Bruce Winn

Bruce M. Winn (1959-2012) was an American ceramic artist.
Winn grew up in Connecticut. At the age of six he saw a pottery demonstration and knew that was what he wanted to do. He received his BFA at the Artisanry, Boston University in 1983 studying with Richard Hirsh and Christopher Gustin. In 1988, Winn received his MFA at Cranbrook Academy of Art, studying with Graham Marks. His work can be found in collections at the Museum of Fine Arts, Boston, the Stockholm Royal Palace, and the Newark Museum, to name a few. He has participated in many shows at various places including the Garth Clark Gallery, NYC; Truro Center for the Arts, Truro, Massachusetts; Nancy Margolis Gallery, NYC; The Clark Gallery, Lincoln, Massachusetts, and the Newark Museum, Newark, New Jersey.
The work Mr. Winn produced had a relationship to the Japanese, and eighteenth century and nineteenth century . He builds the surface through very ordered pattern; line and repetition are very prevalent in his work.
From 1997-2012, he co-owned Roseberry-Winn Pottery and Tile LLC with Michael Roseberry, a design and production studio in Tiverton, Rhode Island. Today, Roseberry-Winn pieces can be found in collections including L.L.Bean, Seasons Catalog, Garnet Hill Catalog, Barney's, the Museum of Fine Arts, Boston, and the Cleveland Museum of Art.
Winn died from metastatic cancer on January 17, 2012, in Tiverton, RI.


Mark Campbell (librettist)

Mark Campbell is a New York-based librettist and lyricist whose operas have received both a Pulitzer Prize in Music and a GRAMMY Award. Mark began writing for the stage as a musical theatre lyricist, but turned to libretto-writing after he premiered "Volpone", his first full-length opera in 2004 at Wolf Trap Opera Company.
His best-known works are "Silent Night", "The Shining", "The (R)evolution of Steve Jobs", "As One", "Later the Same Evening", "Stonewall", "Elizabeth Cree" and the musical "Songs from an Unmade Bed". His operas have been produced by most of the prominent opera companies in the U.S., including Atlanta Opera, Arizona Opera, Austin Opera, Boston Lyric Opera, Central City Opera, Chicago Opera Theatre, Cincinnati Opera, Des Moines Metro Opera, Ft. Worth Opera, Houston Grand Opera, Hawaii Opera Theatre, Lyric Opera of Kansas City, Michigan Opera Theatre, Minnesota Opera, New Orleans Opera, New York City Opera, Opera Colorado, Opera Memphis, Opera Parallèle, Opera Philadelphia, Pensacola Opera, Pittsburgh Opera, Portland Opera, San Diego Opera, San Francisco Opera, Santa Fe Opera, Seattle Opera, Urban Arias, Utah Opera, Virginia Opera, Washington National Opera and West Edge Opera.
As an educator, Mark has established libretto-writing programs at the American Opera Project, Washington National Opera's American Opera Initiative, American Lyric Theatre and the University of Colorado's New Opera Workshop.


Swedish Radio Choir

The Swedish Radio Choir is a professional choir. It is part of Sveriges Radio, the public radio broadcasting company of Sweden. The choir consists of 32 singers and their chorus master Marc Korovitch. Peter Dijkstra is the choir's most recent chief conductor. He left the position after eleven years, in 2018. Since 1979 the Swedish Radio Choir has been based at the Swedish Radio Concert Hall, Berwaldhallen, in Stockholm.
In 2010 the Swedish Radio Choir was included in "Gramophone" magazine's special feature article where an international jury was asked to name the world's leading choirs.


Shakespeare Theatre Company Free For All

In 1991 the Shakespeare Theatre Company, under Artistic Director Michael Kahn, initiated its annual Free For All performances in Washington, D.C.’s Rock Creek Park. Each year the Company performs a show free to the public, usually from a previous season. In 2009 the Free For All was moved indoors to Sidney Harman Hall, one of two theatres operated by the Shakespeare Theatre Company in downtown D.C. This more accessible location allows the Shakespeare Theatre Company to perform rain or shine, offer matinees, maintain the artistic excellence of the production and increase the overall number of Free For All performances.
The first Free For All production in 1991 was "The Merry Wives of Windsor", starring Paul Winfield as Falstaff. More recent shows have included "Much Ado about Nothing", "A Midsummer Night’s Dream" and "Pericles". "A Midsummer Night’s Dream", the Free For All production for 2005, traveled to the Aspen Institute’s Ideas Festival in Colorado that same summer.
The Shakespeare Theatre Company received The Washington Post Award for Distinguished Community Service in 1992 and the 1997 Public Humanities Award from the Humanities Council of Washington D.C. for the Free For All.


Geschichte der arabischen Litteratur

Geschichte der arabischen Litteratur (GAL) (History of Arabic literature) is a reference work produced by the German scholar Carl Brockelmann. The work is considered a classic of Orientalist scholarship and it remains a fundamental reference volume for all Arabic literature.
The first edition of the work was first published in two volumes (1898–1902), and aimed to give a framework which divided Arabic literature into periods and subjects. However, Brockelmann later wrote a series of three "Supplementbände" ('supplement volumes') that vastly expanded the original work and then revised the original volumes, so the final work comprised the following:
Between 2016 and 2018, GAL was published by Brill in an updated English translation as "History of the Arabic Written Tradition".
External links.
 (German)


Claudia Albertario

Claudia Albertario (; born May 16, 1977) is an Argentine model, vedette and actress of theatre, television and film. Her notable credits include "Amigovios" (1995), "Como pan caliente" (1996), "Montaña rusa, otra vuelta" (1997), "Chiquititas" (1997–1999), "Gasoleros" (1998 and 1999), and "Verano del '98" (1998–2001). She also appeared on "Dancing on Ice" around the world.
Television.
Albertario is currently participating in the reality diving competition "Celebrity Splash!".


Napoleonic Tureen (Metropolitan Museum of Art)

The Metropolitan Museum of Art possesses in its collection a gilt-silver tureen from the Napoleonic era. Designed by Charles Percier, Pierre François Léonard Fontaine and made by Martin-Guillaume Biennais, the tureen was given to Napoleon I by his sister Pauline and her husband, Prince Camillo Borghese. The tureen was later donated to the Met as part of the bequest of Joseph Pulitzer.


Mr. Bunny Rabbit

 Bunny Rabbit was a puppet character on the children's television show "Captain Kangaroo". Bunny Rabbit wore horn-rimmed glasses, and would trick the Captain into giving him his carrots. Bunny Rabbit was a hand puppet created and manipulated by Cosmo Allegretti.


Rabiz (music genre)

Rabiz or rabis () is a genre of Armenian popular music, distinguished by its lyrics and dance-oriented synthesized melodies in 6/8 time signature with elements of Armenian folk music. Rabiz first emerged in Yerevan in the 1970-80s and was often associated with Armenian migrants from Baku, Kirovabad, and rural regions of Armenia. Rabiz singers are with few exceptions male. More recently, rabiz songs have been augmented with heavier arrangements and electronic dance music elements in their instrumentation.
Despite the term's widespread use, the etymology or definition of the word "rabiz" is not clearly understood. According to some sources it stems from the Russian phrase "работники искусства" (rabotniki iskusstva) used during Soviet times, meaning "Art Workers", in reference to unions which specialized in new music composition. Others believe that the word has Turkish or Arabic roots, since the word "rab" means creator or god, while the Arabic name "aziz", which is used by many Armenians as meaning "darling" could perhaps be considered another root, thus referring to the genre performers as dear creators.
A subgenre of rabiz music, called "kef" (unrelated to the homonymous Armenian-American kef music), concerns romantic love and partying, but also love of family or patriotism, similarly to Russian chanson or "blatnyak".
Though the singers and their audience primarily refer to rabiz as a music genre, the term is also used broadly to refer to a certain type of subculture with its particular fashion, Russian-derived slang, and lifestyle. The genre has received criticism from various music critics due to its perceived similarities to Middle Eastern and Turkish arabesque music. Prominent performers of the genre include Aram Asatryan, Tatul Avoyan (known by the mononym Tatul), and Hayk Ghevondyan (known as Spitakci Hayko or more commonly by the mononym Hayko).
Some performances of rabiz music are characterized by code-switching in which rabiz performers such as Mingichauri Samo (Samvel Avanesyan) and Spitakci Hayko (Hayk Ghevondyan) – reminiscent of similarly multilingual pieces by ashughs such as Sayat-Nova – improvise simultaneously in different languages such as Armenian, Azerbaijani, Kurdish and Russian. Sociologist David Leupold has suggested that this particular aspect of rabiz music may also help to challenge inter-ethnic boundaries hardened by decades of inter-state hostilities between Armenia and Azerbaijan in the ongoing Nagorno-Karabakh conflict.
Outside of Armenia, rabiz also enjoys popularity in the Armenian diaspora, particularly in Russia and Los Angeles, California. Many of the performers of the genre are now greatly popular with Armenian diaspora listeners as well.
"Mi Gna".
In 2016, rabiz music achieved international commercial success with the viral hit single "Mi Gna" released by Armenian American rapper Super Sako, on his album "Love Crimes". Although an earlier version of the song in Armenian was composed by Artak Aramyan, the remixed version of the song with additional English lyrics by Super Sako propelled it to success. The song features vocals by Hayk Ghevondyan. "Mi Gna" hit #1 on Shazam Top 100 list, with its YouTube video upload has garnered over 190 million views. The song has been remixed numerous times since, as well as released in different language versions, including Albanian, Arabic, Bulgarian, Dutch, French, German, Hebrew, Kurdish (Sorani), Romanian, Russian, Serbian, and Turkish. A trilingual Armenian/English/French version, remixed by French-Congolese rapper Maître Gims, achieved success in France and the Francophone world.


