World War II.

The fate of the Jews of Pławno was sealed in 1942. Mayoral orders are quoted below.  22 January 1942  It is impossible to create a residential quarter for Jews (Ghetto) within the local district because there are 460 Jews in the district of Pławno, and the Pławno borough itself is too small to lodge that amount in a body. Moreover, the farmers residing here could not be removed from their dwellings and farm buildings. It would only be practicable to resettle the Jews from here to Ghetto in Radomsko.  In German: "Es ist unmöglich innerhalb der hiesigen Gemeinde ein Judenwohnviertel (Ghetto) zu schaffen, weil die Gem. Pławno 460 Juden zählt und die Ortschaft Pławno is selbst zu klein, um in ihr diese Menge zusammen unterbringen zu können. Überdies könnten die hier wohnhaften Landwirte nicht von ihren Wohnhäusern und Wirtschaftsgebäuden ausgeschieden werden. Möglich wäre nur die Sache die Juden von hier aus nach Ghetto in Radomsko umzusiedeln."  19 September 1942  "The resettlement of the Jews of Pławno to the Jewish residential quarter of the Pławno borough has to take place on 22 September 1942, until 18:00. The Jews must take all things and machines with them. The police take charge of the dwellings. No Jew must be present in the borough past the 22nd."  In German: "Die Umsiedlung der Juden aus Pławno in den jüdischen Wohnbezirk der Stadt Radomsko hat am 22. September 1942 zu erfolgen bis 18.00 Uhr. Die Juden haben sämtliche Sachen und Geräte mitzunehmen. Die Wohnungen werden von der Gendarmerie in Verwahr genommen. Nach dem 22. darf sich kein Jude mehr in der Ortschaft aufhalten."

References.

<br

Pławno is a village in the administrative district of Gmina Gidle, within Radomsko County, Łódź Voivodeship, in central Poland. The village has a population of 1,200. It lies approximately north of Gidle, south of Radomsko, and south of the regional capital Łódź.

Pławno (prononciation ) est un village de la gmina de Gidle, du powiat de Radomsko, dans la voïvodie de Łódź, situé dans le centre de la Pologne.


History.

The city was once known as "Bear Creek" or "Bear Creek Station", named after a creek that runs through the area. The town was moved, established and renamed in 1873 when the Central Railroad of Georgia was built approx. one mile to the east. It was named after Brig. General Wade Hampton, an American soldier in the Revolutionary War and War of 1812.

Points of interest.

The Atlanta Motor Speedway and the Atlanta Speedway Airport are located west of Hampton. The Atlanta Air Route Traffic Control Center, the Federal Aviation Administration's ARTCC for the airspace over Atlanta and other parts of the Southeast U.S., is located in Hampton.

Geography.

Hampton is located in southwestern Henry County at (33.381522, -84.289573).  U.S. Route 19/41, a four-lane highway, runs through the western side of the city, leading north to downtown Atlanta and south to Griffin. Georgia State Route 20 runs east from US 19/41 through the southern part of Hampton, leading to Interstate 75 and to McDonough.  According to the United States Census Bureau, Hampton has a total area of, of which are land and, or 0.86%, are water.

Demographics.

As of the census of 2000, there were 3,857 people, 1,411 households, and 1,049 families living in the city. The population density was 899.6 people per square mile (347.1/km2). There were 1,525 housing units at an average density of 355.7 per square mile (137.3/km2). The racial makeup of the city was 84.16% White, 13.38% African American, 0.16% Native American, 0.67% Asian, 0.57% from other races, and 1.06% from two or more races. Hispanic or Latino of any race were 1.74% of the population.  There were 1,411 households out of which 41.0% had children under the age of 18 living with them, 55.3% were married couples living together, 14.7% had a female householder with no husband present, and 25.6% were non-families. 19.6% of all households were made up of individuals and 6.9% had someone living alone who was 65 years of age or older. The average household size was 2.73 and the average family size was 3.12.  In the city, the population was spread out with 29.8% under the age of 18, 8.8% from 18 to 24, 35.4% from 25 to 44, 17.0% from 45 to 64, and 8.9% who were 65 years of age or older. The median age was 31 years. For every 100 females, there were 92.4 males. For every 100 females age 18 and over, there were 88.7 males.  The median income for a household in the city was $46,094, and the median income for a family was $48,310. Males had a median income of $37,750 versus $25,286 for females. The per capita income for the city was $18,924. About 2.1% of families and 5.0% of the population were below the poverty line, including 1.8% of those under age 18 and 14.6% of those age 65 or over.

Hampton is a city in southwestern Henry County, Georgia, United States. As of the 2010 census, the city had a population of 6,987, up from 3,857 at the 2000 census. By 2018 the estimated population was 7,922. "Hampton" mailing addresses outside the city limits reach into rural parts of eastern Clayton County and northern Spalding County. It is a southeastern suburb in the Atlanta metropolitan area.

Hampton est une ville située au sud ouest du Comté de Henry dans l'État de Géorgie aux États-Unis. Selon le recensement de 2010, la ville possède une population de pour en 2005. Les adresses postales d'Hampton empiètent également dans le Comté d'East Clayton et dans le Comté de Noth Spalding.


History.

Designed by Sir James Douglass, construction began in November 1873 by contractor Mr Yerward of Wales under the supervision of resident engineer Henry Norris, Douglass and Norris having completed Souter Lighthouse in 1871. The tower is tall with the lamp being above mean sea level. It was blessed by Frederick Temple, Bishop of Exeter, who later became Archbishop of Canterbury, and the light was lit for the first time by Lady Stucley of Hartland Abbey during the opening ceremony on 1 July 1874. The optic, a first-order rotating catadioptric array designed by James Chance, had been installed earlier that year. It flashed alternately red and white, the pattern being two white flashes followed by one red flash every thirty seconds. The optic had ruby glass panels mounted over three of its nine lens panels, these panels being around double the width of the other six (to compensate for the loss of intensity of light passing through coloured glass). The light could be seen up to away from the coast. The lighthouse was initially provided with a reed fog signal, sounding once every two minutes, which was replaced by a two-tone fog siren later in the 19th century; both installations were powered by caloric engines. In 1911 this was replaced with a new reed horn, and oil engines replaced the caloric ones. The fog signal was sounded from a small building a little to the north-west of the lighthouse.  The lighthouse was built with accommodation for four keepers and their families; it was protected by a long sea wall which was built in 1925 to prevent erosion of the rocks on which it stands. The large concrete structures immediately to the south of the lighthouse were to provide the keepers with fresh water.  The light was electrified in 1927, when the optic was replaced by a biform (i.e. two-tier) third-order sextuple-flashing rotating catadioptric optic, designed and built by Chance Brothers; the light had a range of and displayed six quick flashes in 7.5 seconds. It was lit by two 3 kW filament lamps, one on each tier (the lower lamp was fitted to a turntable lamp changer, which automatically lit a standby lamp (either electric or acetylene) in the event of a bulb or power failure). At the same time a new diaphone fog signal was installed, sounding three blasts every 75 seconds.  In January 1959 the lighthouse was connected to mains electricity; the generator formerly in use was retained for emergency use. Some years afterwards the fog diaphone was replaced with an LIE300 electric horn. The tower was automated in 1984 and controlled from Trinity House Operations Centre at Harwich in Essex. The keepers' dwellings have since been demolished to make room for a Helipad to be constructed. This was necessary due to the precarious nature of the access road which is liable to frequent rock falls and landslips. Vehicular access is now very difficult and the gates tend to remain locked. The fog signal was discontinued in 2010.  Having carried out a thorough assessment of the requirements for Aids to Navigation off Hartland Point, Trinity House determined that the light at this location could be reduced to a nominal range of 8 nautical miles. This light can be more economically provided by a modern LED beacon in front of the original lighthouse, with no detriment to the safety of the Mariner. Consequently, the old light was decommissioned in 2012.  The Lighthouse was marketed and sold by Trinity House at a £500,000 guide price, consisting of "the former lighthouse, three bedroom living accommodation over two storeys, various stores, a helipad and access via a surfaced road that leads up the cliff to the gated entrance. The site in total amounts to about 16 acres of cliff and coastline, and has the best sea views in the area."

Hartland Point Lighthouse is a Grade II listed building at Hartland Point, Devon, England. The point marks the western limit (on the English side) of the Bristol Channel with the Atlantic Ocean continuing to the west. Trinity House, the lighthouse authority for England and Wales, have a lighthouse on the tip of the peninsula.

Le phare d'Hartland Point est un phare situé au bout du promontoire de "" proche du village d'Hartland dans le comté du Devon en Angleterre. Il marque la limite ouest du canal de Bristol avec l'océan Atlantique.


Premise.

Fifteen-year-old Skye moves with her father Ed from the big city to rural Northern Ireland, where they take over a local hotel called North Star, which was previously owned and managed by Skye's grandfather Patrick. At their new home, Skye tries to build a life, but this new life is far from complication free as she must navigate through the everyday stresses of life as a teenager. When she discovers that her father is planning to sell the hotel to Gil, Skye becomes upset as she has developed an emotional attachment to it. Skye decides to convince her father not to sell the hotel only to discover that the man wanting to buy it is her new friend's father. Skye receives the support of her friends, but not everyone is as interested as she is in saving it. Skye discovers secrets over time that will affect not only her life, but that of the hotel.

Production.

In July 2015, Disney Channel UK gave the green light for the production of the series "The Lodge", which had the working title of "North Star". For the first series, 13 episodes were originally announced, each with a running time of 22 minutes, though the amount was later reduced to 10 episodes. The main character, Skye, was originally named Maia, like in the Israeli Disney Channel original series "North Star". The series "The Lodge", filmed in Northern Ireland, takes place in the county of County Down. Most of the scenes are filmed in Montalto Estate and at The Carriage Rooms, which are in Ballynahinch.  On 13 December 2016, it was announced that the series was renewed for a second series, which premiered in 2017. On 21 February 2017, it was announced that production had begun on the second series and it would consist of 15 episodes.  "The Lodge" features the first coming out scene in a Disney Channel series: in a 2017 episode, Josh (Joshua Sinclair-Evans) mentions that girls aren't his type.

Broadcast and release.

The pilot episode of "The Lodge", "The New Girl", was released online in the UK on 8 September 2016, more than two weeks before its television premiere. The first series premiered in the United States on Disney Channel on 17 October 2016. At the end of 2016 and beginning of 2017, the series was released in 108 additional countries within the EMEA region. The series has since been made available on the streaming service Disney+.

The Lodge is a British musical drama and mystery television series that premiered on Disney Channel in the United Kingdom on 23 September 2016 and on Disney Channel in the United States on 17 October 2016. The series is based on the Israeli series "North Star" and stars Sophie Simnett, Luke Newton, Thomas Doherty, Bethan Wright, Jayden Revri, Jade Alleyne, Joshua Sinclair-Evans, and Mia Jenkins.

