwe
Agriculture in Zimbabwe
Human rights abuses in Zimbabwe
Politics of Zimbabwe
Land reform
Economic history of Zimbabwe
Civil rights case law
Law of Zimbabwe
 2008 in case law


Feminism in China refers to the collection of historical movements and ideologies aimed at redefining the role and status of women in China. Feminism in China began in the 20th century in tandem with the Chinese Revolution. Feminism in modern China is closely linked with socialism and class issues. Some commentators believe that this close association is damaging to Chinese feminism and argue that the interests of the party are placed before those of women.

According to the 2020 Gender Gap Index measurement of countries by the World Economic Forum, China is ranked 106th on gender gap.

Etymology

Translating Feminism in the 1990s
In 1989, seven overseas Chinese scholars formed The Chinese Scholars for Women's Studies (CSWS), a feminist network that aimed to promote Chinese women's and gender studies. In 1994 and 1997, the network translated two western feminist theory publications into Chinese, and thus provided for the Chinese academic community the first peer-reviewed translations of the concept of feminism. In their 1994 collaboration, feminism was translated as Nü Xing Zhu Yi. In 1997, as most CSWS members began using emails, the network had an extensive online debate as to whether feminism should not be translated as Nü Xing Zhu Yi but Nü Quan Zhu Yi.

Feminism as Nu Xing Zhu Yi (女性主义)
Beginning in the 1980s, native Chinese academics started using Nü Xing Zhu Yi as the Chinese counterpart of feminism.  The emphasis of this translation is on the first two characters Nü Xing (女性), which coupled with Zhu Yi (主义) emanates a more academic tone. Nü Xing in its own right also denotes "women". The term thus appeared fitting to then Chinese academics whose scholarly focus centered around women's issues instead of more relational concepts such as "gender" which concerns not only women but all gender subjects and their relations.

Feminism as Nu Quan Zhu Yi (女权主义)
The emphasis of translating feminism as Nü Quan Zhu Yi is on the second character Quan (权), meaning rights in English. The proponents of this translation highlights the political contingency of feminism as a rights-based social movement. Some CSWS members supported this translation because they felt the other candidate Nü Xing Zhu Yi was depoliticising in its absence of any rights-based connotations. Nü Quan Zhu Yi, which accentuates human rights, was also less essentialist and more encompassing as compared with Nü Xing Zhu Yi, whose first two characters delimit the term as seemingly exclusive to the concerns of women.

History

Before 1900
The huge change in the status of women in China before the 1900s occurred in the Han Dynasty. In the early matrilineal society, Chinese women had a completely different social status from that after the Han Dynasty, women were able to retain their surnames and even pass them on to their children. From Han Dynasty to Qing Dynasty, Chinese women under the patriarchal system were severely oppressed due to the profound influence of Confucianism and filial piety.  During this period, literature about women emerged in China, such as "Mother of Mencius", "The Analects of Women", etc., explaining to women at the time how to be ethical and popularizing the best way  of serving parents, husbands and sons in a woman's life. Prior to the 20th century, women in China were considered essentially different from men. Despite the association of women with yin and men with yang, two qualities considered equally important by Daoism, women were believed to occupy a lower position than men in the hierarchical order of the universe. The I Ching stated that "'Great Righteousness is shown in that man and woman occupy their correct places; the relative positions of Heaven and Earth.'" Women were to be submissive and obedient to men, and normally not allowed to participate in government, military or community institutions. While there were lauded exceptions in Chinese history and literature, such as the Song dynasty general Liang Hongyu and legendary woman warrior Hua Mulan, these were considered to be signs of the dire situation of China at the time. Before the 20th century, such exceptional women were believed to have fought to defend China's traditional patriarchal order and society, not to change it.

20th century

1900-1949
In the late 19th and 20th centuries, China experienced military and political crises at home and abroad. The Opium Wars of 1839-42 and 1856-60 forced China to open trade to other countries, which brought foreign ideologies. A large number of political conflicts forced educated men and women in exile to start revolutionary movements. They started to speak out against these conditions in the late 19th and early 20th centuries, but to little avail. Before that, influential Chinese thinkers, such as Liang Qichao and others, called for the liberation of women, better acceptance of women's education, and women's participation in the country construction. From the perspective of changing the fate of a country, Liang Qichao claimed that the education of women and the liberation of women are necessary, and they are also essential to the health of the country.

It was also during these early years of feminism in China that the New Woman movement emerged in their infancy stage promoting ideas of education for women, gender equality, and freedom from constrictive Confucian practices. In the 20th century, women writers also expressed feminism through literary writing. The situation only began to change as result of the Xinhai Revolution in 1911. In course of this widespread uprising against the ruling Qing dynasty, several women rebel units were raised such as Wu Shuqing's Women's Revolutionary Army, Yin Weijun and Lin Zongxue's Zhejiang Women's Army, Tang Qunying's Women's Northern Expedition Brigade, and many others. All these units were disbanded by the Provisional Government of the Republic of China on 26 February 1912, mostly for chauvinistic reasons. Nevertheless, the fact that they had fought alongside men encouraged many of the women who had taken part in the women militias to become politically active, striving for change.

Many changes in women's lives took place during the Republic of China (1912–1949). In 1912 the Women's Suffrage Alliance, an umbrella organization of many local women's organizations, was founded to work for the inclusion of women's equal rights and suffrage in the constitution of the new republic after the abolition of the monarchy, and while the effort was not successful, it signified an important period of feminism activism.
A generation of educated and professional new women emerged after the inclusion of girls in the state school system and after women students were accted at the University of Beijing in 1920, and in the 1931 Civil Code, women were given equal inheritance rights, banned forced marriage and gave women the right to control their own money and initiate divorce.
No nationally unified women's movement could organize until China was unified under the Kuomintang Government in Nanjing in 1928; women's suffrage was finally included in the new Constitution of 1936, although the constitution was not implemented until 1947.

In 1922, birth control activist Margaret Sanger traveled to China. Her visit fueled the belief among elites in Nationalist-era China that the use of contraception would improve the "quality" of the Chinese people and resulted in many newspaper articles addressing the benefits and shortcomings of birth control.  Chinese feminists inspired by Sanger's visit went on to be significantly involved in the subsequent Chinese debates on birth control and eugenics.

In Republican-era China, Chinese feminists did not universally demand legalization of abortion in China. In the view of some feminists, social conservatives' powerful opposition to abortion de-criminalization would result in a backlash that would harm other efforts to improve women's status in relation to men.  Accordingly, in a tactical bid for broader support, many feminist organizations pursued moderate abortion positions.

1949-2000
In the Communist movement, "Women's liberation had been highlighted in the communist agenda from the outset, and, in that sense, the Chinese revolution was simultaneously a women's revolution, and Chinese socialism a women's cause." By the 1920s, the Communist movement in China used a labor and peasant organizing strategy that combined workplace advocacy with women's rights advocacy. The Communists would lead union organizing efforts among male workers while simultaneously working in nearby peasant communities on women's rights issues, including literacy for women. Mao Zedong and Yang Kaihui were among the most effective Communist political organizers using this method.

During the Chinese Civil War, the Communists enacted women's rights measures in areas of the country they controlled. In the revolutionary base area of Jiangxi, the Communist-led authorities enacted the Marriage Regulations of 1931 and the Marriage Laws of 1941, which were modeled after Soviet Union statutes. These statutes declared marriage as a free association between a woman and a man without the interference of other parties and permitted divorce on mutual agreement. At the time, they were the most progressive marriage laws in China and created the conditions for women to divorce men they had been forced to marry, leave abusive spouses, and till their own land.

In 1942, Ding Ling used International Women's Day to point out the hypocritical attitudes and behaviors of male communists and solved the special pressure on female revolutionaries. She claims that marriage still promotes the husband's control of his wife. However, because the pressure of marriage becomes unbearable, women will get married eventually.

During China's land reform movement (which began after the defeat of the Japanese in the Second Sino-Japanese War and continued in the early years of the People's Republic of China), the Communist Party encouraged rural women in achieving a "double fanshen" - a revolutionary transformation as both a peasant and a feminist awakening as a woman. The Party urged rural women to reject traditional Chinese assumptions about their role in society. In conjunction with land reform, the movement promoted women's issues such as the elimination of bride prices and reversing the stigma against widows remarrying. The Party promoted successes in women's liberation, such as the progress of the Hui women of northwest China who were said to have not just received land through the rural movement, but also "freedom over their own bodies" and embraced political participation.

The Great Leap Forward's focus on total workforce mobilization resulted in opportunities for women's labor advancement. As women became increasingly needed to work in agriculture and industry, and encouraged by policy to do so, the phenomenon of Iron Women arose. Women did traditionally male work in both fields and factories, including major movements of women into management positions. Women competed for high productivity, and those who distinguished themselves came to be called Iron Women. Slogans such as "There is no difference between men and women in this new age," and "We can do anything, and anything we do, we can do it well," became popular during the Great Leap Forward.