Season of Storms

Season of Storms (Polish original title: "Sezon burz") is the sixth novel and eighth overall book in the "Witcher" series written by Polish fantasy writer Andrzej Sapkowski, first published in Poland in 2013. It is not a sequel to the original "Witcher Saga", but rather is set between the short stories in the first book in the series, "The Last Wish".
"Fox Children", the second installment of "The Witcher" comic book series published by Dark Horse Comics, is based on one of the chapters of "Season of Storms". The book, with translations by David French, was published in May 2018 in hardcover format in the US and paperback format by UK Orbit (US) and Gollancz (UK). It is also available in both territories as an e-book and audiobook.
Plot.
Geralt of Rivia fights a dangerous monster whose only goal in life is to kill people. Shortly afterwards, he is arrested, resulting in the loss of two of his priceless witcher swords. With a little help from his friend Dandelion and his connections, he does everything he can to get his work tools back. In the meantime, he gets into an affair with the sorceress Lytta Neyd (nicknamed Coral), meets influential people and the social margin associated with the country where he lost his swords - Kerack. Geralt soon gets dragged into two dangerous conspiracies (one involving a group of sorcerers, and another involving King Belohun and his bitter sons).. These events and the undisguised and reciprocated reluctance of the magicians towards Geralt (who turn out to be related to this story) make the whole thing a series of failures, during which the hero is forced to make difficult decisions.
The epilogue of the book is set a long time after The Witcher Saga.
Audio versions.
In 2014, "The Last Wish" and "The Sword of Destiny", Fonopolis and audioteka.pl released Polish audio plays based on "Season of Storms". This was voiced by 84 actors, including Krzysztof Banaszyk as Geralt, Karolina Gorczyca as Coral, Anna Dereszowska as Yennefer, Sławomir Pacek as Dandelion, Adam Ferency as Pinety, Piotr Bajor as Xander and Krzysztof Gosztyła as narrator.


English paper piecing

English paper piecing is a method of wrapping and stabilizing fabric shapes using thin pieces of cardboard or heavy paper. An iron is used to wrap the seams of the fabric around the cardboard shapes. Once the shapes are wrapped and ready, the sewer will hand sew the shapes together one at a time until the shapes become an intricate design. The paper or cardboard is removed once the shape has been sewn to another shape on all sides. This is an art for those who like to sew by hand.
The practice's name comes from the fact that it was, and still is, popular in Britain. The technique used to paper piece involves wrapping paper shapes in fabric and then stitching the fabric together. Once a shape, bloc, rosette, or finished piece has been made, the papers are removed, leaving the fabric as the remaining item.
English Paper Piecing should not be confused with Foundation Piecing, nor should its name be shortened to calling it paper piecing. Calling it paper piecing only confuses the art of English Paper Piecing.
Foundation Piecing is similar in that is uses paper to help create fabric shapes but it uses a sewing machine to sew the fabric shapes together. Paper is used to create sharper points and more detail. Paper is removed after sewing.


Death (statue)

Death is a statue by Isamu Noguchi, depicting a dead body of a person who had been lynched, inspired by the 1930 lynching of George Hughes in Texas. The almost life-sized statue was exhibited at one of two 1935 New York anti-lynching exhibitions, where its bad and overtly racist reception caused its creator to change career direction.
Description.
The statue was a high monel metal sculpture of lynched man, hung via a rope with a noose from a metal mount, a slightly smaller than life-sized depiction of a body of a man who had been hanged and then his body burned. The arms and legs had been contorted as though the ligaments had contracted as a result of fire. Before making it, Noguchi had seen a picture of the body after the lynching of George Hughes in 1930, which had been widely published in the northern Black press.
Noguchi presented it in the first of the 1935 exhibitions (the NAACP one), having removed it from his solo exhibition at the Marie Harriman Gallery. Despite having smoothed over details of the body to give it a more abstract form, it was one of several items whose gruesome realism reviewers of the NAACP exhibition found shocking. Indeed, it was particularly singled out for its grisly realism by reviewers, criticized (for example) for "aesthetic opportunism", and as "macabre" and "bizarre" by "Art News". Edward Alden Jewell of the "New York Times" considered it disastrously realistic, evoking extreme horror at the agony of a lynching, and more sensational than of actual artistic value. The reviewer for "The Christian Century" put it more mildly, saying that if the purpose of art was to magnify its materials, then "Death" "hits the mark" and "intensifies the horror of a lynching".
The comments by "New York Sun" critic Henry McBride were overtly racist. Previously a supporter of Noguchi, McBride had occasionally used descriptions such as "wily" and "semi-oriental" for him, but for "Death" he was more direct, saying that "this gruesome study of a lynching with a contorted figure dangling from an actual rope, may be like a photograph from which it was made, but as a work of art it is a little Japanese mistake.". Noguchi was being viewed as an "outsider", who was not permitted to comment on United States barbarisms. In immediate response to this Noguchi removed it from the NAACP exhibition on its fourth day and instead displayed it at the Artists' Union exhibition.
In his autobiography written 30 years later, Noguchi cited this as in part why he stopped exhibiting in galleries and took to designing stage sets instead.


Rosalie Purvis

Rosalie Purvis (born 1975) is a Dutch-American theatre director and choreographer. She earned her Bachelor of Arts in literature and dance from Bard College, followed by a Master of Fine Arts in directing from Brooklyn College, and is studying toward a Doctor of Philosophy in performing and media arts at Cornell University. During the late 1990s, she gained a considerable following in the Netherlands. According to "De Telegraaf", she was the youngest artist to win the Orange Prize (1999), the leading Dutch award for work in avant-garde theater. Much of her stagecraft was associated with the prestigious Duke Romijn Theatre in Amsterdam. She also co-wrote the best-selling Dutch children's book, "Jana’s nachtreis", with Ceseli Josephus Jitta.
Purvis later moved to the United States and founded an avant-garde theater company, Token 150, in New York City.
In the United States, Purvis is best known for her work on Berthold Brecht's "The Good Person of Szechwan" and for reviving Jonathan Levy's classic, "Charlie the Chicken" for contemporary audiences. She has also staged new works by T.D. Mitchell and Mya Kagan.
Purvis is currently Libra Assistant Professor of English and Theatre at the University of Maine.


Amos Vogel

Amos Vogel (born Amos Vogelbaum; April 18, 1921 – April 24, 2012) was a New York City cineaste and curator.
Biography.
Vogel was born in Vienna, Austria. He fled Austria with his parents after the Nazi Anschluß in 1938 and at first studied animal husbandry at the University of Georgia. In the American South, he noted, the racism was as bad as the anti-semitism he witnessed in Europe. Later he received a bachelor's degree from The New School for Social Research in New York.
He is best known for his bestselling book "Film as a Subversive Art" (1974) and as the founder of the New York City avantgarde ciné-club Cinema 16 (1947–1963), where he was the first programmer to present films by Roman Polanski, John Cassavetes, Nagisa Oshima, Jacques Rivette and Alain Resnais as well as early and important screenings by American avant-gardists of the time like Stan Brakhage, Maya Deren, James Broughton, Kenneth Anger, Sidney Peterson, Bruce Conner, Carmen D'Avino and many others. In 1963, together with Richard Roud, he founded the New York Film Festival, and served as its program director until 1968. In 1973, Vogel started the Annenberg Cinematheque at the University of Pennsylvania and was eventually given a Chair for film studies at the Annenberg School for Communication, where he taught and lectured for two decades. Vogel also wrote a book for children, "How Little Lori Visited Times Square," published in 1963 with illustrations by Maurice Sendak. Vogel participated in the documentary "In the Mirror of Maya Deren" (2003) by Martina Kudlácek. In 2014, a collection of his writings was published by the Austrian Film Museum. On the initiative of his sons Steven and Loring, the private library of Amos Vogel has been transferred to the Austrian Film Museum. Since 2019, the Amos Vogel Library, a stock of more than 8,000 books, is available online. Both Columbia University and the Wisconsin Center for Film and Theater Research also hold material relating to Vogel and Cinema 16.
Vogel died, aged 91 on April 24, 2012, in New York City.


Part lace

Part lace or sectional lace is a way of making bobbin lace. It characterises various styles, such as Honiton lace or Brussels lace.
All bobbin lace is made with bobbins on a lace pillow. Some styles of lace are made in a continuous strip. Since there is a limit to how many bobbins can be handled on a pillow, this limits how wide the lace is. Part lace, on the other hand, is made in pieces or motifs. Once made, these are joined together in a ground, net or mesh, or with plaits, bars or legs. This means that the lace has no limit in size, apart from the time needed to make it.
It can also be made by a team of lacemakers. "Real Honiton laces are made up of bits and bits fashioned by many different women in their own little cottages - here a leaf, there a flower, slowly woven through the long, weary days, only to be united afterward in the precious web by other workers who never saw its beginning."
Part lace may be identified by the ground or plaits being separate from the motifs and joined to them with knots. In continuous lace, the threads pass from the pattern into the ground and out again, without knots.
Bobbin tape lace is sometimes categorized as part lace.