En Belgique, la série est diffusée, et en France,. Elle reste inédite dans les autres pays francophones. La première saison est disponible depuis le 1 janvier et la deuxième saison le sur Disney +.


Biography.

Achille Marie Joseph Glorieux was born in Roubaix, France, on 2 April 1910, one of ten children born to Achille Glorieux (1883–1965), an industrial leader prominent in the Catholic social movement that promoted large families to fight underpopulation.  He was ordained a priest on 29 June 1934.  While working in Rome at the Secretariat of State, he was also the Vatican correspondent for the French daily "La Croix" in the 1930s. He fled Italy after the declaration of war between Italy and France in 1940 and continued his work from Limoges. He returned to Rome in 1945 and managed the French-language edition of "L'Osservatore Romano".  Pope John XXIII named him secretary of the commission responsible for planning the Second Vatican Council. There he played a key role–as a "cheville-ouvrière" or linchpin–in recruiting lay organizations to contribute to the commission's work.  Pope Paul VI appointed him Secretary of the Pontifical Council for the Laity in July 1966. In that role he wrote a study of the Council’s declaration on the role of the laity in the Church, "Apostolicam Actuositatem".  Although Glorieux had neither trained in the traditional manner nor followed the customary career path of a senior Vatican diplomat, Pope Paul appointed him Titular Archbishop of Beverlacum and Apostolic Pro-Nuncio to Syria on 19 September 1969. His episcopal consecration took place on 9 November 1969; the principal consecrator was Jean-Marie Villot, Cardinal Secretary of State, and the principal co-consecrators were Alberto Castelli, Vice President of the Pontifical Council for the Laity, and Adrien-Edmond-Maurice Gand, Bishop of Lille.  Glorieux was appointed the Apostolic Pro-Nuncio to Egypt on 3 August 1973 and resigned the post in 1984.  In 1985 he preached the Lenten spiritual exercises for the Roman Curia.  He died in Lille on 27 September 1999, aged 89.

Achille Marie Joseph Glorieux (2 April 1910 – 27 September 1999) was a French prelate who held diplomatic posts of the Catholic Church.

Achille Marie Joseph Glorieux, né le à Roubaix et mort à Lille le, est un prélat français qui a tenu des postes diplomatiques pour l'Église catholique.


Career.

New York Yankees.

Davis attended Dixon High School in Holly Ridge, North Carolina. As a 15-year-old in early 2009, he committed to play college baseball at East Carolina University. Davis was drafted by the New York Yankees in the 14th round of the 2011 Major League Baseball Draft. He signed with the Yankees instead of attending East Carolina. He made his professional debut in 2012 with the Gulf Coast Yankees. In 2013, he pitched for the Staten Island Yankees and Charleston RiverDogs and spent 2014 with Charleston. He started 2015 with the Tampa Yankees. The Yankees added him to their 40-man roster after the season.

Cincinnati Reds.

On December 28, 2015, Davis was traded to the Reds with Caleb Cotham, Tony Renda, and Eric Jagielo in exchange for Aroldis Chapman. Davis made the Reds' Opening Day roster in 2017 and made his major league debut on April 6 against the Phillies.  Davis picked up his first major league win on May 3, pitching 5 scoreless innings over the Pirates in a 7–2 win.  He was outrighted to AAA on August 27, 2018 and became a free agent at the conclusion of the season.

Pittsburgh Pirates.

On February 18, 2019 Davis signed a minor league deal with the Pittsburgh Pirates and was invited to spring training. His contract was purchased on May 25. On September 1, Davis was outrighted off the Pirates roster and he elected free agency following the season.

Personal life.

Rookie got engaged to his fiance Allison Fisher on September 28, 2019. Davis' father, Billy, also attended Dixon High School, and played college baseball for Louisburg College. His older sisters, Lauren and Ayrien, both played softball and basketball at Dixon.

William "Rookie" Theron Davis (born April 29, 1993) is an American professional baseball pitcher who is a free agent. He has played in Major League Baseball (MLB) for the Cincinnati Reds and Pittsburgh Pirates.

William Theron Davis, surnommé Rookie Davis, et né le à Sneads Ferry (Caroline du Nord) aux États-Unis, est un lanceur droitier des Reds de Cincinnati de la Ligue majeure de baseball.


Exhibitions.

The Hammer opened November 28, 1990 with an exhibition of work by the Russian Suprematist painter Kazimir Malevich which originated at the National Gallery of Art in Washington and subsequently travelled to the Metropolitan Museum of Art in New York. The museum has since presented important single-artist and thematic exhibitions of historical and contemporary art. It has developed an international reputation for reintroducing artists and movements that have often been overlooked in the art historical canon. Notable examples include a 2003 retrospective of Lee Bontecou, co-organized with the Museum of Contemporary Art, Chicago; "Heat Waves in a Swamp: The Paintings of Charles Burchfield", curated by the artist Robert Gober; and "Now Dig This!: Art and Black Los Angeles, 1960–1980", the Hammer Museum's contribution to the Getty's 2011 Pacific Standard Time initiative. The Hammer is dedicated to diversity and inclusion. Of all of the solo exhibitions on view in Los Angeles between January 2008 and December 2012, the Hammer is the only institution to devote 50% of its exhibition programming to female artists. The Hammer also hosts roughly fifteen Hammer Projects each year, offering international and local artists a laboratory-like surrounding to create new and innovative work.

Los Angeles Biennial: "Made in L.A.".

In 2010 the Hammer announced its inaugural biennial devoted exclusively to Los Angeles artists. Though the museum has routinely featured California artists as part of its ongoing exhibition program, the "Made in L.A." series has emerged as an important and high-profile platform to showcase the diversity and energy of Los Angeles as an emerging art capitol. Organized by Hammer senior curator Anne Ellegood, Hammer curator Ali Subotnick, LAXART director and chief curator Lauri Firstenberg, LAXART associate director and senior curator Cesar Garcia, and LAXART curator-at-large Malik Gaines, the inaugural "Made in L.A." in 2012 featured work by 60 Los Angeles artists in spaces throughout the city including the Hammer Museum itself, LAXART, and the Los Angeles Municipal Art Gallery in Barnsdall Art Park. In conjunction with the exhibition, the Hammer also sponsored a satellite exhibition, the Venice Beach Biennial on the Venice Boardwalk, between July 13 and 15th of that year.  The second iteration of "Made in L.A." in 2014 took over the entire space of the museum to feature work by more than 30 different artists and collectives. The 2014 exhibition was organized by Hammer chief curator Connie Butler and independent curator Michael Ned Holte.  In conjunction with the inaugural "Made in L.A." exhibition in 2012, the Hammer offered the first iteration of the prestigious Mohn Award to the artist Meleko Mokgosi. The award consisted of a catalogue and a $100,000 cash prize and was decided by public vote after a jury of experts narrowed the 60 participants to five finalists. The Mohn Award, funded by Los Angeles philanthropists and art collectors Jarl and Pamela Mohn and the Mohn Family Foundation, was one of the most generous international awards given to a single artist.  In 2014 the Hammer announced it was offering three awards in conjunction with "Made in L.A. 2014": The Mohn Award ($100,000), the Career Achievement Award ($25,000)—both of which are selected by a professional jury—and the Public Recognition Award ($25,000), which is awarded by popular vote among exhibition visitors. All three awards are again funded by Jarl and Pamela Mohn and the Mohn Family Foundation. In 2014 Alice Könitz's Los Angeles Museum on Art won the Mohn Award, Michael Frimkess and Magdalena Suarez Frimkess were awarded the Career Achievement Award, and Jennifer Moon was awarded the Public Recognition Award.

Collections.

The Hammer Museum manages five distinct collections: The Hammer Contemporary Collection; the collection of the UCLA Grunwald Center for the Graphic Arts; the Franklin D. Murphy Sculpture Garden; the Armand Hammer Collection, and the Armand Hammer Daumier and Contemporaries Collection.

Hammer Contemporary Collection.

The Hammer Contemporary Collection, inaugurated in 1999, is the museum's growing collection of modern and contemporary art. The collection includes works on paper, primarily drawings and photographs, as well as paintings, sculpture, and media arts. The Contemporary Collection houses works from artists, including many active in Southern California from 1960 to the present. Hammer Contemporary Collection works are often acquired in tandem with exhibitions presented at the museum, including the Hammer Projects series focusing on the work of emerging artists.  The 2009 exhibition Second Nature: The Valentine-Adelson Collection at the Hammer exhibited selections from Dean Valentine and Amy Adelson's gift to the Hammer Contemporary Collection. The gift of fifty sculptures by 29 Los Angeles artists represents a significant milestone in the Hammer's commitment to collecting the works of Southern California artists.  In 2012, the Hammer showcased selections from the Susan and Larry Marx Collection. The exhibition was made possible by a substantial gift from longtime museum supporters Susan and Larry Marx and includes more than 150 paintings, sculptures, and works on paper by over 100 international artists from the post-World War II period. The collection includes examples of Abstract Expressionism on canvas and paper by the American artists Jackson Pollock, Willem de Kooning, and Philip Guston as well as works by contemporary artists including Mark Bradford, Rachel Whiteread, Mary Heilmann, and Mark Grotjahn among others.  Highlights from the contemporary collection include: "The Battle of Atlanta: Being the Narrative of a Negress in the Flames of Desire - A Reconstruction" (1995) by Kara Walker, Untitled (2007) by Mark Bradford, Migration (2008) by Doug Aitken, Untitled #5 (2010) by Lari Pittman, Mirage (2011) by Katie Grinnan, Ruby I (2012) by Mary Weatherford, Mimus Act I (2012) by Mary Kelly.  Notable recent acquisitions to the Hammer Contemporary Collection include Suzanne Lacy's "Three Weeks in May" (1977), as well as major works by Lisa Anne Auerbach, Fiona Connor, Bruce Connor, Jeremy Deller, Jessica Jackson Hutchins, Friedrich Kunath, Tala Madani, Robert Overby, Martha Rosler, Sterling Ruby, Allen Ruppersberg, Barbara T. Smith, William Leavitt, and Eric Wesley.

UCLA Grunwald Center for the Graphic Arts at the Hammer Museum.