During the Cultural Revolution, one way China promoted its policy of state feminism was through revolutionary opera. Most of the eight model dramas in this period featured women as their main characters. The narratives of these women protagonists begin with them oppressed by misogyny, class position, and imperialism before liberating themselves through the discovery of their own internal strength and the Communist Party.

As a result of government approval following the Communist Revolution, women's rights groups became increasingly active in China: "One of the most striking manifestations of social change and awakening which has accompanied the Revolution in China has been the emergence of a vigorous and active Woman's Movement."

Beginning in the 70s and continuing in the 80s, however, many Chinese feminists began arguing that the Communist government had been "consistently willing to treat women's liberation as something to be achieved later, after class inequalities had been taken care of." Some feminists claim that part of the problem is a tendency on the government's part to interpret "equality" as sameness, and then to treat women according to an unexamined standard of male normalcy.

21st century

In 1995, the Fourth World Conference on Women was convened in Beijing. This is the first United Nations conference held in China. In a show of hospitality, then Chinese Communist Party (CCP) general secretary Jiang Zemin announced at the opening ceremony that "men-women equality is a basic national policy". The phrasing became the political cornerstone of all post-1995 gender and women's development policy directory published by China's State Council and the Women's Federation. Along with the Conference, a parallel forum of NGO panel was held in the Huairou district in Beijing. The concept of Non-Government Organization (NGO) was thus introduced into China,  giving rise to many feminist alliances in 21st century China, such as the Beijing Zhongze Legal Consulting Service Center led by Guo Jianmei, the Henan Shequ Educational Research Center, and the Anti-Domestic Violence Network which spearheaded the 20-year long campaign of enacting anti-domestic violence law, etc. The 1995 Conference also prompted the CCP to reform relevant government structures responsible for China's gender development. The National Working Committee on Children and Women (NWCCW) was established in anticipation of the Conference in 1993. The Women's Federation, which was technically a People's Organization pre-1995, was orally pronounced by the Beijing government at the Conference as a Non-Governmental Organization. The 1995 UN Conference also introduced concepts such as gender mainstreaming and domestic violence into China.

In 2001, China amended its marriage law, so that abuse was considered grounds for divorce. The law was deliberated via an open revision process which included input from feminist academics and women lawyers. Other civil and criminal laws were also amended to better protect women's rights and interests, including the inheritance law.

In 2005, China added new provisions to the Law on Women's Right Protection to include sexual harassment.  In 2006 "The Shanghai Supplement" was drafted to help further define sexual harassment in China.

In 2013, the first woman to bring a gender discrimination lawsuit in China, a 23-year-old who went by the pseudonym of Cao Ju, won a small settlement of 30,000 yuan and an official apology from the Juren Academy.

In 2015, China enacted its first nationwide law prohibiting domestic violence, although it excluded same-sex couples and did not address sexual violence. The law also defined domestic violence for the first time. Domestic violence had become a subject of much public debate in China in 2011, when Kim Lee posted pictures of her bruised face on Chinese social media and accused her husband Li Yang of domestic violence. She later stated in the New York Times that police had told her no crime had happened; Li admitted beating her but criticized her for discussing private things in public.

In 2017, the Sina Weibo account of Feminist Voices (Nuquan Zhisheng, 女权之声), an important feminist organization in China, was suspended for thirty days after they posted an article about the planned women's strike in the United States on March 8 (International Women's Day). In March 2018 the account was deleted.

In 2018, Xixi Luo from Beihang University published an online accuse on Sina Weibo to her former PhD professor Xiaowu Chen, claiming she has been sexually harassed during her time at the university. Luo's statement went viral on Weibo, and was seen as China's first widely shared #MeToo moment. Following Luo's brave move, other Chinese university students came forward on Chinese social media with allegations against their former supervisors. As more and more sexual harassment cases being exposed in the public discourse, students and alumni from more than 70 universities jointly signed a letter advocating for proper legislation on protecting sexual harassment in colleges and universities.

In 2019, a government directive was released banning employers in China from posting "men preferred" or "men only" job advertising, and banning companies from asking women seeking jobs about their childbearing and marriage plans or requiring applicants to take pregnancy tests.

Foot-binding
Foot binding in Chinese history was initially a mark of hierarchy and privilege in society. However, it soon became a symbol of sexism in many people's minds and lasted for over more than one hundred years. Having a bound foot meant looking prettier as men thought smaller feet were more beautiful and dainty for a woman. Chinese women in the nineteenth century were expected to keep up their appearance, as they did not have many other rights. They could not own as much property, they did not get good education, and they showed a lot of signs of "weakness" because they were treated so poorly. However, scholars of Chinese religion and society note that women generally never felt like they were being victimized by being forced to have bound feet, but that they quietly rebelled against this societal norm by way of acting. Early Chinese feminists in the nineteenth century would get around the rules that restricted to them, but not in an obvious way that would get them in trouble.

It was seen as a privilege to have bound feet because many women in rural households who were lower class did not marry hypergamously before 1949, and therefore, usually found no benefit in participating in foot-binding. Footbinding pointed up the physical differences between men and women, and therefore, encouraged the patriarchal society. In Chinese society during this time, parents would scare their daughters at a very young age by telling them that they had to get married and have bound feet to be happy in life. During the May Fourth Era, Chinese feminists began to reject foot-binding as a Feudal ideal, as they saw it as a great inequality for women in the new modern social system of the 1900s. Irene Dean, a scholar in Chinese feminism, has noted that the New Culture Movement truly shifted women's attitudes to more liberal tones. Female chastity was enforced through the concept of footbinding and the woman's way of paying respect to her husband and the men in power above her. Having bound feet meant being physically held back and controlled by a male-dominated society, and women during this time wanted to feel more free and independent.

In 1949, the Chinese Communist Party officially banned the practice of foot binding, and strictly enforced the ban. In spite of the ban, some people in China continued the practice in secret, even though the Communist Party enforced the ban by threat of execution.

Thoughts on gender in the New Culture Movement
During the early years of the New Culture Movement, intellectuals and scholars such as Chen Duxiu, Cai Yuanpei, Li Dazhao, Lu Xun, Zhou Zuoren, He Dong, and Hu Shih called for the creation of a new Chinese culture based on global and western standards, especially democracy and science.
Gender was also a central issue during the movement. In addition to the call for an institutional change of the patriarchal family in favor of individual freedom and women's liberation, many scholars also discussed various gender issues in their writings.

Lu Xun, a leading figure and influential writer of modern Chinese literature, published an article in the New Youth in 1918 titled "My Views on Chastity." As a response to the cult of female chastity in Neo-Confucianism which believed "starving to death is a small matter, but losing chastity is a great matter," Lu Xun directly argues against the idea that losing female chastity is the cause of corruption of social morality, questioning the functioning of patriarchal ideology in blaming women for the decline of a nation. "Why should women shoulder the whole responsibility for saving the world?" writes Lu Xun, "According to the old school, women belong to the yin, or negative element.  Their place is in the home, as chattels of men. Surely, then, the onus for governing the state and saving the country should rest with the men, who belong to the men. However, a country's downfall is always blamed on women. Willy-nilly they have shouldered the sins of mankind for more than three thousand years. Since men are not brought to book and have no sense of shame, they go on seducing women as just as they please, while writers treat such incidents as romantic."

In November 1919, Miss Zhao's suicide sparked cultural debate regarding the role of modern women in social and political life, including among those involved in the New Culture Movement. A woman forced into an arranged marriage by her family, Miss Zhao, committed suicide by cutting her throat while being transported to the house of her would-be husband. The formerly routine occurrence of a woman's suicide to avoid arranged marriage became an important center of debate for Chinese feminists. Feminist commentators included Mao Zedong, who published nine newspaper articles about the suicide and the need to overhaul societal norms relating to women. Simultaneously, Henrik Ibsen’s play A Doll's House was newly translated and being performed in Shanghai. The example of the play's Nora further fueled radical intellectuals and the discussion of women's roles in China.

After reading the play in 1924, Lu Xun wrote a continuation of the story titled "What Happens after Nora Leaves Home?" In his own story, Lu Xun explores what might happen if China's own version of Nora left home and he has a very pessimistic view of Nora and her liberation. Lu Xun proposes the idea that unless a structural and systemic reforming has been accomplished, any individual liberation will eventually end up in misery. In the same year, Lu Xun published a novel titled The New Year Sacrifice. One of the major themes of the novel is women's rights and marriage practices (including arranged marriages), as he writes, "This poor woman, abandoned by people in the dust as a tiresome and worn-out toy, once left her own imprint in the dust, and those who enjoy life must have wondered at her for wishing to prolong her existence; but now at least she has been swept clear by eternity. Whether spirits exist or not I do not know; but in the present world when a meaningless existence ends, so that someone whom others are tired of seeing is no longer seen, it is just as well, both for the individual concerned and for others."