Jae Jarrell

Elaine "Jae" Jarrell (born Elaine Annette Johnson in 1935) is an American artist best known for her fashion designs and her involvement with the Black Arts Movement of the 1960s. Influenced by her grandfather’s work as a tailor, Jarrell learned about fabrics and sewing at a young age. It was learning these skills that set her on her path as an artist, fashion designer, and vintage clothing dealer.
In 1968, Jae Jarrell, along with Wadsworth Jarrell, Jeff Donaldson, Barbara Jones-Hogu, and Gerald Williams, founded AfriCOBRA, the African Commune of Bad Relevant Artists. As part of their manifesto, Jarrell strived to provide positive representation of the African diaspora. Her goal was to produce garments that inspired pride, power, energy, and respect in African American communities.
Early life and education.
Jarrell grew up in the historical neighborhood of Glenville in Cleveland, Ohio. During her childhood, she was inspired by the legacy of her grandfather. His work as a tailor led to her develop knowledge of clothing fabrics, fibers, and weaves. She was also influenced by the success of her uncle’s haberdashery shop, where he sold fabric and sewing tools. His achievements in business made her want to open her own store
In addition to the influence of her grandfather and uncle, her mother took her to vintage shops and taught her to respect the craftsmanship that goes into making clothing. This set Jarrell further on her path as an artist. When speaking about this experience with Rose Bouthillier (2015), Jarrell said:
And so I always thought of making clothes in order to have something unique, and later I learned to sew very well and made it my business to always make my garments. And I also have a love for vintage, knowing that it has secrets of the past that I can unfold (p. 64).
Jarrell attended Bowling Green State University before moving to Chicago to attend the School of the Art Institute of Chicago During the late 1950s and early 60s, she attended the same art school as Wadsworth Jarrell, a fellow artist who would later become her husband However, the couple didn't meet until 1963 after Jarrell opened her own vintage boutique
Career.
Chicago.
During her early years in Chicago, Jarrell worked a temporary job at Motorola. During her time there, a female co-worker helped her create the name, "Jae", which she then continued to use when producing her art. According to Jarrell, after she shared her secret desire to be a designer and own a shop, the woman suggested that she use the reverse order of her maiden name, Elaine Annette Johnson, as an acronym. Following her advice, Jarrell opened a store near the famous Hyde Park and called it "Jae of Hyde Park"
Chicago would also be important for both Jae and Wadsworth as it would be the city in which they would help create AfriCOBRA. In an interview, Jarrell credited Chicago for being a forward thinking city and appreciated it for its open-mindedness; without these traits, she says that she would be unsure as to whether or not AfriCOBRA would have succeeded
In 1967, she married Wadsworth Jarrell, and they honeymooned in Nassau, Bahamas. She had their first child, Wadsworth Jr., on January 7, 1968. After giving birth to their second child, Jennifer, the Jarrells decided to relocate to New York to escape the social and economic downturn in Chicago
Following her involvement with AfriCOBRA in Chicago, Jarrell would eventually move to Washington D.C. to once again pursue learning by completing her BFA and graduate work at Howard University
AfriCOBRA.
Much of Jarrell's art was created as a member of AfriCOBRA, the African American artist collective that sought to invoke the styles of African art while infusing a strong call for revolution. AfriCOBRA formed out of the remains of the Coalition of Black Revolutionary Artists (COBRA) and centralized around the idea of Black pride and Black empowerment that comes from feeling powerful and standing tall AfriCOBRA even had a manifesto written by one of its founding members, Jeff Donaldson, in which he wrote out some of the main staples of AfriCOBRA's art making as well as what the collective stood for. In one section, Donaldson spoke of the kind of art that the members would make, saying that it would fit into one of three categories:
Going further in the manifesto, Donaldson gave very thorough detail about the artistic direction of the collective, providing a list of qualities that he cut down to the six most important ones which are as follows:
This manifesto would dictate the way that AfriCOBRA was conducted and, as a result, was influential in the way that Jae Jarrell would shape her art while a part of the collective.
With AfriCOBRA, Jarrell, along with the rest of the collective, aimed to use her art to build a positive learning community that promoted Black pride among the community as well as to whoever was lucky enough to experience any art from the collective. During an interview with the Never the Same Foundation, Jarrell said:
We made an effort to raise a consciousness. In our hearts, when we put this all together we thought it was going to be an explosion of positive imagery, and things that gave kids direction, and knowing some of our leaders now portrayed in a fresh way. I saw a result of our raising the consciousness, particularly about our history
Despite being grouped into the same realm as the Black Panthers and other radical Black groups, AfriCOBRA, as Jarrell saw it, was always driven by positivity and empowerment of African Americans. In the same interview, Jarrell talked about how she used history as a reference only when looking at times of African empowerment and thereby avoided using things like segregation as a reference, not only for herself, but for the AfriCOBRA collective as well
When creating art for AfriCOBRA, Jarrell made her unique garments, using the body as a vessel for revolution and identity Her pieces reflect the goal of the group, which was to create an African American aesthetic that celebrated black power and a sense of community. During the interview with the Never the Same Organization in Chicago, Jarrell described her work with AfriCOBRA, which involved making textile designs done on leather or suede that she would then tie-dye, screen print, hand paint, and applique The most famous pieces she did at this time are her Revolutionary Suit (1968), Ebony Family (1968), and Urban Wall Suit (1969).
The Revolutionary Suit (1968) is a two-piece suit that has Jarrell’s signature style from the late 60s. The suit has a tweed, collarless jacket and a-framed skirt, which matched the fashion trends of the time. This ensemble also incorporates a colorful, faux bandolier that stands out against the salt-and-pepper color of the suit. This piece, which inspired ideas about wearing clothing for protest and revolution, motivated Jet magazine to write a piece called "Black Revolt Sparks White Fashion Craze" which criticized white, mainstream fashion for cultural appropriation. The magazine accused the fashion world of taking the bandolier, which was meant to be a symbol of the righteous protest against the unfair treatment of African Americans, and attempting to turn it into a trendy accessory.
Following one of the themes of AfriCOBRA, which emphasized the Black Family, Jarrell made her suit called Ebony Family (1968). It is meant to be a symbol of the power within strong black families. Ebony Family also emphasizes AfriCOBRA’s interest in the influence of African art and the use of bright and vivid "Cool-ade" colors. These "Cool-ade" colors were a play on the bright orange, cherry red, lemon yellow, lime green, and grape purple of the drink Kool-aid. Jarrell accomplishes this by crafting her suit to be like a poster which takes form as a dashiki, a traditional West African men's dress. The suit depicts a colorful, Black family, using the forms reminiscent of the African mask to create their faces.
Jarrell’s Urban Wall Suit (1969) is a piece inspired by graffiti and concert posters that filled the streets and African American neighborhoods in Chicago. Jarrell incorporated AfriCOBRA's desire to emphasize images with language by making the suit a symbol of the message boards of the community. All over the suit, there are images of posters that proclaim things like "Vote Democrat" as well as white graffiti messages that say things like "Black Princess" and "Miss Attitude." Furthermore, with Urban Wall Suit, Jarrell reused her fabric to follow one of the tenets of AfriCOBRA, which was to reinvent yourself in order to create something fresh. She used small pieces and scraps from her store to make the patchwork resembling bricks, adding velvet ribbon as the mortar. These fabric scraps are of all different colors and patterns, including stripes, polka dots, and plaid. She then incorporated the graffiti and poster elements that resembled the message boards
The AfriCOBRA group identified themselves as a ‘family’. They came together in a cooperative, merging their unique styles into a collective aesthetic. In doing so the group was able to represent unity and strength in their art and their movement, while still letting their individual aspects and styles remain in each of their artworks. Through this unified, ‘family’ front the AfriCOBRA group was able to reject racialized stereotypes like that of the supposed dysfunctional black family. Their conjoined efforts brought a voice to the community; a voice representing their message and movement through their art. While Jae Jarrell and her husband continually worked with their art family for a movement they wholeheartedly believed in, they did eventually step away from the coalition. Jarrell has since emphasized the lasting and present influence AfriCOBRA has in her art – they didn’t leave coalition fully behind, the direction of their futures simply differed.
Though Jarrell is no longer with the AfriCOBRA collective, she still holds all those who were ever a part of the collective as family and says that she is still influenced by them when making art to this day
In an interview with Rebecca Zorach Jae Jarrell explains that AfriCOBRA,"It’s like a family, you know, you could never divorce yourself from the family. You can only grow, and you could always understand those who have not moved in the same kind of direction you have, but there’s a language you have, and an eye contact and a trust and a respect. It goes a long way."
Later work.
In more recent years, Jarrell has not lost her passion for design, but she has shifted her focus to sculpting and constructing furniture Some of her recent works, which were displayed in the How to Remain Human exhibition at the Museum of Contemporary Art Cleveland, include Maasai Collar Vest (2015), Shields and Candelabra Vest (2015), and Jazz Scramble Jacket (2015). The Maasai Collar Vest (2015) is reminiscent of the ornate garments and jewelry of the Maasai people in Africa. This piece draws on the idea of embracing her African heritage, which is something seen throughout all of her work. Jarrell continues emphasizing African art and culture in Shields and Candelabra Vest (2015) by making the piece from cactus plants turned over to make frames for vibrant African shields. For her Jazz Scrabble Jacket (2015), Jarrell brings together notions of jazz and blues music with images from the board game, Scrabble. Imitating the crossword aspect of Scrabble, Jarrell intersects the names of important musicians to examine the influence of music in building scenes, styles, power, and history for African American communities.
Exhibitions.
Jarrell's work has appeared in several major exhibitions, including the Brooklyn Museum of Art’s 2014 exhibition Witness: Art and Civil Rights in the Sixties and the Museum of Contemporary Art Cleveland's 2015 exhibition How to Remain Human. Jarrell's work was also featured in the 2015 exhibit The Freedom Principle: Experiments in Art and Music, 1965 to Now at the Museum of Contemporary Art Chicago (MoCAC). Her garments belong to private collections as well as to a permanent collection in the Brooklyn Museum of Art