The UCLA Grunwald Center for the Graphic Arts is one of the most important and comprehensive collections of works on paper in the country. Housed at the Hammer Museum, the center was established in 1956 after a gift from Fred Grunwald and today houses over 40,000 prints, drawings, photographs, and artists' books. The collection includes works dating from the Renaissance to the present, including European old master prints and drawings, Japanese ukiyo-e woodblock prints, and a collection of contemporary photography initiated by UCLA photographer Robert Heinecken (1931–2006).  In 1988 the Grunwald Center received a bequest of over 850 landscape drawings and prints from the collection of Los Angeles-based architect Rudolf L. Baumfeld. The Baumfeld Collection includes important examples of European landscapes from the 16th to 20th-centuries and includes pure landscapes, as well as views of architectural ruins and urban scenes. The Eunice and Hal David Collection, bequeathed to the Grunwald Center by lyricist Hal David and his wife Eunice, is a collection of 19th and 20th-century drawings by European and American artists. Selections from the collection were exhibited at the Hammer in 2003. The 2014 exhibition showcased works from the Elisabeth Dean Collection of 19th and 20th-century works on paper. The collection of approximately 900 prints and illustrated books is among the most significant gifts received by the Grunwald Center in recent years.  The Grunwald Center is also home to several important collections of Los Angeles-based contemporary artists. The Grunwald Center's collection features over 1,000 works by Sister Corita Kent, an influential pop printmaker and social justice activist, including rare preparatory studies and sketchbooks. Additionally, the Grunwald maintains an archive of the first twenty years of June Wayne's influential Tamarind Lithography Workshop, offering a rare overview of contemporary print-making in Los Angeles. Jointly acquired by the Grunwald and the Los Angeles County Museum of Art, the Grunwald Center maintains a complete archive of prints by Los Angeles publisher Edition Jacob Samuel which documents the activity of master intaglio print-maker Jacob Samuel. Highlights from the archive were exhibited in the 2010 exhibition Outside the Box: Edition Jacob Samuel, 1988-2010.  A research and education resource, the Grunwald Center study room is available by appointment to faculty, students, and members of the public.  Highlights from the Grunwald's collection include: "Melencolia I" (1514) by Albrecht Dürer, "Christ Preaching" (1652) by Rembrandt van Rijn, "Maple trees at Mama, Tekona Shrine and linked Bridge" (1857) by Utagawa Hiroshige, "Les Grands Baigneurs" (1896) by Paul Cézanne, "Le Repas Frugal" (1904) by Pablo Picasso, and "Entropia (review)" (2004), by Julie Mehretu.

Franklin D. Murphy Sculpture Garden.

The Franklin D. Murphy Sculpture Garden at UCLA was inaugurated in 1967 and dedicated to the eponymous chancellor of the university. Designed by famed landscape architect Ralph Cornell, the garden houses over 70 works of modern and contemporary sculpture in a five-acre, park-like setting. Group tours of the garden can be scheduled through the Hammer's online request form.  The 72 object collection comprises works by Deborah Butterfield, Alexander Calder, Henri Matisse, Joan Miró, Henry Moore, Isamu Noguchi, Auguste Rodin, and David Smith. A fully illustrated catalogue, including scholarly entries for each artist, was published by in 2007 by the Hammer Museum.

Armand Hammer Collection.

The Armand Hammer Collection is a small selection of European and American paintings, drawings, and prints that formed the original impetus for the foundation of the Hammer Museum. Armand Hammer, the founder and namesake of the museum, assembled and refined the collection through decades of involvement in the art market, both as a collector in his own right and as a co-founder of Hammer Galleries in New York City. The focus of the collection is primarily 19th century and early-20th century French impressionist and post-impressionist paintings, though the collection itself spans the 16th through the 20th century.  Selections from the collection are on permanent display in the Hammer Museum's third floor galleries, offering patrons a glimpse into some of the most historically relevant movements in Western art. With eminent examples of realism, orientalism, impressionism, and post-impressionism, the collection offers a unique overview of French and American art in the 19th century. Highlights of the collection include: "Juno" (ca. 1665-1668) by Rembrandt van Rijn, "The Education of the Virgin" (1748-1752) by Jean-Honoré Fragonard, "El Pelele" (ca. 1791) by Francisco Goya, "Salome Dancing before Herod" (1876) by Gustave Moreau, "Dr. Pozzi at Home" (1881) by John Singer Sargent, "Bonjour Monsieur Gauguin" (1889) by Paul Gauguin, and "Hospital at Saint-Remy" (1889) by Vincent van Gogh.

Daumier and Contemporaries Collection.

The Honoré Daumier and Contemporaries Collection at the Hammer Museum is one of the most important collections of Daumier works outside France. Housing over 7,500 works of art by the French satirist Honoré Daumier (1808-1879) and other contemporary caricaturists, it is the largest of its kind outside of Paris. Daumier, whose life and career spanned the 19th century, was a brilliant satirist whose works offered incisive comment on the hypocrisies of bourgeois life in the French capital. Daumier was an extremely prolific artist whose work spans multiple media, and as such the collection includes paintings, drawings, lithographs, and a series of bronze portrait busts; all keen examples of Daumier's mordant wit and acerbic attitude towards contemporary politics. Selections from the Daumier and Contemporaries collection are on rotating display alongside works from the Armand Hammer Collection.  Highlights from the Daumier and Contemporaries Collection include Daumier's "Le passé - Le present - L'avenir" (1834), "Un Avocat Plaidant," (ca. 1845) "Nadar élevant la Photographie á la hauteur de l'Art" (1862), and "Don Quixote et Sancho Panza" (1866-1868).

Programs.

A diverse range of free public programs are presented at the Hammer Museum six evenings a week throughout the year, including lectures, readings, symposia, film screenings, musical performances, and other events. The Billy Wilder Theater opened at the Hammer Museum in late 2006, after a $5 million gift from Audrey L. Wilder, the widow of Billy Wilder, enabled the museum to resume building a 300-seat theater left unfinished at Armand Hammer's death. Its 2006 opening coincided with the centennial of Wilder's birth. The venue currently houses the UCLA Film and Television Archive's well-known cinematheque as well as the Hammer's 300 public programs a year.  Popular series include a weekly meditation program, the Libros Schmibros book club, and the Hammer Conversations which place major cultural, political, and intellectual leaders in dialog with one another. Past Hammer Conversations participants include the writers Joan Didion, Jonathan Lethem, and George Saunders, the filmmakers Atom Egoyan and Miranda July, journalist Naomi Klein, comedians Jeff Garlin and Patton Oswalt, playwright and screenwriter David Mamet, magician Ricky Jay, artists Betye Saar and Sam Durant, actors Leonard Nimoy and Zachary Quinto, and many others. A striking example of the timeliness and popularity of these events occurred in March 2003, when 2,000 people gathered at the Hammer Museum to hear Gore Vidal speak about the Iraq war the night before bombing began. Since 2010, the Hammer has partnered with the radio station KCRW to host an annual outdoor summer concert series.  In the past, the Hammer traditionally focused on university-level education programs because of its affiliation with UCLA. Since 2009, the Hammer has been annually inviting an accomplished group of Los Angeles artists to lead workshops based on their working processes on the occasion of the Kids' Art Museum Project (K.A.M.P). Unlike other family events, K.A.M.P. provides access and experiences for children and their families with renowned Los Angeles artists, many of whom have been the subject of exhibitions at the Hammer Museum. Past participating artists include Edgar Arceneaux, Mark Grotjahn, Catherine Opie, Jorge Pardo, and Jonas Wood. Each year the event features a series of celebrities reading from their favorite children's books in the museum's galleries, such as Will Ferrell, Jason Bateman, Hilary Swank, Jodie Foster and Zoe Saldana.

History.

The museum was founded by Armand Hammer, the late CEO of the Occidental Petroleum Corporation, as a venue to exhibit his extensive art collection, at the time valued at $250 million. A Los Angeles County Museum of Art board member for nearly 20 years, Hammer withdrew from a non-binding agreement to transfer his paintings to LACMA after disagreements regarding how his collection would be displayed. Shortly thereafter, on January 21, 1988, Hammer announced plans to build his own museum on the site of a Westwood parking garage adjacent to the Occidental headquarters. Community leaders who hailed the plan as a positive turning point in the neighborhood's development were soon overshadowed by complaints from Occidental shareholders who sued the company over the museum's escalating construction costs, which were capped by a federal judge at $60 million.  Designed by Edward Larrabee Barnes, the New York-based architect responsible for the Dallas Museum of Art and the Walker Art Center, the building housing the museum was conceived as a Renaissance palazzo with galleries centered around a tranquil, interior courtyard and a relatively austere exterior profile.  In 2006, architect Michael Maltzan designed the Billy Wilder Theater and the museum's café. Michael Maltzan Architecture also designed the John V. Tunney Bridge, which opened in February 2015. The pedestrian bridge, named in honor of John V. Tunney, longtime Chairman of the Board of Directors of the Hammer Museum, connects the upper level galleries over the Hammer Courtyard.  Hammer died less than a month after his namesake museum opened to the public in November 1990, leaving the fledgling institution mired in litigation over its financing and prompting new legal battles regarding the disposition of Hammer's estate. While the museum's operating budget was provided by a $36 million annuity purchased by Occidental Petroleum, questions remained regarding the future of the museum's collections and the role that the Hammer family would play in its administration. In 1994, the Regents of the University of California entered into a 99-year operating agreement with the Armand Hammer Foundation to assume management of the museum, which afforded the fledgling institution a measure of stability. At that point the exhibition programs of the Wight Art Gallery, UCLA's existing museum, and the Grunwald Center for the Graphic Arts, the university's print collection, were moved to the Hammer. A 2007 a settlement between the UC Regents and the Hammer Foundation formally ended long-simmering disputes over the Hammer collection's ownership and established new guidelines for its display that allowed the museum more space for exhibitions and a growing contemporary collection.  Despite the institutional hurdles that earned it the nickname "America's vainest museum" at its inception, the Hammer is now widely acknowledged as "a hot spot for contemporary art and ideas and a venue for serious exploration of overlooked historical subjects." Under current leadership, the Hammer's budget has grown from $5 million to roughly $20 million annually, with a full-time staff of over 100.  In 2020, amidst the COVID-19 pandemic, the museum was temporary closed and laid off its 150 part-time student employees.

Management.

Directors.

In 1994, Henry Hopkins, then director of the Wight gallery and professor in the Department of Art at UCLA, became director of the Museum. He served in that position until his retirement in 1998. In 1999 Ann Philbin, previously director of The Drawing Center in New York, was named director and still serves as director today.

Board of Directors and Board of Overseers.

The Hammer Museum was founded by Dr. Armand Hammer. Michael Armand Hammer is Chairman Emeritus, and Armie Hammer and Viktor Armand Hammer are Honorary Directors. Michael Rubel serves as President, Nelson C. Rising serves as Vice President, and Steven A. Olsen serves as Treasurer. Under Chair Marcy Carsey, the Hammer's Board of Directors also includes Heather R. Axe, Renée Becnel, Gene Block, Lloyd E. Cotsen, Eric Esrailian, Erika J. Glazer, Manuela Herzer, Larry Marx, Anthony Pritzker, Lee Ramer, Kevin L. Ratner, Chip Rosenbloom, Steven P. Song, John V. Tunney, Kevin Wall, John Walsh, and Christopher A. Waterman. Members of the Board of Overseers include artists Barbara Kruger and Lari Pittman. The museum does not disclose its annual board membership dues.