In addition to Lu Xun, there were also important female writers who focused on women's situation and gender liberation after the May Fourth Movement, including Feng Yuanjun and Lu Yin.

Differences from Western feminism
Chinese feminism differs from Western feminism in that Chinese feminism has no history of assuming that "man" and "woman" are natural categories. Rather, Chinese culture has always assumed that "man" and "woman" are socially constructed categories. Chinese sociologist and sexologist Pan Suiming once used the constructionist framework to argue that “sexuality” was never seen as a “biological instinct” in ancient China. Sexuality in its natural form never exists, and it is only represented in a framework of social construction and cultural interpretation. As he contends, the west constructed the scientific discourse of biological sex based on preexisted notions of different genders, while in China, since the scientific truth of gender was never a big concern of traditional Chinese culture, gender is only seen as various gender roles played by men and women throughout the history of China. Moreover, most of the leaders in Chinese feminism movements are men, not women, while in western countries, women are the main sponsors of movements for Woman's Rights. Unlike Western feminism movements initiated by grassroots activists, modern Chinese feminism began as a matter of state policy. That is, the Communist Party's ideology during the Revolution of 1949 held that equal labor and social participation was necessary to advance the nation's prosperity. However, there are also radical scholars who have pointed out that gender equality was never a central concern of early state policies, and the proposed idea of “equal labor” still signifies a hierarchal nature of gendered division of labor. For example, the Iron Girl campaign was one of the famous campaigns during the Communist revolution which promoted equal labor and social participation of women. Initially, women were organized and mobilized to enter traditional male occupations to serve as a reserve labor force and to compensate for the labor shortage caused by the outflow of men's labor, not for the purpose of creating gender equality. Often the purpose of making “women do men's work” was a pragmatic choice that local administrators made when men alone could not handle the work.

Western feminism differs from Chinese feminism in the way that it focuses a lot on "gender", which is not the way that feminism is analyzed historically in China. Some Chinese feminists agree with the sense of translatability and transferability in Chinese feminism, while others do not. "Translatability" and "transferability" refer to mixing Chinese feminism with Western feminism. Support for this concept is mostly a Western ideal, but feminists such as Wang Zheng also support spreading the two-word phrase that Chinese culture uses for "gender." In Chinese culture, the phrase, "Shehui xingbie" implies something different than the English word, "gender." "Shehui" means "social," and "xingbie" means "gender/sex." The phrase points up the constructed gender roles in China, which many Chinese feminists have analyzed. Some Chinese feminists toy with this phrase as a way of breaking away from the roles in which they are expected to live up to in their culture. Chinese feminists who disagree with this type of feminism say that it has to do with assimilation to western countries.

Others, such as Li Xiaojiang, do not; they believe that translatability and transferability are becoming the issue for Chinese feminism and its location in international feminism. Additionally, filmmaker Li Yu notes that Chinese feminism in a classic sense requires a softer and quieter voice than the face of Western feminism. However, now that there are more facets inspiring anger among Chinese women, there seems to be a clash between different types of feminism. A lot of Western feminists see these quiet and more subdued Chinese feminists as "anti-feminist" due to, one could say, a lack of understanding of Chinese culture and history. These ideals come from three decades of post-Maoist China. Additionally, others see the concept of "difference" as an important facet to their idea of feminism, meaning being a third world woman should be considered, in their opinion, to be separate from the notion of Western feminism. More recent scholarly analysis begins with the naming and aims to identify the forms of gender struggles popularly referred to as "Chinese feminism" within China and in anglophone academe. The main strains of gender contentions engage, culturally and materially, with the hegemonic marriage institution of postsocialist China. These actual contentions on the ground, however, are obscured by the two dominant analytical perspectives, both of which follow lineages of Western thoughts and priorities: "Chinese feminism is discursively annihilated as it is besieged by the liberal preoccupation with China's 'authoritarian present' and the new left agenda to resurrect its 'socialist legacy.'"

Prominent Chinese feminists

The development of Chinese feminist theory is connected to the history of the Chinese Communist Party. Throughout the twentieth century, the problems that feminists discussed were issues that addressed the relationship between the Communist government and women. Women were often excluded from policy debate, and could not argue against government policies or programs. Xinyan Jiang has stated that although feminists have fought for social equality, they still face discrimination because of economic and social challenges in China. Li Xiaojiang is a writer and scholar that was active during the 1980s in China, and is considered to be one of the most prominent women scholars of the decade by scholars such as Wang Zheng. Her influence led to the start of the first women's studies classes and the first women's studies department in China and Li also created the Women's Studies Department at Zhengzhou University. Her 1983 essay "Progress of Mankind and Women's Liberation" (Renlei jinbu yu funü jiefang) was the first women's studies publication in China; the Association of Women's Studies was founded two years later. Her theory was rooted in highlighting the gender and sexual differences prevalent in China at the time. She explained historical discrepancies through arguing that traditional cultural norms existed in socialist China. She also expressed the difficulty for women to identify in China, as they were torn between their established role at home and their new liberation put upon them by socialism. Nicola Spakowski has stated that Li is somewhat critical of the influence of Western feminism on Chinese feminism. Li argues that because there are cultural and language differences between the East and West, the influence of Western ideology becomes a threat to establishing an independent Chinese feminist theory.
Another early 20th century prominent feminist was the anarchist He-Yin Zhen who founded the Journal "Natural Justice" while in exile in Japan. He-Yin focused on issues within Chinese feminist theory rather than issues with comparing it to Western feminism. However, her theories are not specific to Chinese culture, so she is considered a global feminist by historians such as Mary John. Her essay, "On Women's Liberation" addressed women's issues within China, particularly how women's liberation is decided by others within the hierarchical system of society at the time. Her essay, "On the Question of Women's Labor" discusses how "modern form of labor" has impacted women, and how their bodies are historically tied to their labor.

Though not self-identified as a feminist, Ding Ling's writings and thoughts on gender issues resonate a lot with feminist ideas and ideals. In March 1932, Ding Ling joined the Chinese Communist Party, and she was recognized as an active writer in the League of Left-Wing Writers. During her time in the CCP, Ding Ling published several well-known essays and novels concerning gender issues and living situation of women. In 1942 she wrote an article in a party newspaper, titled "Thoughts on March 8", questioning the party's commitment to change popular attitudes towards women. Because of her explicit descriptions of sentimentality and sexuality, as well as her public critique of the Party's leadership, Ding Ling was denounced as a "rightist" and purged from the party in 1957. Her fiction and essays were then also banned. After many years of imprisonment, she reemerged in 1979, and became the vice president of the Chinese Writers' Association.

Yu Zhengxie and Yuan Mei were two of the first male feminists in China.

Contemporary Chinese feminist thinkers, activists, writers and lawyers include: Ai Xiongming, Wang Zheng, Lü Pin, and Zhao Sile.

Feminist movements and organizations in China
It was not until the 20th century when reforms for women's rights began as issues concerning women came under the spotlight. Unexpectedly, most of the early reforms for Chinese Women were conducted by men. For example, the May Fourth Movement of 1919 was the first impactful cultural movement of modern China, which heavily enlightened China on the importance of a woman's role in society. This movement promoted women's suffrage, denounced foot binding and shone light on the inhumanity of arranged marriages and the poor quality of women's education.

By the late 20th century, women began to gain greater autonomy through the formation of women-only organizations. Chinese women's organizations began to emerge during the Zhang Mao era (1948-1976) such as the All-China Women's Federation. These organizations allowed issues concerning women's interests, welfare, and equal rights to be addressed.

All-China Women's Federation

This organization was established in 1949 to protect women's rights and represent their interests. Scholar Qi Wang explains this all female non-governmental organization in a feminist context where women were finally challenging the government's tighter control on social organizations. These were feminist modes of protests, in private and public spaces, that contributed to the introduction of new generational changes to resist inequalities. Other organizations in China, such as the Human Rights Watch, addresses that the ACWF "is promoting a damaging narrative about women's subservience in an attempt to fix social issues". Since the head positions of the ACWF are appointed by the Chinese Communist Party, women who hold positions of leadership do not necessarily represent the interests of Chinese women, because they are not elected by the people, but appointed by the party/state.

Arrest of Feminist Five

The Feminist Five is a group of five young Chinese feminists who planned a demonstration against sexual harassment on public transportation. They became known after the Chinese government arrested them for this demonstration.