Macken (TV series)

Macken (Swedish slang for "The Filling Station") was a Swedish six-part musical sitcom that ran on SVT in 1986. It was produced by Galenskaparna och After Shave and was a major breakthrough for the group. The programmes were built up from a series of sketches, sometimes with comedy or satirical elements.
Some of the songs from the show became hits on Svensktoppen, and the series was adapted into a 1990 film, "Macken – Roy's & Roger's Bilservice". The series was also adapted to a play, "Macken – TV-serien på scen", in 2016.
Story.
The story centres around the two brothers Roy and Roger who own a small car garage and adjoining self-service petrol station, with associated shop, in Västergötland (an old garage in Vara was used as the outside location in the 1990 movie).
The bulk of the show involves the eccentric customers that the pair have to deal with. There are also three subplots, where the local authority wants to demolish the garage to build a new motorway; where an annoyed customer keeps returning to collect his white Opel, after a service, but Roy and Roger are unable to find the car; and where a very timid, beige-clothed man keeps parking his blue Volvo 240 outside the garage, much to Roy's annoyance, but is too nervous to ever actually approach Roy or Roger.
Production.
The show was shot completely in the studio with no exterior shots. The setting never moves from the interior of the station and aside from a small glimpse when Roy opens the backdoor you never see how the outside looks.
In other media.
The television series was adapted into a film, "Macken – Roy's & Roger's Bilservice", in 1990.
In 2016, the television series was adapted into a stage play, "Macken – TV-serien på scen". , the play is still touring the country, largely with the original cast. The script is almost identical to the original television screenplay.


Hitomi Hosono

Hitomi Hosono is a London-based ceramicist who won the inaugural Perrier-Jouët Arts Salon Prize. She is known for intricate ceramic pieces that are inspired by botanical studies and her memories of the Japanese landscape and the greenery of East London.
Education and career.
Hitomi Hosono was born in 1978 in Gifu Prefecture in Japan. She attended the Kanazawa College of Art in Kanazawa, Japan from 1998 to 2002 where she studied Kutani Pottery. She attended the Ceramics Design Course at the Danmarks Designskole in Copenhagen from 2005 to 2006, and received a Master of Arts in Ceramics and Glass from the Royal College of Art in London in 2009. She was an Artist in Residence at Wedgwood from 2017 to 2018.
Her signature style is inspired by Wedgwood Jasperware and consists of creating original sprig models and plaster moulds based on botanical examples which she then applies in layers onto a pottery base. She layers the leaves on top of the base until it is hidden creating highly decorative vessels. Pieces can take years to create. She also adds sprigs and carved leaves to ceramic boxes that have been gilded on the inside.
Selected group and solo exhibitions.
2017 Hitomi Hosono, The Daiwa Anglo-Japanese Foundation, London
2015 Brook Street: An Artist’s Eye, Sibyl Colefax & John Fowler, London in association with Adrian Sassoon
2013 Perrier-Jouët Arts Salon, St. Pancras Renaissance Hotel Chambers Club, London
Work in collections.
Aberdeen Art Gallery & Museums, Aberdeen
Oriental Museum, Durham University, Durham
The British Museum, London
The Wedgwood Museum, Stoke-on-Trent
Victoria and Albert Museum, London
Musée national des arts asiatiques – Guimet, Paris, France
Porzellanikon – Staatliches Museum für Porzellan, Selb, Germany
Cooper-Hewitt, National Design Museum, New York, USA
Indianapolis Museum of Art, Indianapolis, IN, USA
Los Angeles County Museum of Art, Los Angeles, CA, USA
Awards.
2014 Winner, Jerwood Makers Open, Jerwood Visual Arts, London
2013 Winner, Perrier-Jouët Arts Salon Prize, London
2004 First Prize, Graphic Art on Ceramics, Museum of Modern Ceramic Art, Tajimi, Japan
2004 Silver Prize, Craft Design
2004 Tajim, Museum of Modern Ceramic Art, Tajimii, Japan
2004 Hokuriku Broadcast President`s Prize, Daiwa Department Store, Kanazawa, Japan
2004 Utatsuyama Craft Workshop Purchase Award, Kanazawa, Japan
2003 Utatsuyama Craft Workshop Purchase Award, Kanazawa, Japan


Patty Ann Williams

Patty Ann Williams (1898–1972) was an American artist associated with the Gee's Bend group of quilters.
In 2006 her quilt "Medallion with checkerboard center" appeared on a US Postal service stamp as part of a series commemorating Gee's bend quilters.
Life.
Patty Ann Williams was the mother of Liza Jane Williams and Benjamin Williams, the mother-in-law of Nell Hall Williams, and the grandmother of Patty Irby. Patty Ann raised her children and her grandchildren in an off-grid house tucked into the woods of Rehoboth, Alabama. They did not receive electricity until the mid-1960s. Before that, they cooked their food and heated their house by a wood-burning stove. Especially towards her older years, Patty Ann stayed in the house, cooking, while her kin worked in the fields on their tenant farm.
Work.
Williams' quilts were made to keep her children and grandchildren warm. Her grand-daughter, Patty Irby, recalled that, instead of concentrating on artistic value, "They never really thought about it; whatever was too old to wear, they just tore it up to make quilts." Although most of their quilts were made from repurposed materials, some of their quilts were made from scraps sold in bulk at a discount from Selma, Alabama.


Scarborough Pottery

Scarborough Pottery was instigated in 1964 by Peter Hough who had originally attended Scarborough Art College. After attending college in Manchester, he then taught art in Accrington and Guildford before returning to Scarborough to set up the Pottery.
The pottery used a variety of venues in the Scarborough and North Yorkshire area, in Newborough, Scalby Mills, Gladstone Lane, Scalby and finally Laundry Road in Filey. They specialised in novelty and souvenir items and their products can still be found in antique centres, fairs and shops all over Britain.
Scarborough Pottery closed in 1983 following a down-turn in the ceramics industry.
The nearby Hornsea Pottery donated moulds to Peter Hough and many of Hornsea’s designers, modellers and technicians (including Alan Luckham and Mike Walker) contributed their time and expertise to the smaller enterprise. A number of designs by John Clappison were adapted for use at Scarborough Pottery.
Many collectors of Hornsea Pottery also collect Scarborough due to this interrelation although it is often difficult to identify Scarborough Pottery, particularly as very few items were marked.


FringePVD

FringePVD is a fringe arts and theater festival in Providence, Rhode Island, founded in 2014. In recent years it has been located in the Olneyville neighborhood of the city. To date it is the largest fringe festival in New England.
FringePVD was founded by the Wilbury Theatre Group in 2014 and was inspired by fringe festivals like the Edinburgh Fringe Festival and the New York Fringe Festival. As with other fringe festivals, the festival is unjuried. Any group may apply and play the entrance fee to participate in the festival, and performers are chosen by lottery. Ticket prices are kept low, and all proceeds from the performances go to back to the performers. The festival also includes Family Fringe Day, with performances geared toward children and families.
There were about 300 artists performing at FringePVD in 2018. Venues for the festival have included AS220, WaterFire Arts Center, The Steel Yard, Wilbury Theatre Group and others. The festival is part of the United States Association of Fringe Festivals.


Sabrina Gschwandtner

Sabrina Gschwandtner (born 1977) is an American artist currently living in Los Angeles, California. She has held numerous showings of her work throughout the country and several pieces have been acquired by museums, including LACMA, the Smithsonian American Art Museum, the Museum of Fine Arts, Boston, and the RISD Museum.
Biography.
Sabrina Gschwandtner was born in 1977 in Washington, DC. She studied at the in Salzburg, Austria under the direction of Valie Export and also with Vlada Petric, founder of the Harvard Film Archive. She earned a Bachelor of Arts with honors in art/semiotics from Brown University in 2000 and in 2008 she received her Master of Fine Arts from Bard College. She is the author of the book "Knitknit : Profiles + Projects from Knitting's New Wave."
Artworks and techniques.
Gschwandtner uses film, video, photography, and textiles as her mediums. She sews together filmstrips to create a quilt-like textile. She then installs them with led lights behind them so the viewer can see through the filmstrips when looking up close. She began sewing filmstrips together in 2009 when a friend of hers gave her 16 mm films from Anthology Film Archives that were no longer of use to the Fashion Institute of Technology. Gschwandtner uses documentaries about “art, craft, fashion, decoration, vocation, military camouflage, feminist expression, and scientific metaphor” in her artworks, mostly from the 1950s-80s. Many of the short documentary films recognized and admired women's role in craft making, such as knitting, crocheting, and fabric dyeing. After she watches the films, she cuts and sews them together in patterns that resemble popular American quilt motifs. She has made several works in a "crazy quilt" pattern. Leah Ollman of the LA Times wrote in a 2017 review: "Gschwandtner unites the strips in traditional quilt patterns — interlocking triangles and diamonds set within squares, energetic designs that play surface against depth, control against abandon. She makes astute use of color, mixing vivid stretches of jade, yellow and cerulean with the faded hues of old footage, all accented with black countdown leader and lengths of toned emptiness." Gschwandtner uses quilts because they symbolize and celebrate "the undervalued work of female laborers and artisans, largely overlooked." . Film Archivist Andrew Lampert says that her work is able to "greatly expand our notion of film editing, narrative and the moving image."
Other works include films and installations for specific sites. For example, Gschwandtner created “Crochet Film” (2004) specifically for a show "Group Loop," put together by Christoph Cox about repetition and cycles. Her piece featured two loops, one, a film of the artist crocheting and the other a crocheted piece representing a film loop. Another series of work on the same theme is "The History of String" which compares the spooling mechanism of a sewing machine to "early film projectors."
Collections and exhibitions.
Gschwandtner ‘s work has been exhibited worldwide at institutions, such as the Renwick Gallery of the Smithsonian American Art Museum (Washington D.C.), the Museum of Arts and Design (New York), Crystal Bridges Museum of American Art (Arkansas), and the Victoria and Albert Museum (London).
Her work is in the permanent collections of the Smithsonian American Art Museum, Museum of Fine Arts, Boston, the RISD Museum, LACMA, and the Carl & Marilynn Thoma Art Foundation.