Funding.

In 1994, the Regents of the University of California entered into a 99-year operating agreement with the Armand Hammer Foundation and assumed management of the Hammer Museum, with the foundation retaining some control, including a "reversionary clause," granting the foundation rights to reclaim the art collection and some of the endowment funds. The museum had long desired to eliminate these clauses. Operating money came from a bond portfolio, UCLA's existing art budgets, private donations, and revenue from the museum. In 2009, the museum operates on an annual operating budget of $14 million, 10% to 12% of which comes from the university. By the fiscal year 2011, its budget of $16 million surpassed that of the much larger Museum of Contemporary Art, Los Angeles. On January 19, 2007 the Hammer Museum and the Armand Hammer Foundation agreed to dissolve their relationship, dividing the remaining 195 objects which founded the museum; the foundation retaining 92 paintings valued at $55 million, while the museum retaining 103 objects, valued at $250 million. By 2020, the museum will use its bond portfolio, valued at about $55 million, to purchase the building that houses the museum and Occidental's former headquarters.  In addition, the Hammer Museum's annual Gala in the Garden serves as a fundraiser for the museum. The 2019 edition raised $2.7 million. Recent museum honorees include Robert Gober, Tony Kushner, Barbara Kruger and Cindy Sherman.

Attendance.

At the Hammer Museum, 2010 attendance was an estimated 175,000, up from 150,000 in 2009. As of 2013, annual attendance for permanent collection, special exhibitions and programs stands at about 200,000. The museum does not provide exact figures as it does not have a computerized ticketing system. According to the museum's director Ann Philbin, the museum has "defined our primary audience as artists". Visitor numbers are also not limited to the Hammer's own box office but might also include people around the world who log on to the museum's Web site to view podcasts of public programs, or visit travelling exhibitions which the Hammer organized.

Deaccessioning.

In 1994, the Hammer Museum made headlines by selling Leonardo da Vinci's Codex Leicester to Microsoft founder Bill Gates for $30.8 million. The Codex Leicester was one of Dr. Hammer's proudest acquisitions, purchased in 1980 for $5.12 million, and one which he unsuccessfully tried to rename the "Codex Hammer". Most museums have collection guidelines for deaccessing art, which require the revenue from sales to be used for future acquisitions. The Hammer Museum alternatively sold the 72-page scientific notebook to fund the museum's exhibitions and programs.

The Hammer Museum, which is affiliated with the University of California, Los Angeles, is an art museum and cultural center known for its artist-centric and progressive array of exhibitions and public programs. Founded in 1990 by the entrepreneur-industrialist Armand Hammer to house his personal art collection, the museum has since expanded its scope to become "the hippest and most culturally relevant institution in town." Particularly important among the museum's critically acclaimed exhibitions are presentations of both historically over-looked and emerging contemporary artists. The Hammer Museum also hosts over 300 programs throughout the year, from lectures, symposia, and readings to concerts and film screenings. As of February 2014, the museum's collections, exhibitions, and programs are completely free to all visitors.

Le musée Hammer ou Hammer Museum, qui est affilié à l'université de Californie à Los Angeles, est un musée d'art et un centre culturel. Fondé en 1990 par l'homme d'affaires Armand Hammer à partir de sa collection personnelle d'œuvres d'art, le musée a depuis élargi ses collections et ses domaines d'actions. Il s'emploie notamment à faciliter l'émergence d'artistes contemporains.


Structure and equipment.

As of 2017, the group claimed to have 2,000 fighters, including 500 defected soldiers and 30 officers from the Syrian Armed Forces. The head of the group is the "joint command council", led by Captain Ahmed Tamer.  Fighters in the group typically operate in groups of 10. Its main equipment are Toyota Land Cruiser and Toyota Hilux gun trucks mounted with various weaponry including autocannons, heavy machine guns, recoilless rifles, and multiple rocket launchers. It also operate at least 1 T-62 and 2 T-55s.  The group received BGM-71 TOW missiles as one of the first rebel groups to do so in May 2014 and is also in possession of Chinese HJ-8 and Russian 9M133 Kornet anti-tank missiles paid by Qatar and supplied from Sudan.

History.

The group was involved in the capture of the Brigade 559 and the siege of Dumayr airbase. It primarily operates in the eastern Qalamoun Mountains and northern Damascus countryside regions. In March 2016 the group and the US-backed New Syrian Army captured the al-Tanf border crossing from ISIL in a cross-border raid.  On 9 June 2016, the group's leader, Colonel Bakour Salim, who was also the commander of the Damascus Military Council from 2012 to 2013, died from an ISIL suicide bombing after the group advanced and captured several ISIL positions. Later in June, the FMAA and the NSA were hit by airstrikes from 2 Russian Sukhoi Su-34s and participated in the failed 2016 Abu Kamal offensive against ISIL.  A new commander, Captain Ahmed Tamer, was appointed on 30 August 2016 after the previous commander was dismissed for alleged corruption.  Since 2016, the opposition local council of towns in the eastern Qalamoun Mountains have negotiated a ceasefire agreement with Syrian government forces. As a result, the group abided by it and focused their fighting on ISIL. As part of the Southern Front, the group also abided by a ceasefire in effect since the January 2017 Astana talks. In an interview with the group's commander in February 2017, he announced that the group will support an international attempt at a ceasefire in Syria.  In April 2018, along with other rebel groups in the eastern Qalamoun, fighters of the Forces of Martyr Ahmad al-Abdo were evacuated to the Turkish-occupied zone in the northern Aleppo Governorate.

The Forces of Martyr Ahmad al-Abdo is a Syrian rebel group previously affiliated with the Free Syrian Army's Southern Front. The group was named after either Ahmad al-Abdo al-Saeed, a Syrian civilian who was killed in the early 2011 protests, or first lieutenant Ahmad al-Abdo, a rebel commander who was killed in action during the war. The group received support from the Friends of Syria Group.

La Force du Martyr Ahmed al-Abdo (, "Quwwat al-Shaheed Ahmad al-Abdo") est un groupe rebelle de la guerre civile syrienne.


Early life and education.

Tonita Peña was the daughter of Ascensión Vigil Peña and Natividad Peña of San Ildefonso Pueblo, New Mexico but at age 12, her mother and younger sister died, as a results of complications due to the flu. Her father was unable to care for her and she was taken to Cochití Pueblo and was brought up by her aunt, Martina Vigil Montoya, a prominent Cochití Pueblo potter. Tonita married four times and had six children. Peña's first marriage was at the age of 15, arranged by village elders to Juan Chavez. She had two sons, who were raised by their Aunt while Peña finished school. In 1913 Peña has a second arranged marriage to fine art painter Joe Hilario Herrera who died in a mining accident, followed by Epitacio Arquero, whom she married in 1922.  In the 1930s Peña was an instructor at the Santa Fe Indian School and at the Albuquerque Indian School and the only woman painter of the San Ildefonso Self-Taught Group, which included such noted artists as Alfonso Roybal, Julian Martinez, Abel Sánchez, Crecencio Martinez, and Encarnación Peña. As children, these artists attended San Ildefonso day school which was part of the institution of the Dawes Act of 1887, designed to indoctrinate and assimilate Native American children into mainstream American society.  Edgar Lee Hewett, an anthropologist involved in supervising the nearby Frijoles Canyon excavations (now Bandelier National Monument) was instrumental in developing the careers of several San Ildefonso “self taught” artists including Tonita Peña. Hewett purchased Peña's paintings for the Museum of New Mexico and supplied her with quality paint and paper.

Career and later life.

Peña began gaining more notoriety by the end of the 1910s selling an increasing amount to her work to collectors and the La Fonda Hotel. Much of this early work was done of traditional subject matter, in a style inspired by historic Native American works, however her use of an artists easel and western painting mediums gained her acceptance amongst her white contemporaries in the art world. At the age of 25 her work was being shown at museums and galleries in the Santa Fe and Albuquerque area. In the early 1920s Tonita did not know how much her painting sold for at the Museum of New Mexico so she wrote letters to the administrators because a local farmer was worried that she got paid to little.  In 1931, Tonita Peña exhibited at the "Exposition of Indian Tribal Arts" which was presented at the Grand Central Art Galleries in New York City. By 1932, the Whitney Museum in New York bought Peña's painting "Basket Dance" for $225. This was the highest price paid up to this time for a Pueblo painting and most Native American paintings at this time were selling between $2 to $25.  She died on September 9, 1949 of cancer after unsuccessful radiation therapy on her adrenal glands. At Peña's death, all of her remaining paintings and personal effects were burned in compliance with Pueblo customs.

Affecting social change.

Peña did not accept the traditional roles of women in arts within Native American culture. She focused primarily on two-dimensional works on paper rather than the more socially accepted pottery and ceramic mediums of her contemporaries. Beyond the choice of what medium she used, Peña's subject matter also pushed gender boundaries. At the time she was active, only men were allowed to portray living individuals in their work. Another way Peña rejected traditional roles of women was how she approached her role as a mother. Contrary to the traditions of her tribe and America at large, she chose to have others raise some of her children, so that she could focus on completing her education and also furthering her career. During her lifetime, the U.S. government pushed the idea of assimilating Native Americans within American culture. Peña's artwork emerged as a site of resistance towards those efforts, reaffirming the importance of ceremonial dances as crucial for Puebloan cultural survival.

Critics.

Critique of Peña can be found within the framework of studying "traditional" Native American art, versus "White patronage" supported art of Native American art. Artwork made by Native Americans and collected by White patrons served no traditional function for in Native American communities. Peña's critics were not only the established art world, but also her own tribe. Many of Peña's paintings depicted sacred rituals and her fellow tribespeople believed these were inappropriate subject matters to portray and share outside the tribe. Epitacio Arquero, Governor of the Pueblo and Peña's husband at the time of the most heated protests, defended the subject matter saying her paintings only depicted subject matter already visible to outsiders. Following the controversy, Peña's work changed to focus on Pueblo culture and traditions that were not sacred or private in nature.

Legacy.

Native arts (traditional crafts, dance, music as well as modern techniques like Peña's pen and ink with watercolor on paper) was a factor in modern Euro-Americans' changing perspective of the aesthetic and spiritual value of Native American culture and identity. Peña's artwork emphasized the role of women in everyday life and is credited with expanding the expectations of women in art by refusing to limit herself to the traditional female role of potter. Her son Joe Herrera, heavily influenced his mother, became an important figure in American modernism. Peña's artwork is part of the collections at the American Museum of Natural History in New York, the Cleveland Museum of Art in Ohio, the Cranbrook Institute of Science in Michigan, the Heard Museum in Arizona, the Dartmouth College Collection in New Hampshire, the Haffenreffer Museum of Anthropology at Brown University, and the Peabody Museum at Harvard. She has continued to have national art exhibitions posthumously. A crater on the planet Venus has been named after Tonita Peña.