Reason for arrest
In early March 2015, young feminists around China were preparing to distribute stickers with information about gender equality and sexual harassment, such as men groping women on crowded trains and buses, to commemorate the International Women's Day. But on March 6, 2015, the police arrested dozens of people in Beijing, the southern city of Guangzhou, and the eastern city of Hangzhou. Most of the arrested were released within a few days of the incident. However, Li Maizi (birth name Li Tingting) (李婷婷) (30), Wei Tingting (韦婷婷) (26), Zheng Churan nicknamed “Giant Rabbit” (郑楚然) (25), Wu Rongrong (武嵘嵘) (30), and Wang Man (王曼) (33), were detained on suspicion of "Picking quarrels and provoking trouble". They were held inside the Beijing Haidian Detention Center, where they were interrogated daily.

International attention
The timing of the arrest and detention of the feminist five increased the amount of international attention at this event. A hashtag campaign #FreetheFive spread news about their arrest quickly and gained support of people from all around the world. By the end of their detention, over two million people had signed petitions that demanded their release.
Several governments and NGOs on women's rights saw their arrest as a provocative and disrespectful action from the Chinese government towards the international feminist community. The feminists were arrested right before the International Women's Day and during CCP General Secretary Xi Jinping's preparations to co-host UN summit on women's rights as a celebration of the twentieth anniversary of the Fourth UN Conference on Women in Beijing. In reaction Hillary Clinton tweeted, "Xi hosting a meeting on women's rights at the UN while persecuting feminists? Shameless." Such global diplomatic and media pressure lead to the eventual release of the Feminist Five.
At the end of 2015, Amnesty International recalled that during "the past two years, the Chinese authorities have stopped the activities of three non-governmental organizations defending the rights of women." And that moreover "the Chinese authorities are currently detaining at least 11 women's rights activists and are persecuting dozens of others." Among these was the lawyer Wang Yu, who defended the five activists arrested in March 2015.

Their release
After 37 days of detention, on April 13, 2015, the Feminist Five were released on bail. They were the first group of social activists in China who were released from detention together. Although not in prison, the women are still considered criminal suspects by the Chinese government. This restricts their job opportunities, physical mobility and curtails their civil and political rights.

Events that came after the Feminist Five
After the release of the Feminist Five, Hong Fincher interviewed the female activist, as she was interested in their impact on the world thus was one of the inspirations that lead to her book, released in 2018, titled Betraying Big Brother: The Feminist Awakening in China.

There were not a lot of feminist activities happening in China after the arrest of the Feminist Five. Although the movement gained a lot of attention, it soon became a lot more difficult to make activism a full-time job in China as it has been a struggle to obtain financial support for their activist work and their personal means. The reason for this is because in the China Change article, it says that "... it is now illegal to accept funding from foundations that have not established offices in China.", and the lack of funding makes it difficult for new recruits to join the feminist movement.

One of the Feminist Five faced consequences from their actions. Wu Rongrong, (武嵘嵘) had a 10-year travel ban from leaving China after trying to gain visa to Hong Kong for law school. In the year 2017, Wu Rongrong was finally able to renew her passport to Hong Kong and is able to study Law there.

Zheng Churan, another one of the Feminist Five, protested against Donald Trump and pointing out the negative behaviours he had done towards woman.

The actions of the Feminist Five lead to the emergence in popularity, within China, of an ongoing movement, called the #MeToo movement. Because of this, many university students, both female and male, in China had gathered to sign petitions against harassment, showing that the younger generations are taking action on these issues that happen in China.

Issues
One-child policy
Sexuality in China
Prostitution in China
Domestic Violence and restriction on divorce
LGBT rights in China

Feminists from China

See also
 6B4T movement
 Feminism in Chinese Communism

References

Citations

Sources

 Barlow, Tani E. The question of women in Chinese feminism. Durham, North Carolina: Duke University Press, 2004. .
 Brownell, Susan, and Jeffrey N. Wasserstrom. Chinese Femininities / Chinese Masculinities. Berkeley: University of California Press, 2002. .
 Croll, Elisabeth J. Feminism and Socialism in China. New York: Routledge, 1978. .
 Edwards, Louise. "Issue-based Politics: Feminism with Chinese characteristics or the return of bourgeois feminism?" In The New Rich in China: Future Rulers, Present Lives. Ed. by David S. G. Goodman. New York: Routledge, 2004. pp. 201–212. .

 Fan, Hong. Footbinding, feminism, and freedom: the liberation of women's bodies in modern China. New York: Routledge, 1997. .
 Hom, Sharon K. Women's Rights: A Global View. Ed. by Lynn Walter. New York: Greenwood Publishing, 2000. .
 Honig, Emily, and Gail Hershatter. Personal voices: Chinese women in the 1980s. Stanford: Stanford University Press, 1998. .
 Hu, Alice. Half the Sky, But Not Yet Equal. Harvard International Review. Retrieved from  .
 Jaschok, Maria, and Suzanne Miers. Women and Chinese patriarchy: submission, servitude, and escape. London: Zed Books, 1994. .
 Lin, Chun. "Toward a Chinese Feminism: A personal story." In Twentieth-Century China: New Approaches. Ed. by Jeffrey N. Wasserstrom. New York: Routledge, 2002. .
 Lin, Chun. "The Transformation of Chinese Socialism". Durham, North Carolina: Duke University Press, 2006. .
 Liu, Lydia et al. "The Birth of Chinese Feminism: Essential Texts in Transnational Theory". Columbia University Press, 2013. .
 Meng, Yue. "Female Images and National Myth." In Gender Politics in Modern China: Writing and Feminism. Ed. by Tani E. Barlow. Durham, North Carolina: Duke University Press, 1993.

 Wang, Shuo. "The New 'Social History' in China: The Development of Women's History." The History Teacher 39:3 (May 2006).

 Zarro, Peter. "He Zhen and Anarcho-Feminism in China." Journal of Asian Studies 47:4 (November 1988), 796–813.

Further reading

External links
"Above Ground: China's Young Feminist Activists and Forty Moments of Transformation," Digital exhibit of photographs of protest actions carried out by Chinese Feminists

Political movements in China
China


Albert R. Spencer was an English footballer who played for Port Vale, Wolverhampton Wanderers, and Willenhall in the 1920s.

Career
Spencer joined Port Vale as an amateur in October 1922. After making his debut on New Year's Day 1923, in a 3–1 defeat at South Shields, he signed professional forms the next month. He played just another two Second Division games in the 1922–23 season, before he was transferred to Wolverhampton Wanderers in June 1923. He then returned to Vale five months later. His second spell at The Old Recreation Ground was just as uneventful and he was released after playing just one game in the 1923–24 season. He moved on to Willenhall.

Career statistics
Source:

References

Year of birth missing
Year of death missing
English men's footballers
Men's association football forwards
Port Vale F.C. players
Wolverhampton Wanderers F.C. players
Willenhall F.C. players
English Football League players
Place of birth missing


Jean-Michel Rouzière (died 13 February 1989) was a French comic actor and theatre head.

Life
He headed the théâtre du Palais-Royal from 1965 then headed the Théâtre des Variétés from 1975. He was made a knight of the Légion d'Honneur.

Filmography
 1942: Vie privée (by Walter Kapps)
 1952: Jocelyn
 1954: Les Intrigantes (by Henri Decoin) - Jean, le garçon du restaurant (uncredited)
 1954: Madame du Barry (by Christian-Jaque) - (uncredited)
 1954: Le Rouge et le Noir (by Claude Autant-Lara)
 1954: Bonnes à tuer
 1957: L'honorable Mr. Pepys
 1958: Cette nuit-là - (uncredited)
 1959: Pourquoi viens-tu si tard?
 1959: Le Bossu (by André Hunebelle)
 1960: Le Capitan (by André Hunebelle) - Un gentilhomme de la province
 1961: Les Amours de Paris
 1961: Les Godelureaux - (uncredited)
 1961: Le Miracle des loups - Un soldat (uncredited)
 1962: Portrait-robot
 1963: Le Vice et la Vertu - SS Man
 1963: Blague dans le coin
 1964: Le Bluffeur
 1964: Requiem pour un caïd
 1965: Le Vampire de Düsseldorf
 1965: Paris vu par... - Jean-Marc (segment "Place de l'Etoile")
 1966: Paris brûle-t-il? - Le monsieur au petit chien
 1968: Mayerling - Police superintendent
 1971: Le Cinéma de papa - Le représentant de la Colombia (final film role)

Theatre
Actor
 1959 : Le Cas Dobedatt by George Bernard Shaw, producer Jean Mercure, Théâtre des Bouffes-Parisiens
 1959 : Le Client du matin by Brendan Behan, producer Georges Wilson, Théâtre de l'Œuvre
 1962 : Au petit bonheur by Marc-Gilbert Sauvajon, producer Jean-Michel Rouzière, Théâtre des Nouveautés

Producer
 1962 : Au petit bonheur by Marc-Gilbert Sauvajon, Théâtre des Nouveautés
 1965 : Gigi by Colette, Théâtre du Palais-Royal
 1982 : Lorsque l’enfant paraît by André Roussin, Théâtre des Variétés

External links

1989 deaths
French male film actors
Year of birth missing
French male stage actors
Knights of the Legion of Honour
French theatre managers and producers
20th-century French male actors


Valerie Wohlfeld, (b. 1956  in Sacramento, California) is an American poet.