Scheme (linguistics)

In linguistics, scheme is a figure of speech that relies on the structure of the sentence, unlike the trope, which plays with the meanings of words.
A single phrase may involve both a trope and a scheme, e.g., may use both alliteration and allegory.


Helpmann Award for Best Musical

The Helpmann Award for Best Musical is a musical theatre award, presented by Live Performance Australia (LPA) at the annual Helpmann Awards since 2001. The award is for a production in Australia, and is open to both new musicals and revivals. This is a list of winners and nominations for the Helpmann Award for Best Musical.


Operation Orfeo

Operation Orfeo is a conceptual opera in three movements with music by Bo Holten, based on the legend of Orpheus and Eurydice. The libretto is written by Ib Michael and the concept is created by Kirsten Dehlholm of Hotel Pro Forma. It was premiered in 1993.
The opera is described as a "visual opera". A "reconceptualisation of the opera genre. Causal and dramaturgic sequence in libretto and music is replaced by a series of tableaux and compositions informed by purely visual and auditive principles rather than by dramatic modes of narration".


Gerolamo Araolla

Gerolamo Araolla, also known as Hieronimu Araolla, (Sassari, 1542 - Rome, 1615) was a Sardinian poet and priest.
Early life.
Gerolamo Araolla was born into a distinguished family. He was a pupil of the Sassari physician and philologist Gavino Sambigucci. After studying literature and philosophy, Araolla graduated with a law degree from the University of Pisa in 1567. Shortly after graduation, he took his vows and became a priest in Bosa in 1569.
Poetry.
Araolla was a significant poet, writing a number of verses in the three hegemonic languages of the island: Spanish, Sardinian, and Tuscan/Italian. He said that poetry is especially delicate, sweet, and moving. He felt, however, that it was necessary to overcome the humanistic conception of poetry as polite and imitatio dei. Araolla was a Petrarchist, profoundly cultured, with a great knowledge of Torquato Tasso; his Neoplatonism rested on the solid foundation of Augustinian thought.
Araolla enthusiastically participated in the cultural ferment that animated his Sassari youth, and entered into friendships with the leading Sassarian intellectuals of the 16th century.
In 1582, he published his poem "Sa vida, su martiriu, et morte dessos gloriosos Martires Gavinu, Brothu et Gianuari," based on folk tales about Saint Gabinus. This work, consisting of 244 stanzas and approximately two thousand verses, had wide circulation on Sardinia. It was probably distributed by the village clergy as an aid to pastoral work. The poem is the largest attempt at the construction of a literary Sardinian language, aiming at "exhalting and enriching our Sardinian language, like all the other nations in the world already did with their own language" ("magnificare, & arrichire sa limba nostra Sarda; dessa matessi manera qui sa naturale insoro tottu sas naciones dessu mundu hant magnificadu & arrichidu", Incipit). Even the metrical structure of the work, ottava rima, is an attempt to connect his work in the Sardinian language with Italian literature.
Some time after 1590, Araolla commemorated Pier Michele Giagaraccio with the sonnet "onor di Sassari e delizia dell'Arno" (Honor of Sassari and delight of the Arno).
A few years later, the introduction of his work: "Rimas diversas spirituales" (1597), focused on notions of poetics and rhetoric in an effort to prove that Sardinian has the same dignity as Latin, Spanish, and Italian ("tengiat cognitione de sa limba Sarda comente tenet de sas de pius", int. 35). "Rimas diversas spirituales" was dedicated to Don Blascu d'Alagon.


Calder Publishing

Calder Publications is a publisher of books. Since 1949, the company has published many books on all the arts, particularly subjects such as opera and painting, the theatre and critical and philosophical theory. Calder's authors have achieved nineteen Nobel Literature Prizes and three for Peace.
History.
John Calder started his publishing house in 1949 when manuscripts were plentiful and many books that were in demand were out of print – in the immediate post-war years paper was scarce and severely rationed.
During the 1950s he built up a list of translated classics, which included the works of Chekhov, Tolstoy, Dostoevsky, Goethe and Zola among others. Calder then began to publish American titles. As a result of Senator Joe McCarthy's "witch-hunt" he was able to acquire significant American authors as well as books on issues of civil liberty that mainstream publishers in New York City were afraid to keep on their lists. This led to the development of close ties with those smaller American firms who resisted the McCarthyite pressure.
By the late 1950s, Calder was publishing a group of new writers who would change the face of twentieth-century literature. One of these was Samuel Beckett, all of whose novels, poetry, criticism, and some of his plays were published by Calder. Several writers on the Calder list became synonymous with the school of the "nouveau roman" or "new novel", including Alain Robbe-Grillet, Marguerite Duras, Claude Simon, Nathalie Sarraute and Robert Pinget. Other European novelists, playwrights and poets included Heinrich Böll, Dino Buzzati, Eugène Ionesco, Fernando Arrabal, René de Obaldia, Peter Weiss and Ivo Andric. Calder was soon launching new experimental British writers such as Ann Quin, Alan Burns, Eva Tucker and R. C. Kennedy – who, influenced by their European counterparts, became part of the avant-garde of the early 1960s.
From his experience of authors' tours, John Calder saw that readers much enjoyed hearing authors air their ideas in public – often in heated debate. He persuaded the Edinburgh Festival to stage large literary conferences – the first of their kind – which in 1962 and 1963 were immensely successful. They attracted many of the world's leading writers, as well as others whose names were not yet familiar to the public.
Controversy.
Following their visit to Scotland, Calder began to publish the previously banned work of writers Henry Miller and William S. Burroughs. Controversy also surrounded the publication of Alexander Trocchi's "Cain's Book", which was a success despite a minor obscenity trial in Sheffield. Hubert Selby's "Last Exit to Brooklyn", although well reviewed, had a more serious case brought against it, first in a private prosecution by Tory MP Cyril Black, and then at the Old Bailey. John Mortimer led a successful appeal and the company was vindicated after losing in both lower courts.
Ownership.
In 1963 the company changed its name to Calder and Boyars to accommodate a new partner (Marion Boyars, who subsequently founded Marion Boyars Publishers), but the company went back to its original name when the partnership was dissolved in 1975.
In 2007, Calder Publications was acquired by Oneworld Classics, a joint venture between Alma Books and Oneworld Publications. In 2012, Alma Books acquired full ownership of Calder and Oneworld Classics, renaming the latter Alma Classics.


Kentucky Shakespeare Festival

Kentucky Shakespeare Festival is a non-profit, professional theatre company in Louisville, Kentucky that produces and performs the works of William Shakespeare. The main productions offered are the annual summer series of plays presented free to the public at the C. Douglass Ramey Amphitheater in the city's Central Park. This series, commonly called "Shakespeare in Central Park", sprung from an initial production in the park by The Carriage House Players in the summer of 1960. They also perform shows in other venues, as well as conduct educational programs related to acting and other theater-related skills.
Educational programming.
Camp Shakespeare.
Programs consist of theatre instruction combined with competitions, games, and activities designed to engage the campers. Summers often include field trips and will culminate in an invited performance, or "Share Day", for family and friends showcasing what the campers have been working on during their session.


Shakespeare at Winedale

The Shakespeare at Winedale program, created in 1970 by James B. "Doc" Ayres, is a program affiliated with the University of Texas at Austin, dedicated to Shakespearean criticism through performance of the plays. The main performance space at Winedale, located in Round Top, Texas, is a barn donated to the University of Texas by Ima Hogg.