Tonita Peña (born May 10, 1893 in San Ildefonso – died September 9, 1949 in Santo Domingo Pueblo) born as Quah Ah (meaning white coral beads) but also used the name Tonita Vigil Peña and María Antonia Tonita Peña. Peña was a renowned Pueblo artist, specializing in pen and ink on paper embellished with watercolor. She was a well-known and influential Native American artist and art teacher of the early 1920s and 1930s.

The Young Lady ("Lady Macbeth") est un film dramatique britannique, réalisé par William Oldroyd et sorti en 2016. Il est adapté du roman "Lady Macbeth du district de Mtsensk" de Nikolaï Leskov. L'intrigue suit une jeune femme, étouffée par son mariage sans amour avec un homme ayant deux fois son âge.


Background.

Eden was born in Castleford, West Yorkshire, England.  Greg Eden is the son of the rugby league footballer Phil Eden.

Club career.

Castleford Tigers.

Eden made his senior début for Castleford against the Warrington Wolves on 1 July 2011, scoring and assisting a try.

Huddersfield Giants.

Eden signed for the Huddersfield Giants from the Castleford Tigers in the winter of 2011 and made an immediate impact in the Super League, establishing himself as first choice at the Huddersfield Giants within weeks of the season beginning. He was rewarded with a long term deal until the end of the 2015 season.

Hull Kingston Rovers.

Eden moved to Hull Kingston Rovers in the winter of 2012, signing a three-year deal. He made 39 appearances for the club across 2 seasons, scoring 24 tries.

Salford Red Devils (loan).

On 25 April 2014, Greg Eden joined the Salford Red Devils on a 1-month loan deal. In May, this was subsequently extended on a week-by-week basis, with Hull KR able to recall him at any chosen period. The Robins exercised this right in June following a serious injury to fullback Ben Cockayne.

Gateshead Thunder (dual registration).

Eden made 2 appearances for Gateshead in 2014, through their dual-registration arrangement with Hull KR.

Brisbane Broncos.

On 1 September 2014, Eden signed with Brisbane Broncos, boosting their ranks after the Broncos showed great interest in him. In February 2016, Eden returned to the UK to play in the World Club Series against the Wigan Warriors, scoring a try for the Broncos.

Castleford Tigers.

In June 2016 Eden agreed upon a 2-year contract with hometown Super League side Castleford Tigers for the upcoming season starting in 2017.  Eden was given the squad number 5 prior to the start of the season, and played the majority of matches on Castleford's left wing. He scored 38 Super League tries in his first season back at Castleford, including 5 hat-tricks against Leeds twice, Widnes, Leigh and Warrington. Eden topped the try scoring charts and was named in the Super League Dream Team for this season. He played at fullback in the 2017 Super League Grand Final defeat by the Leeds Rhinos at Old Trafford, after Zak Hardaker was suspended two days before the game following a failed drugs test.  Eden's excellent strike rate for the Tigers was rewarded with a three-year contract extension in 2018. However, his season was limited to just 15 appearances following a hamstring injury. Despite this, he still scored 18 tries. In the first match of 2020, Eden scored a trademark length-of-the-field try against Toronto Wolfpack, before hyper extending his knee in the second half.

International career.

In September 2012 Eden was selected in the England Knights squad.  Eden made his international début for England Knights on 28 October 2012 in the 62-24 Alitalia Cup series win over Scotland at the Meggetland Stadium in Edinburgh.

Career records.

Castleford's most tries scored in a match record is 5-tries, and is jointly held by; Derek Foster against Hunslet on 10 November 1972, John Joyner against Millom on 16 September 1973, Stephen Fenton against Dewsbury on 27 January 1978, Ian French against Hunslet on 9 February 1986, St. John Ellis against Whitehaven on 10 December 1989, and Greg Eden against Warrington on 11 June 2017. Eden became the first player to achieve this for Castleford in the Super League era.  Eden's 41 tries for Castleford in 2017 places him second for the most tries scored in a single season for Castleford, behind Denny Solomona's 42 in 2016, ahead of St. John Ellis' 40 in 1993-94.  Eden's 38 Super League tries in 2017 places him second for the most tries scored in a single Super League season, behind Denny Solomona's 40 in 2016, ahead of Lesley Vainikolo's 36 in 2004.  Eden holds the record for fastest hat-trick in rugby league history; his treble against Leigh on 29 May 2017 took just 4 minutes 59 seconds, beating Shaun Johnson's record 6 minutes 30 seconds for the New Zealand Warriors against the Canberra Raiders in 2013.  Eden is believed to hold the record for the most consecutive hat-tricks; in 2017, he scored trebles in 4 successive matches (against St Helens, Leeds, Widnes and Leigh), which is believed to be a first in the professional game.

Greg Eden (born ) is an English professional rugby league footballer who plays as a er or for the Castleford Tigers in the Betfred Super League.

Greg Eden, né le à Castleford (Angleterre), est un joueur de rugby à XIII anglais évoluant au poste d'ailier, de centre ou d'arrière. Après des débuts en 2011 à Castleford, il change ensuite de nombreuses fois de clubs avec Huddersfield, Hull KR et Salford avant de rejoindre les Broncos de Brisbane en National Rugby League en 2015 mais ne s'y établit pas comme titulaire, il revient en 2017 en Angleterre et Castleford.


History.

The earliest records for the village of Kexby can be found in the Domesday Book, which dates back to 1086. According to these reports, the village went by the name of Cheftesbi/Chestesbi. These records also highlight that Kexby was home to 21 households which was condisered to be a relatively large number at this time. This point is backed up by the fact that in 1086, Kexby was the third largest settlement in the hundred of Well. This was out of the 15 settlements in the area.  Although Kexby is a separate village and parish council, it is served by the church in the neighbouring village and parish council of Upton. The church register in Upton, which include reports for Kexby, dates back to 1563. However, there is evidence that the Church of All Saints dates back much further, with parts of the chancel walls believed to date back to before the Norman Conquest of 1066.  In the 1870s, the village of Kexby was described as: "a township in Upton parish, Lincoln; 3 miles N of Marton r. station, and 5 SE of Gainsborough. Acres, 1, 540. Real property, £2, 215. Pop., 272. Houses, 61. The manor belongs to W. Hutton, Esq. There are chapels for Primitive Methodists and U. Free Methodists."  The parish boundaries have not changed in Kexby since the 19th century. The parish forms a long horizontal shape, stretching from Heaton's Wood in the East to Kexby Grange in the West. However, in the earlier reference from the 1870s, Kexby was described as being "a township in Upton parish"; as of today, this is not correct. In 1894, the government passed an act concerning parishes, creating 14,000 of them. We can only presume that this was when Kexby became independent from Upton parish.  Occupational statistics are available for Kexby in 1881. For men, the dominant employer was agriculture, with 53 working in this sector, over 60% of the male population at the time. These statistics also show that 9 women were employed as indoor domestic servants, possibly at the manor house owned by W.Hutton, highlighting the unequal nature of the workplace in the Victorian period. For a small village, Kexby was well supplied, as the occupational statistics state that the village was home to a bakery, a butchers and a grocery store.

Present day.

As of 2011, the occupational status of many of Kexby's population has changed. The census report of 2011 highlights this shift. The most popular form of employment for Kexby now is in the professional trade, with 31 people working in this sector, 17% of the villages population. 28 people also work as Managers, Directors and Senior Officials, with 29 involved in the Skilled Trade sector. These statistics go to show how much the workplace has changed over the past 130 years since the 1881 census. Now, only 15 residents of Kexby work in Elementary Occupations, such as farming. Kexby itself does not contain any schools. However, there are primary schools located in the nearby villages of Marton, Lea and Sturton-by-Stow. After primary education, the pupils of Kexby can attend schools such as the Queen Elizabeth's High School in Gainsborough, which also offers the chance for students to stay on at sixth form level.  In terms of transport, buses between Gainsborough and Lincoln stop at Kexby Corner bus stop roughly every hour. The nearest railway station is at Gainsborough Lea Road, which can be found 3 miles north west of the village, on the Gainsborough to Lincoln line.

Population.

Since 1881, the population of Kexby has remained relatively steady, never exceeding a total of 350. Unlike a majority of villages in the UK, Kexby seems to be unaffected by the events of World War 1. The population only decreased by 5 between 1911 and 1921, from 325 to 320. As of 2011, the total population of Kexby is 340. The age range in the population of Kexby is quite diverse; the census data for 2011 highlights this. The most populous age ranges seems to be from 40-49 and 60-69, but for a village like Kexby there also seems to be a healthy proportion of other younger and older generations.

Amenities and landmarks.

Kexby contains a gun shop and a 4-star Bed and Breakfast business and a picture framing business.  The course of the River Trent, one of England's longest rivers, passes approximately west of Kexby on its way to the Humber Estuary where it enters the North Sea.

Kexby is a small village and civil parish in the West Lindsey district of Lincolnshire, England. The population of the civil parish at the 2011 census was 340. It lies at the side of the B1241 road, and is situated south-east of Gainsborough and north-west of the city and county town of Lincoln.

Kexby est un village et une paroisse civile du Lincolnshire, en Angleterre. Il est situé dans l'ouest du comté, à environ au sud-est de la ville de Gainsborough. Administrativement, il dépend du district du West Lindsey. Au recensement de 2011, il comptait.


Location.

The remains of Fort Cépérou are at the western edge of the present city of Cayenne, French Guiana. A map from 1769 shows the fort and town in the north west of the Island of Cayenne, which lies on the Atlantic coast of Guiana between the mouths of the Cayenne and Mahury rivers, with a channel connecting the two rivers and separating the island from the coast. The fort is located on Mont Cépérou, with a panoramic view over the land, the sea and the entrance to the Cayenne River. The fort was first named Fort Cépérou, then Fort Saint Michel and then Fort Saint Louis before returning to its original name. The town of Cayenne grew around the protective walls of the fort.

History.

Background (1604–34).

In 1604 Captain Daniel de La Touche, seigneur de la Ravardière, was the first Frenchman to make a serious reconnaissance of what would become French Guiana, originally called Equinoctial France (France équinoxiale). The Spanish and Portuguese had not settled this section of the coast, although it was thought to lead to the land of El Dorado. Between 1616 and 1626 Dutch colonies were founded on the estuaries of the Essequibo, Berbice and Demerara rivers. In 1630 the English settled at the mouth of the Suriname River. In 1626 Cardinal Richelieu authorized colonization of Guiana. In 1630 Constant d'Aubigné ordered a colony to be installed on the shores of the Sinnamary. Captain Bontemps was tasked with colonizing the new territories with 1,200 French people.