Life
She was educated at American University, and Sarah Lawrence College, and received an M.F.A. from Vermont College in 1983.  Valerie Wohlfeld's 1994 collection, Thinking the World Visible, won the Yale Younger Poets Prize. Her book, Woman with Wing Removed, came out in 2010 from Truman State University Press. Her work has appeared in The Antioch Review, New England Review, Journal of the American Medical Association, and elsewhere.

Works

 Nautilus; Beeyard, The Antioch Review, Volume 58 Number 1, Winter 2000

 The Sugar Tooth, AGNI, Boston University, Volume 37, 1993
 Trinkets, AGNI, Boston University, Volume 34, 1991
 Vessel, The New Criterion, November 2002
 The Cut Hair of Nuns, The Antioch Review, Volume 61 Number 2, Spring 2003
 Apple, The Seneca Review, Vol. 33 Issue 2, Fall 2003
 Fruit for the Fall, The Antioch Review, Volume 63 Number 3, Summer 2005
 Poppies, Ploughshares, Spring 2007
 HEART: SPECIMEN, VALPARAISO POETRY REVIEW, Spring/Summer 2007

 Wind, The Antioch Review, Volume 66 Number 1, Winter 2008

Books
 Thinking the World Visible, Yale University Press, 1994,
 Woman with Wing Removed, Truman State University Press, 2010,

Anthologies

 Poets of the New Century Editors Roger Weingarten and Richard M. Higgerson, David R. Godine, Publisher, Inc., 2001,
 The Yale Younger Poets Anthology Editor George Bradley, Yale University Press, 1998,

References

Living people
Sarah Lawrence College alumni
Vermont College of Fine Arts alumni
American University alumni
1956 births
American women poets
21st-century American women


Never Fear, also known as The Young Lovers, is a 1950 American drama film directed and co-written by Ida Lupino, and produced by Lupino and Collier Young.  It stars Sally Forrest, Keefe Brasselle, and Hugh O'Brian.

Plot
Carol Williams is a beautiful young dancer with a promising career who is crippled by polio. Her dance partner and fiancé Guy Richards wants to see her through her illness, but Carol prefers to endure her recovery alone. Carol's father takes her to the Kabat-Kaiser Institute for rehabilitation, where she meets fellow patients in recovery. By allowing others to share her grief, Carol is able to pull herself together and go on with her life.

Cast
 Sally Forrest as Carol Williams
 Keefe Brasselle as Guy Richards
 Hugh O'Brian as Len Randall
 Eve Miller as Phyllis Townsend
 Lawrence Dobkin as Dr. Middleton
 Rita Lupino as Josie
 Herb Butterfield as Walter Williams
 Kevin O'Morrison as Red Dawson
 Stanley Waxman as Dr. Taylor
 Jerry Hausner as Mr. Brownlee
 John Franco as Carlos

Cast notes:
Rita Lupino was director/co-writer Ida Lupino's sister.

Production
Never Fear was the first directorial credit for actress Ida Lupino, although an item in The New York Times reported that Frank Cavett was originally intended to direct.  The film was also Hugh O'Brian's first credited film role.  During the making of the film, the name of the production company of Lupino and Collier Young, her husband at the time, was changed from Emerald Productions to The Filmmakers.  Lupino and Young used their own money and that of friends to raise the $151,000 they used to make the film; they did not approach the major studios for financing.  As a result of their work, RKO gave Lupino and Young a nine-month contract as an independent production unit.

Lupino had contracted polio in 1934 and suffered the same fevers and pains as does the Carol Williams character, and she also faced the same dark thoughts and fear that she would not walk again. Lupino's major symptoms persisted for only a brief period of time, leaving her with minor problems in her leg and hand. She remained a supporter of causes to fight the disease, and Never Fear was released in 1949, the year with America's highest-ever recorded total of polio cases. During production, Lupino fell and broke her ankle, and made some use of a wheelchair while directing.

The rehabilitation scenes were shot at the Kabat-Kaiser Institute in Santa Monica, California. Many of the actors used were actual rehab patients at the institute, and a scene depicting a wheelchair square dance featured a group of real wheelchair dancers from Kabat-Kaiser.

The film was initially released as The Young Lovers and has also been titled They're Called Young Lovers, which may have been for a television release.

Reception
The film was not popular because of its subject matter and did not turn a profit for The Filmakers, Lupino's and Young's production company.

A Variety review stated: "As written by Ida Lupino and Collier Young, the screenplay was psychologically sound in dealing with the emotional ups and downs of polio victims, and it is equally convincing as a documentary of treatment with effective shots of physical therapy."

Songs
 "Why Pretend" - music by John Franco
 "Guaymas" - music and lyrics by John Franco and William Earley

References

External links

 History of KaiserPermanente in Rehabilitation Medicine

1950 films
1950 drama films
American black-and-white films
Films directed by Ida Lupino
Films scored by Leith Stevens
Eagle-Lion Films films
American drama films
1950s English-language films
1950s American films


Lindsay Elizabeth Ell (born 20 March 1989) is a Canadian-American country pop singer, songwriter, guitarist and television personality from Calgary, Alberta. Her music incorporates elements of rock and blues.  She was signed to the US record label Stoney Creek Records, an imprint of Broken Bow Records. Her debut extended play, Worth the Wait, was released in March 2017. Her first full-length country album, The Project, was released in August 2017 and debuted at No. 1 on the Billboard Country Album Sales chart. Since 2022, she has been the host of the revived Canada's Got Talent reality television series.

Early life
Lindsay Ell was born in Calgary. She started playing the piano at six, until she discovered her father's collection of guitars scattered throughout the house, switching at age eight; "I fell in love with the guitar," says Lindsay. "It's a huge part of who I am." Lindsay fell in love with the blues and started songwriting at age 10. Ell was valedictorian for her class at Bishop Carroll High School, from which she graduated a year early. She went on to study business at the University of Calgary and music at the Berklee College of Music, in addition to pursuing her music career.

Ell officially became an American citizen on December 8, 2022.

Career
Randy Bachman discovered Ell when she was only 15 years old. Bachman described her as "the most talented and multi-faceted artist I've come across in many years". Bachman co-wrote and produced her first album Consider This. It was recorded at Bachman's studio on Saltspring Island, and Ell herself co-wrote most of the 11 songs. The album was released in 2006 on Bachman's record label Ranbach Music and distributed by Fontana North. Ell toured with blues guitarist Buddy Guy in 2008. On her 2009 album, Alone, she moved to a more acoustic sound compared to her debut.

It was her first songwriting trip to Nashville that brought her full circle to her country roots. She travelled back and forth from Calgary to Nashville for a couple years to participate in songwriting sessions while playing as many live shows as she could to hone her craft. At the age of 21, she permanently moved to Nashville and signed with the US-based record label Stoney Creek Records.

In December 2013, her first official single, "Trippin' on Us", debuted as the most added song for country music radio in both Canada and the United States with over 50 first week adds. Ell has since been called "a true triple threat" by Guitar World; "a star in the making" by Taste of Country and "a distinct figure in the modern country recording camp" by Country Weekly. Lindsay is a guitarist whose style has been influenced by John Mayer, Keith Urban, Stevie Ray Vaughan, Tommy Emmanuel, Chet Atkins, Buddy Guy, Randy Bachman, Eric Clapton and Jimi Hendrix. She typically plays a custom Les Paul Goddess and Martin acoustic guitars. She is an official Martin Guitar artist.

Lindsay made her Grand Ole Opry debut on 15 April 2014 and has since made several appearances on the show. On 24 March 2017, Lindsay released her debut EP, Worth the Wait, featuring six songs, one of which is a cover of John Mayer's "Stop This Train." "Worth the Wait shows off Ell’s talent in all capacities, as a guitarist, vocalist and songwriter," wrote Sounds Like Nashville in a review of the project. On 28 January 2018, Lindsay sang the Canadian National Anthem at the 2018 NHL All-Star Game. In March 2018, she performed at the C2C: Country to Country festival in the UK. On July 29, 2020 upon her label's request Lindsay flew to Nashville to perform a remix as a guest artist on her label mate Tucker Beathard's newly released single titled "Faithful". The track was the first promotional single released upon the announcement Beathard's upcoming album titled KING, however the version that features her was left off of the album and was instead only able to be streamed via YouTube.