Texas Shakespeare Festival

The Texas Shakespeare Festival is a professional summer theatre housed in the Anne Dean Turk Fine Arts Center on the campus of Kilgore College, Kilgore, Texas. TSF presents four weeks of performances during late June and July of five productions in repertory: two plays by Shakespeare, a classic, a musical, and a children's show.
History.
Established in 1986, the Texas Shakespeare Festival began as Kilgore College's contribution to the Texas Sesquicentennial celebration. The brainchild of Raymond Caldwell, a faculty member within the theatre program at Kilgore College and subsequent Artistic Director of the Festival, the first season of TSF consisted of two plays by Shakespeare and "The Daisy Bradford 3", a regional work commissioned for the celebration telling the story of the East Texas oil boom by Gifford Wingate, all performed by a small company of professional actors. The overwhelming popularity and quality of the summer theatre experience for the people of East Texas catapulted what was to have been a one-time event into an organization that is celebrating its second decade of performances.
More than 1000 theatre artists have worked at TSF including such well-known personalities as Michael C. Hall ("Six Feet Under"; "Dexter"); Danny Pino ("Cold Case"); Glenn Fleshler ("Spring Awakening"; "Guys and Dolls"); Rick Holmes ("Spamalot"); Andrew Samonsky ("South Pacific"; "Tick, Tick... Boom!"); Glenn Kessler (Creator, Producer, Director and Actor for "Damages"); and Keythe Farley (co-author, "").
The Texas Shakespeare Festival is listed as a Major Festival in the book "Shakespeare Festivals Around the World" by Marcus D. Gregio (Editor), 2004.
Productions.
In more than twenty years, the Texas Shakespeare Festival has produced twenty-nine plays of Shakespeare's canon, as well as multiple American and European classics, original works, numerous musicals, and very successful shows for young audiences. Their work with young audience led to them being awarded a grant in 2005 to further support youth activities. The Festival continues to audition and employ professional directors, actors, designers, and technicians, as well as giving many university students from all across America their first summer theatre experience. The Festival has attracted a range of attention throughout its more than two-decades of performances. In 1999 a production of "" produced by the Kilgore College Theatre Department and directed by Caldwell, led to death threats, anti-gay protests and a withdrawal of more than $50,000 in funding by the Gregg County Commissioners. Subsequently, however, the Festival received grants from both Paul Newman's Own PEN Center, the Dramatists Guild of America, and other sympathetic sources nationwide.
Support.
Kilgore College provides the majority of the funding for the Festival, and provides a range of other support for the festival including: rehearsal facilities, office spaces, the Van Cliburn Auditorium, dormitory housing and meals for the entire company, scholarships for the apprentices, printing, publicity and public relations. Additional grants and foundations enable the Texas Shakespeare Festival to continue as a strong and vital cultural asset and tourist attraction for all of East Texas. The Festival is also credited as bringing a degree of sophistication in the arts world to East Texas. In return, the Festival supports the college with grant funding to help refurbish the auditorium in which it performs.


Gingerdead Man vs. Evil Bong

Gingerdead Man vs. Evil Bong is a 2013 American crossover slasher comedy film produced by Full Moon Features, about a battle between the namesake characters from two other film series, "The Gingerdead Man" and "Evil Bong". The film was released October 29, 2013, on the Full Moon Features website as streaming video, with wider release November 12, 2013.
Synopsis.
The Gingerdead Man is on a tropical island, being fanned by topless women. He ruminates on killing Sarah Leigh, the only person to best him, but doesn’t know where she is. Suddenly, a newspaper blows by with information on Sarah’s upcoming “Bake off” and he starts planning her demise.
Larnell now owns and operates “Dick’s Head Shop” with girlfriend Velicity, and they briefly recount the events of the first three Evil Bong films in passing. In short: the gang is captured by Evil Bong, Eebee, but ultimately destroy her; ; . Larnell is dealing with two prospective buyers when Hambo the Clown (a shifty old clown with a pig nose) enters the shop. Larnell’s assistant String, a gruff little person with a fake eye patch, deals with Hambo, who is looking to sell an Ooga Booga replica to the store for some fast cash. String refuses Ham I’d offer when two tourists, entirely depicted through racist Asian stereotypes, enter the store asking for directions. Hambo inexplicably poses them for a photo, takes the picture and promptly leaves with it, thanking them and apparently satisfied. String sells the tourists on some marijuana paraphernalia and the pair leaves, yelling obscenities at String who had earlier been verbally berating the tourists with racist Asian names and phrases after they began taking pictures of him and point out his dwarfism. Larnell is still selling the two patrons on some glassware by allowing them to test it with his own marijuana when the pair reveal they actually have no money. Larnell has String kick them out, who ominously returns with a bloody switch blade. While he’s out Larnell goes to a back room and pulls Eebee (thought dead) out from a hidden safe.
Rabbit enters the shop, now a traveling salesman after renouncing the Priesthood due to the church’s stance on marijuana, and bearing Evil Bong merchandise. He tries to sell it to Larnell who instead is interested in the replica Gingerdead Man cookie that Rabbit is eating. He directs him to a newly opened bakery nearby called Dough Re Mi Bakery, operates by Sarah who looks suspiciously like Luann (a reference to the characters both being played by Robin Sydney). Larnell goes to buy a cookie and Rabbit waits for him to return in the back and finds Eebee. He smokes from her and is pulled into her Bong World.
Meanwhile, Sarah Leigh is working with her two employees at the bakery during this time and one of them asks about her newspaper article covering the bakery’s opening. It also covers her history, which is when Larnell walks in and asks Sarah to visit his store so they can form a partnership promoting their two small business and she leaves. The Gingerdead Man kills both employees of the bakery while they have sex in the back. He then follows Sarah to Larnell’s shop. When Larnell and Sarah arrive at the shop, Luann, the girlfriend of Larnell’s former roommate and best friend Bachman, enters the shop asking about Brett. It’s revealed that after defeating Space Bong, Brett and Bachman admitted their love for each other, moved to San Francisco and were married, to everyone's surprise. Luann insults Sarah and leaves angrily. Larnell enters the back room with Sarah expecting to find Rabbit and instead finds Eebee. The Gingerdead Man arrives and kills String by shoving a bong through his head. Larnell and Sarah escape him by entering the Bong World. Eebee convinces the Gingerdead Man she has the power to restore his human form if he smokes from her and enters the Bong World too so he follows Sarah and Larnell.
Gingerdead Man finds himself in a Bong World jungle and meets King Bong, who’s been trapped inside the Bong World by Eebee since the events of Evil Bong 2. King Bong uses his Poontang Tribeswomen to send Gingey to the Pastry Tribunal, a court consisting of Cream Puff, Baguette, Tiny Tart, and Rasta Brownie where he’s sentenced to Eternal Damnation: to be eaten and reformed repeatedly & forever. Meanwhile, Larnell and Sarah find Rabbit enjoying himself, having “mastered” the Bong World. He explains that the Bong World takes advantage and feeds off ones innermost desires, so escape they must think about not escaping. Gingey convinces the Tribunal to give him one chance at life as a cookie saying he’ll be good. Soon Larnell and Sarah are transported out of the Bong World to Eebee’s surprise. She insists the Gingerdead Man will not be escaping who, in the Bong World, encounters Rabbit. When Gingey asks where Sarah is so he can finally kill her, Rabbit uses the Tribeswomen to neutralize him. The final scene shows the Gingerdead Man smoking a joint while sitting on a rock in the Bong World.
Reception.
"JoBlo" praised the trailer, writing that it was "hilariously awful". "Missoula Independent" praised the film for its bringing together two of Full Moon's favorite series. The reviewer was disturbed by the film's first scenes but stated that the film got better as it progressed.


Dance Valley

Dance Valley ("The Woodstock of Dance") is an annual dance music festival organised by United Dance Company (UDC) in the summer in Spaarnwoude, Netherlands. The first edition was in 1995 when 8,000 people attended (and in 2001 90,000 visitors). Dance Valley grew rapidly, both in duration and number of visitors.
History.
The idea for a dance music festival in daylight was a revolutionary concept in the early nineties and it took the organizers several years before they made it a reality. After trying to get funding via the largest concert organizer in The Netherlands Mojo (now LiveNation Netherlands), they raised the money independently and organised their first festival in 1995.
2005 was the first time the event lasted 3 days in the weekend with camping available for the concertgoers at the campsite. It rained. A record-breaking 53,000 people attended that year.
There were some big changes to the festival in 2006. Traditionally held on the first weekend of August, due to colliding with another festival UDC (the Dance Valley management company) brought the festival forward two weeks to 14–16 July. While this had little effect in terms of sales it did affect the last two hours of the festival when sunlight was still visible on the horizon. This in turn affected the use of lighting with the lasers not being switched on until later. Dance Valley also hosted BMX, skate boarding and motorcycle competitions sponsored by LG. The back field in which HQ resided was not used; instead a large tent towards the entrance was specially erected for the harder side of dance.
The 2007 event was held on July 14. It was no longer a 3-day event as the UDC returned to its roots and reopened the HQ field, much to the delight of clubbers.
In 2009, the fifteenth edition took place on July 11 from 11:00 until 23:00.
In 2010, the sixteenth edition took place on August 7 from 10:00 until 23:00.
In 2011, the seventeenth edition took place on August 6 from 12:00 until 23:00.
In 2012, the eighteenth edition took place on August 4 from 12:00 until 23:00.
Controversy.
In 2001 the festival attracted 90.000 festivals. While the terrain was large enough for this crowd, the access roads to get to and from the festival were not. When the festival ended busses and other transport were overwhelmed by the amount of visitors. To complicate matters further, a rainstorm erupted and drenched stranded party goers on their way home resulting in several cases of hypothermia.
DJs.
Many famous and less famous DJs have played music at Dance Valley over time, with big names such as Carl Cox, Derrick May, Paul van Dyk, Tiësto, Armin van Buuren, Richie Hawtin, Ricardo Villalobos, Paul Oakenfold, Ferry Corsten and Yoji Biomehanika all having made appearances.
Music.
While Dance Valley is a pure dance-music event, it caters to a wide audience by not limiting itself to a specific style though its heart is (as with most Dutch events), in trance. The biggest name DJs on the main stage tend to be trance DJs. In 2006, Armin Van Buuren, Ferry Corsten, Marco V, Hardwell and Simon Patterson (part of the duo Dogzilla) were the main draws. With the main stage reserved for the big names in mainstream dance music, up to a dozen secondary, smaller stages are dedicated to styles such as electro, Eurodance, hardstyle and experimental.