First settlement (1634–45).

An official government memoir written after 1765 says that "establishments were made at Cayenne itself in 1634 and 1636 where a fort was built near the western extremity of the island, at the mouth where the river formed the port, and above the fort, a town which has remained the capital of the colony." Another source says that in 1638 merchants from Rouen built the first fort on the northwestern shore of the island of Cayenne.  In 1643 Charles Poncet de Brétigny of the Compagnie du Cap du Nord, or Compagnie de Rouen, arrived with 400 settlers. He bought the hill at the mouth of the Cayenne River from the local Kalina people (Caribs) and named it "Morne Cépérou" after the Kalina chief who sold it. The first wooden Fort Cépérou was built on the hill, and a village was built below it. Bretigny was ruthless and despotic, and terrorized both the colonists and the indigenous people. He persecuted and enslaved the Kalinas, who responded by revolting and slaughtering many of the colonists. In 1644 a Carib killed Bretigny with an axe to the head. Twenty-five Frenchmen survived, but none left Guiana alive.

Fresh settlement attempts (1652–76).

In September 1652 the twelve "seigneurs" of the Compagnie de la France équinoxiale landed 800 men at the tip of the Pointe du Mahury, where they found the 25 survivors of the Compagnie de Rouen. Jean de Laon, a king' engineer, replaced the wooden walls of the fort with a stone bastion called Fort Saint Michel. The purpose was to guard against attacks from the Caribs across the river, and attacks by the English and Dutch. All of the settlers had soon been killed by the Caribs or had escaped to Barbados. Guerin Spranger obtained a grant from the States General of the Netherlands and established a Dutch colony on Cayenne Island around 1656. By 1660 there were no Frenchmen left in Guiana.  In 1664 Jean-Baptiste Colbert sent a force of 1,200 to recapture Cayenne from the Dutch. The town was rebuilt with 200 huts, and had 350 French settlers and 50 slaves. In 1666 the English commanded by Captain Peter Wroth visited the colony of Cayenne but did not harm the governor Cyprien Lefebvre de Lézy. Cayenne was looted by the British under the command of Rear-Admiral Sir John Harman in August 1667. The English destroyed the fort and the town of Cayenne. After they left, from December 1667 the Jesuit father Jean Morellet was the de facto governor until the new governor Antoine Lefèbvre de La Barre arrived.  The Dutch vice admiral Jacob Binckes arrived at Cayenne on 4 May 1676 and landed 900 troops near Fort Saint Louis (Fort Cépérou) the next day. Lefebvre soon surrendered. Binckes left shortly after for Marie-Galante and Tobago, leaving a small force to hold Cayenne. On 18 December 1676 French troops under vice-admiral Jean II d'Estrées took the city back from the Dutch. After this the colony was French until the time of Napoleon, but it failed to prosper. In 1685 the total population of colonists and slaves was just 1,682.

Zenith and decline.

A 1677 map, still using the Dutch name of Bourg Louis, shows a watchtower, some small batteries and a miniature star-shaped fort on Morne Cépérou. A report that year says the small ("peu spacieux") fort had walls that were so thin they were disintegrating. In 1689 new fortifications for the town were laid out by Sébastien Le Prestre de Vauban, the king's engineer. Vauban's fortifications were built between 1689 and 1693. The original Fort Cépérou remained, surrounded by the much more extensive ramparts of Vauban.  In 1701 the structures in the fort were destroyed by a fire that spread to the palm-thatched huts of the city. The Portuguese occupied Guiana from 1809 to 1817 and destroyed all the defenses of Cayenne Island. The remains of the town's walls were torn down, the fort's bastions were destroyed, and only three dilapidated buildings remained of the fort. In 1862 governor Louis-Marie-François Tardy de Montravel had a lighthouse built on Mount Cépérou. By 1864 the fort was almost abandoned.  A great fire destroyed the southeast part of Cayenne in August 1888. The bell on the fort's pagoda rang for eight days during the fire until it split on 12 August 1888. A public clock was installed on the site in the first half of the 20th century. Some walls and a bell tower are all that remain. The pagoda holding the bell is classified as a "monument historique". In 2016 work was done to rehabilitate the pagoda, which was in danger of collapse. The site was transferred from the armed forces to the city of Cayenne in February 2009.

Fort Cépérou was a fort that protected the city of Cayenne, French Guiana. The original wooden fort was built on a hill looking over the mouth of the Cayenne River in 1643. Over the years that followed the French temporarily lost the site to the Dutch, English and Portuguese. The fort was torn down and rebuilt several times. Between 1689 and 1693 the whole town of Cayenne, including the fort, was surrounded by a classic line of fortifications by Vauban. The town was occupied by the Portuguese during the Napoleonic wars between 1809 to 1817 and Vauban's fortifications were destroyed, as were the bastions of the fort. Little remains of the fort today.

Le fort Cépérou, anciennement "fort Saint-Michel" est une fortification construite aux sur le mont Cépérou dans la commune de Cayenne, en Guyane.


Design and development.

The Supermarine S.4 was designed by R. J. Mitchell to compete in the 1925 Schneider Trophy race. Built by Supermarine at Woolston, the S.4 was primarily an all-wooden monoplane seaplane, although a mixed wood-metal construction fuselage was mated to an unbraced cantilever wing and monocoque fuselage, powered by a 680 hp (507 kW) Napier Lion VII engine. As an exceptionally "clean" monoplane seaplane, the S.4 design was in marked contrast to the biplane Supermarine Sea Lion flying boats which Mitchell had designed for previous Schneider Trophy races, which won in 1922 and came third behind the American Curtiss CR seaplanes in 1923.

Operational history.

Registered "G-EBLP", the S.4 first flew on 24 August 1925. On 13 September 1925 on Southampton Water, it raised the world's seaplane speed record (and the British speed record) to 226.752 mph (365.071 km/h). With high hopes of a British victory, the S.4, together with two Gloster III biplanes, was shipped to the United States of America for the 1925 race. During trials at Bay Shore Park, Baltimore on 23 October 1925, piloted by H. C. Biard, it was seen to sideslip into the water from 200 ft (61 m) and was wrecked. Biard, who survived with two broken ribs, stated that he lost control following violent wing vibration. The race was won two days later by Lieutenant James Doolittle, flying a Curtiss R3C at an average speed of 232.573 mph (374.443 km/h), faster than the S.4's world record of a month before. Most sources have suggested the accident was due to flutter.

Cultural references.

Very little film and photographic evidence of the S.4 survives. Five minutes of film are preserved within Leslie Howard's "The First of the Few" (1942, released as "Spitfire" in the U.S.), in which he and David Niven star. Drawings and archival footage of the plane's construction, first takeoff and flight are preserved within the feature film. The reason for the crash in the film was due to high-g blackout.

The Supermarine S.4 was a 1920s British single-engined single-seat monoplane racing seaplane built by Supermarine to compete in the 1925 Schneider Trophy. It crashed and was destroyed before the competition started.

Le Supermarine S.4 est un hydravion de course britannique des années 1920, construit par Supermarine pour la Coupe Schneider de 1925. Il s'écrasa et fut détruit avant la compétition.


Biography.

Early life.

Nicholas DiMarzio was born in Newark, New Jersey, to Nicholas Sr. and Grace (née Grande) DiMarzio. His father served in the military at the time of his birth and later worked as a health inspector for the city of Newark. All four of his grandparents emigrated to the U.S. from southern Italy. He is the oldest of three children.  DiMarzio grew up across the street from Sacred Heart Cathedral Basilica, Newark, and attended the Cathedral's grammar school. He then went on to graduate from St. Benedict's Preparatory School in 1962. He attended Immaculate Conception Seminary, then at Darlington in Mahwah, Bergen County, New Jersey. He graduated with a Bachelor's degree from Seton Hall University in 1966. He holds a Bachelor's degree in Sacred Theology from The Catholic University of America (1970), a Master's in Social Work from Fordham University (1980) and a doctorate in Social Work Research and Policy from Rutgers University, New Brunswick (1985).  He is also a certified social worker and fluent in Italian and Spanish and proficient in French.

Ordination and ministry.

DiMarzio was ordained to the priesthood for the Archdiocese of Newark on May 30, 1970 by Archbishop Thomas Boland. He began his ministry among migrants in 1976, where he served as the archdiocese's refugee resettlement director for nine years, during which time he also served a two-year term as director of the Office of Migration of Newark's Catholic Community Services, now Catholic Charities.  He moved to Washington, D.C. in 1985, when appointed executive director for Migration and Refugee Services for the U.S. Catholic Conference and served there for six years. A year after arriving in Washington, he was named a Prelate of Honor by Pope John Paul II.  While he served as executive director of Migration and Refugee Services, he also created the Catholic Legal Immigration Network known as CLINIC, a legal services corporation through which dioceses offer new immigrants help in resettling. He later served as its chairman for six years.  When he returned to his home archdiocese in 1991, Archbishop Theodore E. McCarrick appointed him to be the associate executive director of Catholic Community Services and a year later was advanced to executive director, a position he held for five years. He also held the title of Vicar for Human Services, and Vice President of the Board of the archdiocesan Cathedral Healthcare Systems, overseeing its hospitals.

Auxiliary Bishop of Newark, New Jersey.

In 1996, Pope John Paul II elevated him to the rank of Auxiliary Bishop for the Archdiocese of Newark. From 1998 until 2001 he chaired the Migration Committee of the U.S. Conference of Catholic Bishops.  Bishop DiMarzio spent his diaconal year at Our Lady of Mount Carmel in Newark (1969-1970). DiMarzio has also served as an associate pastor at St. Nicholas Church, Jersey City, 1970–77; associate pastor in-residence at Holy Rosary Church, Jersey City, 1977–79; administrator and pastor of St. Boniface Church, Jersey City, 1979–80; chaplain of Holy Rosary Academy, Union City, 1980–84; pastor of Holy Rosary Church, Jersey City, 1984–85; associate pastor in-residence at Mount Carmel Church, Newark, 1985–88 and 1996; and pastor at Mount Carmel Church, Newark, 1996-99.  In 2000, he was appointed a member of the Pontifical Council for the Pastoral Care of Migrants and Itinerant People.

Bishop of Camden, New Jersey.

DiMarzio was appointed the sixth Bishop of Camden, New Jersey, on June 8, 1999. While bishop there he established an Office of Ethnic Ministries, an Office of Black Catholic Ministry, and an Office of Hispanic Ministry. He also created an apostolate to the Haitian community and founded two missions to serve the Korean and Vietnamese communities. In 2000, Bishop DiMarzio established Mater Ecclesiae Chapel, the first canonically established Mission owned by a Diocese and staffed exclusively by diocesan priests to offer exclusively the Traditional Latin Mass.