On August 14, 2020, Ell released her fifth studio album, Heart Theory, featuring the singles "I Don't Love You", "Want Me Back", and "Good on You". In October 2021, it was announced that Ell will host the second season of Canada's Got Talent, which aired in 2022. She served alongside Priyanka as cohost of the 2021 Canadian Country Music Awards.

In 2023, Ell departed Stoney Creek Records and the BBR Music Group. She subsequently released the single "Sweet Spot". Her song "Right on Time" was named "Single of the Year" at the 2023 Canadian Country Music Awards".

Personal life
In February 2023, she revealed that she has been battling an eating disorder for many years that was only recently diagnosed.

Tours
We Are Pioneers World Tour (2013/2014) – supporting The Band Perry
CMT Next Women of Country Tour (2016) – supporting Jennifer Nettles
Life Amplified World Tour (2017) – supporting Brad Paisley
Weekend Warrior World Tour (2017/2018) – supporting Brad Paisley
Still the Same Tour (2018) - supporting Sugarland
Graffiti U World Tour (2018) – supporting Keith Urban
Monster Energy Outbreak Tour (2018/2019) - headlining
Friends and Heroes Tour (2021) - supporting Blake Shelton
wAnt me back tour (2021) - headlining, with Robyn Ottolini supporting
From the Fire Tour (2023) - supporting Zac Brown Band

Lindsay Ell was selected by The Band Perry to open for their "We Are Pioneers World Tour" which included 50 dates throughout Europe and North America during 2013 and 2014. She has also supported tours with Keith Urban, Luke Bryan, Buddy Guy, Big & Rich, Gretchen Wilson, Ronnie Dunn, Paul Brandt, Chris Isaak and Blake Shelton. In 2021, Lindsay Ell completed her first Canadian headlining tour, with special guest Robyn Ottolini supporting.

Discography

 Consider This (2008)
 Alone (2009)
 The Project (2017)
 The Continuum Project (2018)
 Heart Theory (2020)

Awards and nominations

References

External links
 Lindsay Ell official website
 Lindsay Ell discography at Allmusic

1989 births
Living people
Musicians from Calgary
Canadian Country Music Association Single of the Year winners
Canadian women guitarists
Canadian women country singers
Canadian ukulele players
American country singer-songwriters
21st-century Canadian women singers
21st-century Canadian guitarists
Canadian television hosts
21st-century women guitarists


Capriccio burlesco is an orchestral work by Sir William Walton, written between May and September 1968 at his home in Ischia, Italy.

It was commissioned by the New York Philharmonic in celebration of its 125th anniversary, and was dedicated to Andre Kostelanetz, who conducted the first performance on 7 December 1968 at the Lincoln Center for the Performing Arts, New York City. Kostelanetz also made the premiere recording of the work, with the New York Philharmonic.

The work lasts about 7 minutes and is exuberant, bustling and jaunty.

See also
Inscape (1967)

References

Compositions for symphony orchestra
Compositions by William Walton
1968 compositions
Music commissioned by the New York Philharmonic
Music dedicated to ensembles or performers


Anne Tabachnick (1927 – June 20, 1995) was an American expressionist painter whose style drew inspiration from Abstract Expressionism and the European tradition.

Biography
Born to Eastern European Jewish immigrants in Derby, Connecticut, Anne Tabachnick spent most of her life living and working in New York City. Her father, Abraham Ber Tabachnick, was a prominent Yiddish literary critic and poet, and a news editor for the Jewish Telegraphic Agency in New York. She attended Hunter College, earning a B.A. in anthropology and art, and pursued graduate studies in art at the University of California, Berkeley (1951).  After studying briefly with painter Nell Blaine, Tabachnick was awarded a scholarship from the Hans Hofmann School in New York City and Provincetown from February 1946 to August 1950.  Tabachnick also studied with William Baziotes in 1961.

Work
Belonging to the New York School, her work was frequently figurative. Tabachnick used thin applied areas of acrylic through which strokes of charcoal defined the subject matter of still life, landscape and figures. Tabachnick drew inspiration from what she called “The Grand Tradition” of European Masters; especially El Greco, Pierre Bonnard, Paul Cézanne and Henri Matisse.  She also drew inspiration from East Asian calligraphy painting.

A self-described lyrical expressionist, Tabachnick was associated with Leland Bell, Louisa Matthiasdottir, Jane Freilicher, Larry Rivers, Bob Thompson, and Robert De Niro, Sr.

Along with some two dozen solo shows, Anne Tabachnick's many honors and awards include the Longview Foundation Award (1960), grants from Radcliffe's Bunting Institute (1967 and 1969), grants from the Creative Artists Program (1975 and 1978), the Adolph and Esther Gottlieb Foundation (1982) and the John Simon Guggenheim Fellowship (1983). In 1985, Tabachnick was appointed artist in residence at Altos de Chavón in the Dominican Republic and received numerous invitations to the MacDowell and Yaddo art colonies. Her work has been exhibited at the Museum of Modern Art, the National Academy of Design, the Hyde Collection (in a one-person show) and the Bunting Institute at Radcliffe.

See also
Bob Thompson
Robert De Niro, Sr.
Hans Hofmann
Guggenheim Fellowship
Adolph and Esther Gottlieb Foundation
List of painters by name
New York School
Abstract Expressionist

References

External links
Kingsley, April "Anne Tabachnick: Learning from the Past"
Ask Art "Anne Tabachnick  (1933 - 1995)"
Mullarkey, Maureen "Painting About Paintings"
Figurative Expressionism "Anne Tabachnick"
Obituary - The New York Times
Preston, George Nelson, "Against the Grain:The Paintings of Anne Tabachnick," Arts Magazine, 53: February 1979, pp. 154–155.
Photos from Anne Tabachnick: A Memorial Exhibition (1927-1995)

1995 deaths
1927 births
20th-century American painters
20th-century American women artists
American women painters
Jewish American artists


A fungating lesion is a skin lesion that fungates, that is, becomes like a fungus in its appearance or growth rate. It is marked by ulcerations (breaks on the skin or surface of an organ) and necrosis (death of living tissue) and usually presents a foul odor. This kind of lesion may occur in many types of cancer, including breast cancer, melanoma, and squamous cell carcinoma, and especially in advanced disease. The characteristic malodorous smell is caused by dimethyl trisulfide. It is usually not a fungal infection but rather a neoplastic growth with necrosing portions.

There is a weak evidence that  6% miltefosine solution applied topically on superficial fungating breast lesion less than 1 cm who received previous radiotherapy, surgery, hormonal therapy or chemotherapy for their breast cancer, may slow the disease progression.

References

External links
 Definition of "fungating lesion" at the NCI Dictionary of Cancer Terms

Cellular processes
Dermatologic terminology
Oncology


All or Nothing at All is a studio album by Billie Holiday, released in 1958 on Verve Records, catalog MGV8329. There are 12 songs on the LP taken from five different recording sessions that took place in 1956 and 1957.  Holiday was backed by a "relaxed and understanding" small combo which included the trumpeter Harry "Sweets" Edison and the saxophonist Ben Webster. A 1959 New York Times article noted that Holiday's voice "had become a very limited instrument which she used with the craft and guile of an aging pitcher who can no longer pour his fast one across the plate."

Album cover art is by David Stone Martin.

Track listing

Original LP release
LP side 1
"Do Nothing till You Hear from Me" (Duke Ellington, Bob Russell) – 4:12
"Cheek to Cheek" (Irving Berlin) – 3:35
"Ill Wind" (Harold Arlen, Ted Koehler) – 6:14
"Speak Low" (Ogden Nash, Kurt Weill) – 4:25
"We'll Be Together Again" (Carl T. Fischer, Frankie Laine) – 4:24
"All or Nothing at All" (Arthur Altman, Jack Lawrence) – 5:39
LP side 2
"Sophisticated Lady" (Ellington, Irving Mills, Mitchell Parish) – 4:48
"April in Paris" (Vernon Duke, E. Y. Harburg) – 3:02
"I Wished on the Moon" (Dorothy Parker, Ralph Rainger) – 3:25
"But Not for Me" (George Gershwin, Ira Gershwin) – 3:48
"Say It Isn't So" (Irving Berlin) – 3:22
"Our Love Is Here to Stay" (Gershwin, Gershwin) – 3:41

Personnel
Billie Holiday – vocals
Harry "Sweets" Edison – trumpet
Ben Webster – tenor saxophone
Jimmy Rowles – piano
Red Mitchell – bass
Joe Mondragon – bass
Alvin Stoller – drums
Barney Kessell - guitar

Other versions
 All Or Nothing At All (LP), Verve Records, US, 1959
 All Or Nothing At All (LP, RE), Verve Records, Spain, 2010
 All Or Nothing At All (LP, Album, RE), Verve Records, France, 2011
 All Or Nothing At All (LP), Verve Records, Analogue Productions US 2012
 All Or Nothing At All (LP, RE, Album), WaxTime, Europe, 2012
 All Or Nothing At All (LP, Album, RE), Verve Records US

CD Reissue
A 2 CD re-issue from 1995 combined all of the tracks from this and two other Holiday albums recorded at the same time, Body and Soul and Songs for Distingué Lovers, with two additional bonus tracks taken from the same recording sessions.