Doccia porcelain

The Doccia porcelain manufactory, at Doccia, a "frazione" of Sesto Fiorentino near Florence, was in theory founded in 1735 by marchese Carlo Ginori near his villa, though it does not appear to have produced wares for sale until 1746. It has remained the most important Italian porcelain factory ever since.
In its first decades it was unusual in producing, alongside the usual tablewares and vases, etc, porcelain versions of statuettes and small sculptures, intended as bronzes, by Florentine sculptors of several decades earlier. After the death of its founder in 1757 the factory concentrated on producing more conventional wares, often borrowing styles from larger factories in Germany and France.
Now known as Richard-Ginori, following its merger with Società Richard of Milan, by 2013 it was in bankruptcy and was acquired by Gucci. The "Museo Richard Ginori della Manifattura di Doccia", a museum nearby dedicated to the factory and its history, is closed to visitors as of 2019.
History.
Its early wares were of a soft-paste porcelain, as were most European porcelains with some exceptions, notably Meissen, where deposits of kaolin had been discovered and hard-paste porcelain was made. Vezzi porcelain in Venice had also made hard-paste with Saxon kaolin, but had closed in 1727. By around 1750 Doccia were making hard-paste.
Ginori established the kilns at the foot of forested Monte Morello, whose timber fuelled them, and initiated experiments with local potting clays. He engaged J.K.W. Anreiter from Vienna to head the painting workshop and in 1737 a local sculptor, Gaspero Bruschi, as the chief modeller. Bruschi stayed at the factory until his death in 1780. Production began in 1737. By 1740 Ginori was confident enough of his products to send samples to Vienna and get a privilege for porcelain manufacture in the Austrian-ruled Grand Duchy of Tuscany, giving him the security of a monopoly.
Ginori obtained wax models and casts from the heirs of major Florentine baroque sculptors Giovanni Battista Foggini and Massimiliano Soldani that were intended for casting in bronze, and produced boldly-scaled porcelain figure groups “of a grandeur which makes the figures of most other C18 factories look "petite" and trifling,” John Fleming and Hugh Honour have observed. Some statuettes of famous Roman sculptures were also produced. Over 150 sculptural pieces were produced.
The early Doccia paste is gritty in texture and slightly grayish; its glaze less glossy than most contemporaneous European porcelains. Innovative decorating techniques from the 1740s were transfer-printing and the "stampino", or stenciled decor, usually of blue on the white ground; since these could be employed by inexperienced workers, decorated porcelain was brought within reach of the middle classes, and porcelain rapidly replaced traditional maiolica in common use.
Ginori's manufacture was continued without a break by his three sons, who introduced a new, whiter body, with tin oxide added to the glaze for increased whiteness, but were less successful in adapting neoclassical forms to the wares. With the revival of rococo styles in the nineteenth century, the Doccia manufactory reverted to its eighteenth-century models.
Later history.
The manufacture remained in the hands of the Ginori heirs until 1896, when it was incorporated with the Società Ceramica Richard of Milan, a larger manufacturer of ceramics, as Richard-Ginori. Gio Ponti served as artistic director of the manufacture from 1923 to 1930, producing many designs in the Art Deco manner, and was succeeded by Giovanni Gariboldi, 1930-1970. In 1950 the factory moved to a new building two miles away from the old site.
The firm was declared bankrupt in January 2013. A deadline of May 2013 was set by the court to find a new buyer, hopefully one which would continue to maintain historic quality standards, operate the existing plant, employ its local workforce. Lenox, the American firm, and Apulum, a Romanian china manufacturer, showed interest and made joint bids. That effort proved unsuccessful and the firm was again put up for sale and in April, 2013 acquired by Gucci for €13 million, $16.8 million. Gucci's plans were to improve the factory in Florence, concentrate on high-end products, and sell products under its name in luxury markets such as China.
Museum.
The Museo Richard Ginori della Manifattura di Doccia was opened in 1965 in a new purpose-built building near the factory. The collection had previously been housed in the eighteenth-century factory building. The museum and its collection was not included in the sale of the company to Gucci in 2013, and closed to visitors in 2014. In 2017, the Italian government agreed to buy it, with the sale completed in 2018. By then the building and parts of the collection (especially the unique collection of wax models) had suffered from lack of maintenance, and as of 2019 the museum remains closed to the public while restoration and conservation work continues.


The Day of Judgment (novel)

The Day of Judgment is a novel written by Sardinian jurist and writer Salvatore Satta.
It was published in 1977, after his death. Translated in different languages, it was widely read across Europe.


SkyGravity Festival

SkyGravity is international electronic dance music festival in Ukraine (Crimea, near Evpatoria). Featuring music genres are psytrance, goa, full on, suomi, progressive and break trance, but also ambient, dub, downtempo, idm, electronica, experimental, and reggae.


Samsons saga fagra

Samsons saga fagra (The Saga of Samson the Fair) is an Old Norse chivalric saga. The saga is formed of two parts. The first is stylistically similar to other chivalric sagas. The second part, known as "Sigurðar þáttr", is closer in style to late legendary sagas, but notable for its inclusion of material from a range of learned texts. Lockey writes that: "The saga's eclectic character is perhaps its most interesting feature, for it demonstrates that the author had wide access to a variety of foreign sources from which many of the motifs were culled." The saga is also notable for its intertextual reference to "Möttuls saga" (referred to as "Skikkju saga") and its chastity testing cloak. "Samsons saga fagra" gives a history of the cloak before it reaches Arthur's court.
In the first part of the saga, Samson falls in love with Valentina, an Irish princess. Valentina is abducted by Kvintelin and during Samson's search for her, he fights Kvintelin's mother under a waterfall. This scene has been compared to Beowulf's fight with Grendel's mother and Grettir's fight with Glámr in "Grettis saga Ásmundarsonar".
The saga is preserved complete in only one medieval manuscript, AM 343a 4to which dates to the fifteenth century. The oldest manuscript of the saga, also from the fifteenth century, is AM 589b 4to, which survives as two fragments. There are around forty post-medieval manuscripts of the saga, which indicate its continuing popularity in Iceland.


Eddie Charlton

Edward Francis Charlton, (31 October 1929 – 8 November 2004) was an Australian professional snooker and English billiards player. He remains the only player to have been world championship runner-up in both snooker and billiards without winning either title. He later became a successful marketer of sporting goods launching a popular brand of billiard room equipment bearing his name.
Early life.
Charlton was born in Newcastle, New South Wales, Australia and came from a sporting family. His grandfather ran a billiards club in Swansea, New South Wales, and young Eddie began playing cue sports when he was nine years old. At the age of eleven, he defeated fellow Australian Walter Lindrum in a wartime snooker exhibition match, and he made his first century break when he was seventeen.
He was involved in numerous other sports during his youth: he was a first-grade footballer and played in the Australian First Division for ten years; he was a champion surfer, and played state-level rugby and competitive cricket; he also excelled in speed roller skating, rowing, boxing and tennis. In 1956, he was chosen to carry the Olympic torch on part of its journey to the Melbourne Games.
Charlton worked as a coal miner until the age of 31. After winning four amateur snooker titles, he decided to turn professional in 1963 on the advice of Fred Davis. His brother Jim was also a professional snooker player but never joined the world ranks.
Career.
Charlton became a professional player in 1963 at the age of 34, and won his first Australian Professional Championship the following season. For the next ten years he won the title annually, and made at least the semi-finals in every subsequent meeting through its last edition in 1988. He unsuccessfully challenged Rex Williams for the World Billiards Championship title in 1974 and 1976. His third appearance was in 1984 when he lost by a handful of points to Mark Wildman. Four years later, he lost to two-time champion Norman Dagley in his last World Billiards final.
Charlton was the most successful Australian snooker player until the emergence of Neil Robertson. From the first year of the snooker world rankings in 1976/77, he was ranked number three in the world for the next five consecutive seasons although he never won a ranking tournament (because, in the early years, only the Snooker World Championship counted).
Charlton, who was known for his focused and dogged performances, challenged for the World Championship in 1968, and was the runner-up in the final of the World Championship in 1973 and 1975, losing the 1975 world final by just one frame (30–31) to Ray Reardon. However, his 1972, 1973, and 1980 victories in the BBC's "Pot Black" competition, with its one-frame-per-match format, gave him a high-profile with television audiences. He also recorded the first century break (110) on "Pot Black".
Charlton was known for playing with a very straight cue action and rarely hitting the ball with any .
Although he did not reach the final stages of the World Championship in his later career, Charlton continued to perform at a competitive level. His last major achievement was his 10–9 first round win over Cliff Thorburn at the 1989 World Championship. He qualified for the 1990 and 1991 World Championships but lost in the first round on both occasions. Charlton's final appearance at the Crucible came in 1992 where he was defeated 10–0 by defending champion John Parrott in the first round, the only recorded in the history of the World Championship until 2019, where Shaun Murphy defeated Luo Honghao 10–0.
Personal life.
Always active in the organisation and promotion of the game, Charlton was appointed a Member of the Order of Australia (AM) in 1980. He formed the Australian Professional Players Association and was responsible for bringing many of the top players to play in Australia. He released a 30-minute beginners' instructional video, "Eddie Charlton's Snooker, Pool & Trick Shots", in PAL VHS format. In 1993 he was inducted into the Sport Australia Hall of Fame. He stopped competing in 1995 and died in Palmerston North, New Zealand on 8 November 2004 following an operation.