Bishop of Brooklyn, New York.

On August 1, 2003 DiMarzio was named bishop of the Brooklyn Diocese after four years as the Bishop of the Diocese of Camden. He was installed in his new See at Mass of Installation at Our Lady of Perpetual Help Basilica, Brooklyn on Oct. 3, 2003.  One of DiMarzio's first acts after his installation as Bishop of Brooklyn was to speak at the Immigrant Workers Freedom Ride Rally at Flushing Meadows Park. In November 2003 he spoke before Brooklyn's Muslim community at a Ramadan celebration and attended the Fifth World Congress of the Pontifical Council for the Pastoral Care of Migrants and Itinerant People in Rome.  Shortly after his installation as, DiMarzio was invited to be a member of the Global Commission on International Migration, sponsored by the Secretary General of the United Nations and a number of governments. It began its work in December 2003 and concluded Dec. 31, 2005 after completing a report, entitled "Migration in an interconnected world; New directions for action". The Bishop was the only U.S. resident on the 19-member commission.  Bishop DiMarzio has issued three pastoral letters addressed to the parishioners of the Diocese of Brooklyn. The first, "The New Evangelization in Brooklyn and Queens", was presented in October 2004. The following October he wrote his second pastoral, entitled "The Family: The Hope of the New Evangelization". In October 2007, the Bishop issued his third pastoral letter: "Do Not Be Afraid - A Pastoral Vision for the New Evangelization".  From 2004 to 2007, Bishop DiMarzio chaired the Domestic Policy Committee of the U.S. Conference of Catholic Bishops. During his tenure, the committee formulated "Forming Consciences for Faithful Citizenship", published in 2008, a call to political responsibility from the Catholic bishops of the U.S. It was approved by a historic number of bishops.  He has also served as chairman of the Bishops' Migration Committee, and currently is a member of the board of directors of Catholic Relief Services and chairman of its finance committee, and a member of the Bishops' Task Force on Catholic Bishops and Politicians.  Bishop DiMarzio's column of reflections on issues affecting the faithful, entitled "Put Out into the Deep" appears weekly in the diocesan newspaper, "The Tablet". He also appears weekly on Currents, a daily Catholic television news program that airs on New Evangelization Television (NET) in a segment titled "Into the Deep", where he discusses diocesan, local, national and international news.  On November 13, 2019, 56-year old Mark Matzek alleged that DiMarzio and the deceased Rev. Albert Mark repeatedly molested him while he was an altar boy at St. Nicholas Church and a student at St. Nicholas School in Jersey City in the mid-1970s, during which time DiMarzio was a parish priest. "In my nearly 50-year ministry as a priest, I have never engaged in unlawful or inappropriate behavior and I emphatically deny this allegation. I am confident I will be fully vindicated," DiMarzio said.

Views.

Abortion.

DiMarzio has expressed his commitment to human life from the pulpit on many occasions. He also prays alongside Msgr. Philip Reilly, founder and executive director of Helper's of God's Precious Infants, on a routine basis, where he leads processions from area churches to local abortion clinics with hundreds of faithful to pray for an end to abortion.  He also joined New York City religious leaders in January 2011 to call for new efforts to lower New York City's abortion rate.

Abuse scandal.

DiMarzio visits with victims of clergy sexual abuse. In May 2009, he published a presentation to the people of the Diocese of Brooklyn entitled "From Shadow To Light And From Scandal To Healing: The Experience of the Diocese of Brooklyn with the Sex Abuse Scandal". The presentation was given so that the people of the diocese would have first-hand knowledge of what was being done in the diocese to assure protection of the youth and young adults from the scandal of abuse. It discussed investigating, reporting, responsibility of the Church, the Charter for the Protection of Children and Young People, accountability and reconciliation, prevention, victim assistance, the Safe Environment Office, effect on the laity, and youth in the Church. It also established a hotline, 1-888-634-4499, for anyone reporting suspected abuse.  In October 2019, Pope Francis appointed DiMarzio to lead an investigation into the handling of sexual abuse claims in the Diocese of Buffalo, where Bishop Richard Joseph Malone was accused of mishandling allegations.

Religious freedom.

In November 2009, DiMarzio signed an ecumenical statement known as the, a manifesto that was issued by Catholic, Orthodox Christian and Protestant leaders, and which called on Christians not to comply with rules and laws permitting abortion, same-sex marriage and other social and moral matters that go against their religious consciences. It has been signed by more than 150 American religious leaders.

Immigration.

DiMarzio is known as a forceful voice on behalf of migrants and immigrants and has worked for these causes through the majority of his priestly ministry, beginning as a young priest in Jersey City. When he was appointed by Pope John Paul II to the Diocese of Brooklyn, it was an appointment that expressed the Pope's recognition of Brooklyn's well-known status as a Diocese of Immigrants and DiMarzio's knowledge and expertise in responding to the needs of the migrant and immigrant communities.  Because of his wide-ranging knowledge and experience in matters affecting migrants and immigrants, Bishop DiMarzio has testified frequently before committees of the U.S. House of Representatives. He has lobbied Congress for more lenient laws while serving as head of the United States Catholic Conference's Office of Migration and Refugee Services.

Vocations.

The number of seminarians for the Diocese of Brooklyn has steadily increased since DiMarzio became Bishop, a reflection of his efforts and support for vocations. Current statistics show the number of seminarians has increased from 39 in 2006-07 to 61 in 2010-11. He has worked with other dioceses and seminaries in the U.S. to receive seminarians from Haiti, Korea, Vietnam, and Poland to serve the "Diocese of Immigrants".  DiMarzio requested each parish establish a Parish Vocation Committee (PVC) and as of May 2011, there are close to 140 PVC's in Brooklyn and Queens. He also celebrates an annual jubilee celebration of priests and men and women religious and holds twice a year gatherings with seminarians.  Part of Bishop DiMarzio's efforts for vocations included establishing the John Paul II House of Discernment in April 2008 which serves as both a residence for seminarians and a location for discernment events, including discernment retreats. Other programs included in his support for vocations are Cathedral Preparatory Seminary, the Cathedral Seminary House of Formation, and the Vocation Office.  DiMarzio ordained three bishops in a rare triple ordination.

Nicholas Anthony DiMarzio (born June 16, 1944) is an American prelate of the Roman Catholic Church. He is the seventh Bishop of Brooklyn, having previously served as Bishop of Camden from 1999 to 2003.

Nicholas Anthony DiMarzio, né le à Newark (New Jersey), aux États-Unis, est un prélat américain qui est évêque de Camden, puis évêque de Brooklyn depuis 2003.


Location.

Burnham-on-Sea is notable for its beach and mudflats, which are characteristic of Bridgwater Bay and the rest of the Bristol Channel where the tide can recede for over. Burnham is close to the estuary of the River Parrett where it flows into the Bristol Channel, which has the second highest tidal range in the world of, second only to the Bay of Fundy in Eastern Canada. The constantly shifting sands have always been a significant risk to shipping in the area.

History.

The pillar or High Lighthouse was designed and built by Joseph Nelson for Trinity House, and was first lit on 1st December 1832. It was equipped with four oil lamps, which shone through a window set behind a half-gallery on the uppermost storey (at a focal height of above mean high water springs). The High lighthouse was designed to be used in conjunction with a new Low lighthouse, which was commissioned on the same date (and is still operating as of 2020). These new lights replaced the original Round Tower Lighthouse (which itself had been built to replace the light kept burning in the tower of St Andrews Church to guide fishing boats into the harbour); it was decommissioned on the same day that the new lights were brought into service.  The ground floor of the High lighthouse was in diameter and the top room. Cottages at the base of the tower provided accommodation for the keepers who attended the two lights. The High Lighthouse was painted plain white, initially, and the Low Lighthouse was white with a black vertical stripe on the seaward side. In 1890, in order to make the lighthouses more conspicuous by day, a red vertical stripe was added to the High Lighthouse and the colour of the stripe on the Low Lighthouse was altered, likewise, to red.

Early operation.

Burnham High and Burnham Low initially functioned as leading lights for vessels entering the River Parrett. In 1839, the lighthouses in line were described as indicating the way through a narrow entrance channel to the river, which lay between extensive mud flats: Berrow Flats to the north, Stert Flats to the south. As early as April 1844, however, Trinity House issued a notice warning that the Gore Sand (at the southernmost tip of Berrow Flats) had extended itself in a southerly direction to such an extent that the two lighthouses in line no longer indicated the deep water passage between the flats.  The High light was visible for, and was given an arc of visibility north of the line of transit, so as to provide a fix for vessels navigating between the Culver Sand and Steepholm (two hazards in the middle of the Bristol Channel). The Low light was visible for, and as such the two lights in line also served to provide a safe line of approach for vessels navigating up the Bristol Channel from the direction of Foreland Point and Minehead. South of this line the High light was'masked'.  In contrast to the fixed light of the Low lighthouse, the High lighthouse displayed an 'intermittent' (i.e. occulting) light (being bright for three-and-a-half minutes, then obscured for thirty seconds). At the time, it was the only Trinity House lighthouse listed as having an intermittent (as opposed to either fixed or revolving) light, this new light characteristic having first been introduced at Scotland's Tarbat Ness Lighthouse in 1830. The means of providing the High light's intermittent character was described in 1861 as a clockwork mechanism which raised and lowered a shutter behind the light-room window so as to obscure the light for 30 seconds every four minutes. At the time the light source was four fixed Argand lamps, with 21-inch parabolic reflectors. The mechanism for eclipsing the light had been transferred to the High Light from the old lighthouse, which had latterly displayed a similar intermittent light.  In 1884 the High light was upgraded and its occulting characteristic was altered to two two-second eclipses every minute.

Automation and upgrade.

When electricity was brought to Burnham in 1927 a 1000-watt incandescent light bulb was installed in each lighthouse (replacing the paraffin vapour burners then in use) which rendered the keepers redundant. (Burnham was the first Trinity House lighthouse in England to be converted from manned to unmanned automatic operation, following the automation of their lighthouses at Trwyn Du and St Tudwal's Island in Wales five years earlier.) A submarine cable was laid between the two lighthouses and the characteristics of the two lights were synchronised (being controlled by a'motor driven character machine' installed in the High lighthouse, which controlled both light circuits together). Both lights were given an occulting characteristic, the Low light occulting every 2.5 seconds, the High light every 5 seconds. In each location the lamp was set within a sectional fixed optic, backed by a dioptric mirror. An automatic lamp changer was provided: in the event of a lamp failure the spare bulb was brought into operation and if it also failed an acetylene lamp would be automatically lit.  As of 2 December 1969, the characteristic of the High light was altered to one white flash every 7.5 seconds. At the same time, a subsidiary sector light was introduced, shown from a lower window in the same tower (focal height: ) to indicate the correct bearing for the deep-water channel; it was a fixed light with red, white and green sectors. The new sector light rendered the Low lighthouse surplus to requirements and it was therefore deactivated on the same date.