CD Reissue track listing
CD disc 1

"Do Nothin' Till You Hear from Me" (Ellington, Russell) – 4:12
"Cheek to Cheek" (Berlin) – 3:35
"Ill Wind" (Arlen, Koehler) – 6:14
"Speak Low" (Nash, Weill) – 4:25
"We'll Be Together Again" (Fischer, Laine) – 4:24
"All or Nothing at All" (Altman, Lawrence) – 5:39
"Sophisticated Lady" (Ellington, Mills, Parish) – 4:48
"April in Paris" (Duke, Harburg) – 3:02
"I Wished on the Moon" (Parker, Rainger) – 3:25
"Moonlight in Vermont" (John Blackburn, Karl Suessdorf) – 3:49
"Foggy Day" (Gershwin, Gershwin) – 4:40
"I Didn't Know What Time It Was" (Lorenz Hart, Richard Rodgers) – 5:59
"Just One of Those Things" (Cole Porter) – 5:31
"Comes Love" (alternate take, bonus track) – 3:58
"Comes Love" (Lew Brown, Sam H. Stept, Charles Tobias) – 4:00

CD disc 2

"Day In, Day Out" (Rube Bloom, Johnny Mercer) – 6:47
"Darn That Dream" (Eddie DeLange, Jimmy Van Heusen) – 6:19
"But Not for Me" (Gershwin, Gershwin) – 3:48
"Body and Soul" (Eyton, Johnny Green, Edward Heyman, Robert Sour) – 6:22
"Just Friends" (John Klenner, Sam M. Lewis) (instrumental, bonus track) – 6:26
"Stars Fell on Alabama" (Parish, Frank Perkins) – 4:29
"Say It Isn't So" (Berlin) – 3:22
"Our Love Is Here to Stay" (Gershwin, Gershwin) – 3:41
"One for My Baby (and One More for the Road)" (Arlen, Mercer) – 5:39
"They Can't Take That Away from Me" (Gershwin, Gershwin) – 7:10
"Embraceable You" (Gershwin, Gershwin) – 6:47
"Let's Call the Whole Thing Off" (Gershwin, Gershwin) – 3:24
"Gee Baby, Ain't I Good to You" (Andy Razaf, Don Redman) – 5:37

References

External links

 All or Nothing At All CD reissue on the Internet Archive, includes audio samples and liner notes.

1958 albums
Billie Holiday albums
Albums produced by Norman Granz
Verve Records albums
Albums with cover art by David Stone Martin


Thomas Wayne Merriman (20 March 1924 Chicago – 11 November 2009 Dallas) was an American music composer based in Dallas, Texas, who in 1955 created the first production company specializing in radio station advertising campaigns and jingles. Merriman led the Liberty Network Band, and arranged and/or produced music for Louis Armstrong, Duke Ellington and Cab Calloway.

Career
Merriman wrote and recorded the first ever radio jingle recorded in Dallas for KLIF. He also wrote countless commercials that are still recognizable and remembered today, corporate musical shows, Las Vegas shows, and theme park ride music, he also recorded the voice on his classic, "I’m Otto, the Orkin Man."

He was one of the original owners of KVIL, a major FM radio station serving the Dallas–Fort Worth metroplex.

He was a graduate of Indiana University, renowned for its music school, Merriman was a student of the Juilliard School of Music and established his musical credentials with an impressive list of clients. Over the years, he wrote and produced music for Louis Armstrong, Duke Ellington, and Cab Calloway, as well as corporate and film clients — winning a Cannes Film Festival Award and an award from the Academy of Motion Picture Arts and Sciences.  Among his musical works, Merriman’s arranged a hit for Louis Armstrong’s, "Do You Know What It Means to Miss New Orleans?."

Over the years, Merriman mentored young musicians and writers, some of whom followed in his jingle/radio ID footsteps, such as local singer/composer, Chris Kershaw (b. May 24, 1949; d. April 28, 2013), whom he took under his wing when he was a teenager at St. Mark's School in Dallas; and jazz composer/producer, Phil Kelly, now living in Bellingham, Washington, who says that "working with Tom over a period of thirty plus years was always [like] continuing post-graduate instruction in how to write all kinds of commercial music. I'm definitely a far better writer, directly due to watching, listening, learning and, often... stealing from him."

TM Studios
Before partnering with Jim Long in 1967 to create one of the nation’s most influential commercial jingle and radio ID production companies, TM Productions (now TM Studios), Merriman was a staff writer for various production houses, an independent producer, the owner of CRC (Commercial Recording Corporation), where he wrote and recorded a custom jingle for the Dallas Morning News: "Start the day with the world on your doorstep, with the Dallas Morning News."

All the while, he kept his "day job" as the Music Director at the Hockaday School — until the success of the TM Companies far exceeded his wildest dreams. Even with success and a busy schedule, he still found time to serve as an orchestral arranger for his friend, Jim Clancy, who founded the now internationally recognized vocal performance group, The Vocal Majority.

The TM Companies grew to include not only radio IDs and commercial jingles, but also radio programming, automated radio formats, and music libraries (TM Programming) which surpassed anything else in the marketplace. Tom Parma, who was hired as an engineer at TM Productions – and was soon moved into sales by Long, describes the 1960s, and 1970s at TM as a "shining, golden time" of creativity, success and a "wonderful place to work." Tom Parma's wife, Judy, was a radio ID jingle singer at TM Studios.

Merriman continued to support countless young musicians by hiring recent graduates of the newly formed (at that time) One O'Clock Lab Band — and by creating an internship program at TM which fostered the production talents of then Indiana University student, Linda Adelkoff LeGrand, who became a top-level recording engineer and vocal producer. LeGrand recalls of her experience at TM, "I was 21 years old when I came to work at TM Productions as a recording engineer intern ... I was awestruck by his talent and musical knowledge. What a character! Tom Merriman was a genius in an unlikely package."

Music industry experts acknowledge that TM was the biggest and best of its kind in the world, winning awards and shaping the sound of commercial recording for over 40 years, evolving thru’ changes in ownership and management, including its sale to Disney's Shamrock Broadcasting and current incarnation as TM Studios, under the former leadership of David Graupner.

"Dance the Slurp"
In a true test of time, 40 years after Merriman wrote a catchy little number, called "Dance the Slurp" which was released as a vinyl 45 to promote 7-Eleven's Slurpee drinks in the late 1960s, it became a huge dance hit on the DJ circuit. San Francisco Bay area DJs Cut Chemist and Shadow, featured Merriman's song as the centerpiece of their "BrainFreeze" mix CD. Because of legal problems with 7-Eleven, the "BrainFreeze" funk mix has gone underground, selling for up to $100 and a single copy of the original 45 "Dance the Slurp" is considered a bargain at $35.

Death
Merriman suffered a fall and his health declined over several months. Merriman died November 11, 2009, in Dallas, Texas.

Historical collections
The majority of Mr. Merriman's personal recordings collection is housed with Media Preservation Foundation in Springfield, Massachusetts.

References

External links
Tom Merriman tribute site

1924 births
2009 deaths
Accidental deaths from falls
Accidental deaths in Texas
Record producers from Texas
American music arrangers
American male composers
Juilliard School alumni
Jacobs School of Music alumni
Musicians from Dallas
The Dallas Morning News people
Jingle composers
Journalists from Texas
20th-century American composers
20th-century American male musicians
20th-century American journalists
American male journalists


Majerus Falls is one of seven waterfalls on the Murtle River west of Murtle Lake in Wells Gray Provincial Park, east-central British Columbia, Canada.

Majerus Falls is  high and  wide, a similar width to Dawson Falls downstream.

The waterfall was discovered by  Joseph Hunter, a surveyor working for the future Canadian Pacific Railway, on May 25, 1874. Hunter did not name the falls, but he did name the Murtle River and Murtle Lake for his birthplace in Scotland, Milton of Murtle, near Aberdeen. Majerus Falls and tiny Majerus Lake, north of here, are named for Michael Majerus, one of the first homesteaders in the Clearwater Valley. He built a cabin beside the Murtle River above Dawson Falls in 1912 and lived there until 1946.

Access to Majerus Falls is by a hiking trail that starts at the Pyramid Campground. It skirts volcanic Pyramid Mountain and follows the north side of the Murtle River. The trail is  long each way; allow about 3.5 hours to get to the falls.

References

Waterfalls of British Columbia
Wells Gray-Clearwater
Kamloops Division Yale Land District


Peter Carl Gutwein () (born 21 December 1964) is an Australian politician who was the 46th premier of Tasmania from 2020 to 2022. He was a Liberal Party member of the Tasmanian House of Assembly from 2002 to 2022, representing the electorate of Bass. He succeeded Will Hodgman as leader of the Liberal Party and Tasmanian Premier on 20 January 2020.

Early life and career
Gutwein was born in England in 1964, the oldest of six children born to a British mother and a father who had arrived in Britain from "post-war central Europe" in the mid-1950s. The family migrated to Australia in early 1969 as "Ten Pound Poms", traveling to Launceston, via Melbourne and Hobart. The three youngest children were born in Australia. His father worked as a baker, also stacking animal skins and selling firewood to earn extra money.

Gutwein grew up in the village of Nunamara. He became an Australian citizen at the age of 16. His younger brother died at the age of 10 due to a congenital heart defect. He was educated at Myrtle Park Primary School and Queechy High School in Launceston, and Deakin University in Melbourne.

In a 2022 press conference as premier, Gutwein revealed that he was a victim of child sexual abuse by his teacher at the age of 16.

Gutwein played senior Australian rules football for the East Launceston Football Club as a midfielder. He also played a single season for the Swan Districts Football Club in the West Australian Football League (WAFL) in 1986, while studying at the Western Australian Institute of Technology.

A financial adviser (Dip Fin Planning, Grad Cert Bus Admin) he was a senior manager in the insurance and financial planning sector working throughout Australia and in Europe (Ireland).

Political career
Gutwein began his career in politics in 1995, when he was introduced to the former federal MP for Bass, Warwick Smith, who convinced him to join the Liberal Party and manage Smith's successful re-election campaign at the 1996 federal election. Following the election of the Howard government, Gutwein worked for two years as a ministerial adviser to Senator Jocelyn Newman during her time as Minister for Social Security.

In July 2002, Gutwein was elected as a member for Bass at the state election. In August 2002, he joined opposition leader Rene Hidding's shadow cabinet, holding the portfolios of shadow treasurer, employment, and economic development. In December 2003, Gutwein became the first Tasmanian MP in five years to cross the floor when he voted for a bill proposed by the Tasmanian Greens to establish a commission of inquiry into child abuse, which saw Hidding strip him of his shadow portfolios. In April 2004 he became shadow minister for education, and police and public safety. When Will Hodgman led the Liberals to government at the 2014 state election, Gutwein was appointed as Treasurer of Tasmania, as well as minister for planning and local government. Until 2019, he held various other ministries including environment, parks and heritage; forestry; and state growth.

In April 2017, Gutwein was referred to the Legislative Council for contempt of parliament, following his refusal to provide an unredacted version of a report, The Sale of the Tamar Valley Power Station, to the Public Accounts Committee.  According to the Tasmanian Parliamentary Library, as of 2017 Gutwein had been suspended from parliament more than any other member, with 16 suspensions.

Gutwein has been described as a moderate Liberal.

Premier of Tasmania
On 14 January 2020, Hodgman announced his intention to resign as Liberal leader and premier. Along with Michael Ferguson, Gutwein was considered a front-runner for the leadership contest, but was elected unopposed on 20 January, when Ferguson withdrew from the ballot. Gutwein was sworn in as the 46th Premier of Tasmania later that afternoon.

During the COVID-19 pandemic in Australia, Gutwein announced on 19 March 2020 that all "non-essential" travellers to the state, including returning residents, would be subject to a mandatory 14-day quarantine.

In December 2020, Gutwein announced that he would vote in favour of legalising euthanasia in Tasmania, although he had previously voted against similar legislation on three occasions. He stated that "I believe in freedom of choice and that's why I support this bill", also citing the deaths of his father and sister to aggressive forms of cancer.

In March 2021, Gutwein informed Speaker Sue Hickey that she would not be re-endorsed as a Liberal candidate. She subsequently resigned from the party, leaving the Liberals in a minority government. Three days later, Gutwein called an early election for May 2021. He led the Liberals to a third straight majority in the House of Assembly, the first time in the party's history. Ultimately the Liberals finished with 13 seats out of 25, unchanged from the 2018 election, with 48.7 percent of the popular vote.

On 4 April 2022, Gutwein announced his resignation as premier and as a member of Tasmania’s parliament. His deputy Jeremy Rockliff succeeded him on 8 April 2022.

After leaving office, Gutwein allowed his Liberal Party membership to lapse.

Personal life
Gutwein lives in the Tamar Valley with his wife and two children. He is a qualified black belt and assistant to the instructor in the martial art of taekwondo. He has a pair of pet goats, named Alan and Teddy.

References

1964 births
Living people
Liberal Party of Australia members of the Parliament of Tasmania
Members of the Tasmanian House of Assembly
Treasurers of Tasmania
Premiers of Tasmania
Deakin University alumni
English emigrants to Australia
21st-century Australian politicians
Naturalised citizens of Australia
Australian monarchists
East Launceston Football Club players
Swan Districts Football Club players
Foreign born Australian politicians


The Asian Arts Initiative (AAI) is a nonprofit organization in Philadelphia which focuses on art and the Asian-American community. It was founded by Gayle Isa, who also served as AAI's first executive director until June 2018. Its current executive director is Anne Ishii.

History
Initially a small part of the Painted Bride Art Center, the Asian Arts Initiative (AAI) was created by Gayle Isa, a 1993 graduate of Swarthmore College, who envisioned creating a community of artists which could contribute to the growth of the neighborhood and to its cultural revival. In 1993, as a way of raising awareness about social and racial tension, the Painted Bride Art Center organized an Asian-American festival entitled "Live Traditions/Contemporary Issues," the first such festival dedicated to Asian American culture in Philadelphia.

In 1996, the AAI separated from the Painted Bride Art Center, becoming an independent nonprofit organization and moved into their own building located in the heart of Chinatown. In the same year, AAI began its first program, Artists in Community Training (ACT), a program meant to provide training for different artists interested in teaching and leading workshops. In 1998, the Youth Arts Workshops was introduced and offered diverse courses in which students of all ages could participate and in order to develop skills in creative writing and the visual arts. In the same year, the Rap Series was created as a way for Asian American artists to be able to meet, dialogue and get involved in the community.

The Asian Arts Initiative was forced to relocate in August 2008, "due to the expansion of the Philadelphia Convention Center," to a "three-level, 24,000 square-foot building at 1219 Vine Street", in the northern part of Chinatown. With funding from the City of Philadelphia, the State of Pennsylvania and private sources, the organization renovated part of the building into a multi-media facility that includes a gallery space and exhibition area, a theater, a media lab and library, and a generous space for workshops and meetings. As of 2008, the organization had a yearly budget of approximately $650,000.

The Asian Arts Initiative is partnered with the National Performance Network and with the Mural Arts Program (MAP), through which it hopes to promote its belief that "art produced and presented in the community context".

Gallery

The Asian Arts Initiative's gallery space hosts a number of contemporary artists of Asian descent originating in Philadelphia. Sparked by activism against large-scale changes to Chinatown, due to the proposal of a baseball stadium, the gallery was created to exhibit work that reflected the protest of the stadium project. Since the gallery’s opening in 2000, it has continued to host exhibitions ranging from paintings to installations 4 to 5 times a year. It featured several prominent figures in the art community as well as displaying the work of their youth workshops once a year. Visitors and participants become involved in viewing and learning about different artists and their artwork through these galleries. Several different benefactors support the Gallery exhibits, one being the Andy Warhol Foundation for Visual Arts.

Workshops

The Asian Arts Initiative provides a number of workshops that encourage participation from Philadelphia residents, focusing on specific types of artistic skills such as mural art, cooking, video editing, radio broadcasting, writing, and poetry.

References

External links
Instagram account
Official website

Organizations based in Philadelphia
Asian-American culture in Pennsylvania
Arts organizations based in Pennsylvania


State Route 193 (SR 193) is part of Maine's system of numbered state highways.  It runs  from an intersection at U.S. Route 1 (US 1) in Cherryfield to rural East Hancock, Hancock County at State Route 9 near Beddington. SR 193 originally ran between East Eddington and East Holden.  The original route was renumbered SR 175, and 193 was moved to its current location.  The new route originally ran closer to Beddington Lake, but the road was not suitable for heavy traffic, and a new connector to its current terminus was built in 1956. The northern terminus is just south of Lead Mountain.

Major junctions

References

External links

Floodgap Roadgap's RoadsAroundME: Maine State Route 193

193
Transportation in Washington County, Maine
Transportation in Hancock County, Maine