Decommissioning and sale.

On 31 December 1993, however, the Low lighthouse was brought back into commission (and given the same white flashing light and subsidiary sector light), meaning that the High lighthouse was, in turn, deactivated.  The following year, Burnham High Lighthouse was put up for sale by Trinity House. It was bought by a member of the Rothschild family, who owned it until 1996 when it was bought at auction by Patrick O'Hagan. Conversion for residential use included the removal of the 6th floor and the construction of stairs where there had previously only been ladders. In 2018, having once more been put up for sale, the lighthouse was bought 'by an anonymous buyer'. The Fresnel lens and prism panels which formerly made up the optic in the light-room remain preserved in the tower as a constituent part of its Grade II listing. The red stripe on the building is still used, in conjunction with that on the Low lighthouse, as a leading mark.

The High lighthouse or pillar lighthouse is one of three lighthouses in Burnham-on-Sea, Somerset, England. A Grade II listed building, it is no longer functional as a lighthouse and has been converted for use as a private dwelling.

Le phare de Burnham-on-Sea High était l'un des trois phares de Burnham-on-Sea dans le comté de Somerset en Angleterre. Il a été désaffecté en 1996 et il est devenu une habitation privée.


History.

Cap'n Jazz recorded several singles for independent labels in the early 90s as well as contributing to several compilations.  In 1995, the band released its only full-length album, "Burritos, Inspiration Point, Fork Balloon Sports, Cards in the Spokes, Automatic Biographies, Kites, Kung Fu, Trophies, Banana Peels We've Slipped On and Egg Shells We've Tippy Toed Over" on the Man with Gun label. The album is sometimes referred to as "Shmap'n Shmazz", which was printed on top of the CD.  The band broke up in July 1995, shortly after Shmap'n Shmazz's release, on the night of a show at Little Rock's Das Yutes a Go-Go. In 1998, Jade Tree assembled a double-disc Cap'n Jazz retrospective titled "Analphabetapolothology" which compiles the band's complete recorded works (save for Naive, their song on "Achtung Chicago! Zwei"): Shmap'n Shmazz, early singles, material from split releases, compilation tracks, unreleased demos and outtakes and several tracks from their farewell performance in Chicago.  The band's lineup was Tim Kinsella (vocals); Samuel Zurick (bass guitar); Mike Kinsella (drums, vocals); Victor Villarreal (guitar, vocals); and Davey von Bohlen (guitar, vocals from 1994–95).

Reunion.

Cap'n Jazz reunited at The Empty Bottle on Friday, January 22, 2010, as part of Joan of Arc's Don't Mind Control Variety Show.  After playing that short, impromptu set in Chicago, the band played its first official reunited show at the annual Forecastle Festival in Louisville on July 10, 2010, and a hometown reunion show a week later at the Bottom Lounge, supporting the vinyl re-release of Analphabetapolothology on Jade Tree Records, where they gained success. Due to the show selling out in about 48 hours, a second show was added the next night. Later, it was announced that they would also be playing reunion shows across the United States during the summer and fall of 2010.  Most recently, Cap'n Jazz was included in the lineup for the 2017 FYF Fest in Los Angeles' Exposition Park. This marks the band's first show since 2010. The FYF appearance was followed by shows in San Francisco, Chicago, New York and London, including an appearance at Riot Fest 2017 in Chicago.

Legacy.

Cap'n Jazz have influenced a number of bands. Former members of the band continue to play music, most notably in Make Believe, The Promise Ring, American Football, Owls, Ghosts and Vodka, Joan of Arc and Owen.

Cap'n Jazz was an American emo band formed in Chicago in 1989 by brothers Tim and Mike Kinsella, who were joined by Sam Zurick and Victor Villarreal. After a number of name changes and the addition of guitarist Davey von Bohlen, the band began to earn a cult following in the Chicago area and the Midwest.

Cap'n Jazz est un groupe d'emo américain, originaire de Chicago, dans l'Illinois. Il est formé en 1989 par les frères Tim et Mike Kinsella, qui sont rejoints par Sam Zurick et Victor Villarreal. À ses débuts, le groupe effectue quelques changements de nom, et recrute le guitariste Davey von Bohlen.


Origins.

The ideas first appeared in physics (statistical mechanics) in the work of Pierre Curie and Pierre Weiss to describe phase transitions. MFT has been used in the Bragg–Williams approximation, models on Bethe lattice, Landau theory, Pierre–Weiss approximation, Flory–Huggins solution theory, and Scheutjens–Fleer theory.  Systems with many (sometimes infinite) degrees of freedom are generally hard to solve exactly or compute in closed, analytic form, except for some simple cases (e.g. certain Gaussian random field theories, the 1D Ising model). Often combinatorial problems arise that make things like computing the partition function of a system difficult. MFT is an approximation method that often makes the original solvable and open to calculation. Sometimes, MFT gives very accurate approximations.  In field theory, the Hamiltonian may be expanded in terms of the magnitude of fluctuations around the mean of the field. In this context, MFT can be viewed as the "zeroth-order" expansion of the Hamiltonian in fluctuations. Physically, this means an MFT system has no fluctuations, but this coincides with the idea that one is replacing all interactions with a "mean field."  Quite often, MFT provides a convenient launch-point to studying higher order fluctuations. For example, when computing the partition function, studying the combinatorics of the interaction terms in the Hamiltonian can sometimes at best produce perturbative results or Feynman diagrams that correct the mean field approximation.

Validity.

In general, dimensionality plays a strong role in determining whether a mean-field approach will work for any particular problem. There is sometimes a critical dimension above which MFT is valid and below which not so much.  Heuristically in MFT, many interactions are replaced by one effective interaction. So if the field or particle exhibits many random interactions in the original system, they tend to cancel each other out so the mean effective interaction and MFT will be more accurate. This is true in cases of high dimensionality, when the Hamiltonian includes long-range forces, or when the particles are extended (e.g. polymers). The Ginzburg criterion is the formal expression of how fluctuations render MFT a poor approximation, often depending upon the number of spatial dimensions in the system of interest.

Formal approach (Hamiltonian).

The formal basis for mean field theory is the Bogoliubov inequality. This inequality states that the free energy of a system with Hamiltonian  has the following upper bound:  where formula_3 is the entropy and formula_4 and formula_5 are Helmholtz free energies. The average is taken over the equilibrium ensemble of the reference system with Hamiltonian formula_6. In the special case that the reference Hamiltonian is that of a non-interacting system and can thus be written as  where formula_8 is shorthand for the degrees of freedom of the individual components of our statistical system (atoms, spins and so forth), one can consider sharpening the upper bound by minimizing the right hand side of the inequality. The minimizing reference system is then the "best" approximation to the true system using non-correlated degrees of freedom, and is known as the mean field approximation.  For the most common case that the target Hamiltonian contains only pairwise interactions, "i.e.,"  where formula_10 is the set of pairs that interact, the minimizing procedure can be carried out formally. Define formula_11 as the generalized sum of the observable formula_12 over the degrees of freedom of the single component (sum for discrete variables, integrals for continuous ones). The approximating free energy is given by  where formula_14 is the probability to find the reference system in the state specified by the variables formula_15. This probability is given by the normalized Boltzmann factor  where formula_17 is the partition function. Thus  In order to minimize we take the derivative with respect to the single degree-of-freedom probabilities formula_19 using a Lagrange multiplier to ensure proper normalization. The end result is the set of self-consistency equations  where the mean field is given by

Applications.

Mean field theory can be applied to a number of physical systems so as to study phenomena such as phase transitions.

Ising Model.

Consider the Ising model on a formula_22-dimensional lattice. The Hamiltonian is given by where the formula_24 indicates summation over the pair of nearest neighbors formula_25, and formula_26 and formula_27 are neighboring Ising spins.  Let us transform our spin variable by introducing the fluctuation from its mean value formula_28. We may rewrite the Hamiltonian:  where we define formula_30; this is the "fluctuation" of the spin.  If we expand the right hand side, we obtain one term that is entirely dependent on the mean values of the spins, and independent of the spin configurations. This is the trivial term, which does not affect the statistical properties of the system. The next term is the one involving the product of the mean value of the spin and the fluctuation value. Finally, the last term involves a product of two fluctuation values.  The mean-field approximation consists of neglecting this second order fluctuation term. These fluctuations are enhanced at low dimensions, making MFT a better approximation for high dimensions.  Again, the summand can be reexpanded. In addition, we expect that the mean value of each spin is site-independent, since the Ising chain is translationally invariant. This yields  The summation over neighboring spins can be rewritten as formula_33 where formula_34 means 'nearest-neighbor of formula_35' and the formula_36 prefactor avoids double-counting, since each bond participates in two spins. Simplifying leads to the final expression  where formula_38 is the coordination number. At this point, the Ising Hamiltonian has been "decoupled" into a sum of one-body Hamiltonians with an "effective mean-field" formula_39 which is the sum of the external field formula_40 and of the "mean-field" induced by the neighboring spins. It is worth noting that this mean field directly depends on the number of nearest neighbors and thus on the dimension of the system (for instance, for a hypercubic lattice of dimension formula_41, formula_42).  Substituting this Hamiltonian into the partition function, and solving the effective 1D problem, we obtain  where formula_44 is the number of lattice sites. This is a closed and exact expression for the partition function of the system. We may obtain the free energy of the system, and calculate critical exponents. In particular, we can obtain the magnetization formula_45 as a function of formula_46.  We thus have two equations between formula_45 and formula_48, allowing us to determine formula_45 as a function of temperature. This leads to the following observation:  formula_50 is given by the following relation: formula_55. This shows that MFT can account for the ferromagnetic phase transition.

Application to other systems.

Similarly, MFT can be applied to other types of Hamiltonian as in the following cases:

Extension to time-dependent mean fields.

In mean-field theory, the mean field appearing in the single-site problem is a scalar or vectorial time-independent quantity. However, this need not always be the case: in a variant of mean-field theory called dynamical mean field theory (DMFT), the mean-field becomes a time-dependent quantity. For instance, DMFT can be applied to the Hubbard model to study the metal-Mott insulator transition.

In physics and probability theory, mean-field theory (aka MFT or rarely self-consistent field theory) studies the behavior of high-dimensional random (stochastic) models by studying a simpler model that approximates the original by averaging over degrees of freedom. Such models consider many individual components that interact with each other. In MFT, the effect of all the other individuals on any given individual is approximated by a single averaged effect, thus reducing a many-body problem to a one-body problem.

Le champ moléculaire est un modèle développé par Pierre Weiss dans l’objectif de fonder une théorie du comportement des ferromagnétiques. Cette théorie est ensuite étendue à d'autres matériaux magnétiques.