Packet writing

Packet writing (or incremental packet writing, IPW) is an optical disc recording technology used to allow write-once and rewritable CD and DVD media to be used in a similar manner to a floppy disk from within the operating system.
Details.
Packet writing allows users to create, modify, and delete files and directories on demand without the need to "burn" a whole disc. Packet writing technology achieves this by writing data in incremental blocks rather than in a single block.
Deleting files and directories of a CD-R using packet writing technology does not recover the space occupied by these objects but, rather, they are simply marked as being deleted (making them effectively "hidden"). Similarly, changes to files cause new instances to be created instead of replacing the original files. Because of this, the available space on a non-rewritable medium using packet writing technology will decrease every time its content is modified.
The most common file system for packet writing systems is UDF.
Due to the characteristics of optical rewritable media such as CD-RWs and DVD-RWs, the ability of data sectors to hold their contents diminishes when changing them frequently (since re-crystallized alloy de-crystallizes). To cope with this the packet writing system can remap bad sectors with good sectors as required. These bad sectors cannot be recovered by formatting the media.
Software.
Software implementing packet writing includes:


Sandunguera (bolero)

"Sandunguera" is a bolero written by Marcelino Guerra and Luis Piedra for Arsenio Rodríguez in 1943. Arsenio's version, however, was arranged as an uptempo guaracha and released as the B-side of Pablo Cairo's "Sin tu querer" by RCA Victor. The song has since been covered by multiple artists, including Marcelino Guerra himself, and has been called a "classic track" and an important recording in the development of Arsenio's career.
Background and recording.
At the time of the recording, Arsenio's "conjunto" was beginning to make recordings, with a rather variable lineup. With the incorporation of Lilí Martínez (1945) and later Félix Chappottín (1950), the "conjunto" reached its peak of success and maturity. However, records such as "Sandunguera" have been highlighted as early examples of Arsenio's trademark syle of interlocking rhythms and sudden tempo changes. Describing the original recording, Ned Sublette emphasized how the pianist, Adolfo "Panacea" O'Reilly, "drops into bell-like quarter-note octaves on the piano to lock in with the cowbell". He goes on to define the song as a thrilling "new sound", which paved the way for classic recordings such as "Deuda" and "El reloj de Pastora".
The lyrics of the song extol the beauty of a "mulata", a black woman, often called "sandunguera" in Cuba, the adjetival form of "sandunga" (grace, charm). Thus, although not his own composition, the song is considered an example of Arsenio's African-inspired repertory which alludes to his own heritage.
Cover versions.
"Sandunguera" has been covered multiple times, often as a bolero, and sometimes as a guaracha reminiscent of Arsenio's original. It was recorded by the Puerto Rican ensemble Sexteto Borinquen in their 1963 album "Sexteto Borinquen Vol. 2", released by Ansonia, and by La Playa Sextet in their 1965 album "La Playa in Puerto Rico", released by United Artists. Another Puerto Rican band, Orquesta Corporación Latina, recorded a salsa arrangement with a guaguancó rhythm in 1983. It has also been recorded by salsa singer Oscar D'León (1978), son cubano vocalist Miguel Quintana (1986) and Marcelino Guerra himself (1996), who did so in Spain for the record label Nubenegra. Another recording was made by Los Naranjos in 1998 under the title "Sandunguera mujer".


Continental knitting

Continental knitting, also called German knitting, European knitting, or left-hand knitting, is the process of knitting by holding the yarn in the hand opposite the working needle (i.e. the left hand if the knitter is right-handed). However, use of the term 'left-hand knitting' is discouraged by left-handed knitters because it leads to misunderstandings.
Other knitting styles include English knitting (a.k.a. "throwing") and combined knitting. In Continental knitting, unlike in English knitting, the tip of the working needle is used to hook the yarn and bring it forward; this motion is thus sometimes known as picking.
Hand motions.
The motion of the right wrist is used to slip the right needle into the loop of the stitch being knitted and 'scoop' or 'hook' the yarn onto the right needle while the left forefinger holds the yarn across the back of the stitch. An alternative method of collecting the yarn involves using the thumb or index finger of the right hand to hold the yarn in place as the new stitch is being pulled out of the loop.
This knitting style is often easier to learn for people with crocheting experience, since the way the yarn is held in the left hand is similar to crochet, and the motion of the right hand is similar to the motion seen in crochet, although the knitting needle is held under the palm of the hand. One major difference in the motion of the right wrist is that in crochet the crochet hook may be held more like a pencil; this method of holding the knitting needle like a pencil was briefly made popular around 1900 under the guise of being more ladylike. Nowadays, however, the majority of knitters hold both needles under the palm.
Yarn tension.
The tension in the yarn is controlled by threading the yarn through the fingers of the left hand. Typically, the yarn is looped around the little finger, across the knuckles and around the index finger.
History.
This style originated in continental Europe, specifically recognized in Germany and began spreading in the early nineteenth century to surrounding countries. This is evident in that the Norwegian word for knitting 'binde' gave way to the German word for knitting 'strikke'.
Continental style knitting, being associated with Germany, fell out of favour in English-speaking countries during World War II; its reintroduction in the United States is often credited to Elizabeth Zimmermann.
Since World War II, both continental and English knitting are used in the United States and England. Japanese knitters tend to favor the continental style and Chinese knitters for the most part use the English style. Many other countries generally use continental knitting, such as Portugal, Greece, Turkey, Bolivia, and Peru.


Boglin

Boglins were a series of toy puppets distributed by Mattel. They were created by Tim Clarke, Maureen Trotto, and Larry Mass, and licensed by Seven Towns. The original run of Boglins was released in 1987, coinciding with a "creatures" craze that included Ghoulies, Critters, and Gremlins. Boglins were goblin-themed hand puppets made of flexible rubber and could be manipulated to represent speech and facial expressions. Several series of large and small Boglins were released until 1994, with additional aquatic, Halloween, and baby themed Boglins released later into the line. Small solid 'Mini-Boglins' were also produced, akin to the M.U.S.C.L.E. figures also from the 1980s.
Original Boglins toys.
Created by Jim Henson Company alumni Tim Clarke, Maureen Trotto and Larry Mass for the Seven Towns company in 1986, Boglins were initially brought to Coleco as a potential addition to their Sectaurs line; but were eventually marketed on their own by Mattel in 1987. The three original large scale Boglins were Dwork, Vlobb and Drool (Vlobb and Drool were called Plunk and Flurp in the UK), and were packaged in unique wooden crate-like boxes with bent plastic jail-bars. Although sporting small arms and a tail, these puppets mostly consisted of a large goblin-like head, drawing some inspiration from the giant Olmec heads of Ancient Mexico. Constructed from an artificial rubber known as Kraton, the initial models also featured glow in the dark eyes, which could be moved using a lever hidden inside the puppets, as well as the ability to wink/blink via a small plastic tab above each eye. Unlike many toylines of the 1980s there was no accompanying cartoon series or comic book for Boglins, with a backstory only mentioned in the "Bogologist Field Notes" on the back of the packaging. The notes establish the science of "Bogology" and state that the creatures came from a "swampy bog that time forgot" and are theorized to be a "missing link" to human personalities, with these first larger versions referred to under a Latin name of Boglinus Humungus.
Smaller Boglins (a subspecies known as Boglinus minimus), named Squidge, Shlump, Shlurp, Sponk, Squawk and Squeel were also early releases into the line (in the UK these names were changed to Squit, Boink, Splatt, Blap, Klang, and Doink respectively). Lasting only two years in the United States, Boglins proved to be a bigger hit within the United Kingdom, distributed by the toy companies Ideal and Action GT. Other later Boglins included "Talking Boglins" (Glint and Kwirk), Aquatic-themed "Soggy Boglins" (Snish the Fish, Slogg the Frog and Slobster the Lobster), "Halloween Boglins" (Blobkin and Bog o' Bones), "Glow Boglins" (Klang, Doink and Squit), "Action Boglins" (Rasp, Gunge, Likk, Iball and Spit), "Bash'em Boglins" (Splat and Skwish), and re-releases of the original larger Boglins: Dwork, Flurp and Plunk, now including hair and "wiggly tongues". "Baby Boglins" were also produced, much smaller in size serving more as finger puppets as opposed to the full-sized hand puppets. These came inside of small plastic eggs and included Blap, Boink, Squit, Klang, Doink, Splat, Cratch, Flop, Lurp, Mork, Snot and Suk (Boink, Klang and Squit also came in "Baby Action Boglins" versions). Small hard-plastic "Caged" Boglins could also be found, as well as "Acrobat Boglins" made from a sticky elastomer similar to the octopus-shaped Wacky WallWalkers from the same time period.
Mini Boglins.
Mini Boglins were first released in 1991 by Ideal. They were solid PVC with no movable parts (similar to Monster in My Pocket and M.U.S.C.L.E.), and were sold in randomized blister packs of 3, 5, 10, or 20 figures. With over 100 distinct figures of varying color-schemes, Mini Boglins were usable in a Boglins-themed game, that assigned various ranks to the figures, and divided them into 12 different tribes. Many models featured "secret battle code symbols" with in-game utility that would appear after it was heated and left to cool. There were also "Slime Boglins" that were Mini Boglins sold in plastic toilets filled with toy slime, a Mini Boglins Swamp carry case that unfolded to resemble a small landscape, a mail-away Mini Boglins cage and an additional 13th Mini Boglins tribe, "The Cool Dudes", only released in packages of Kellog's Frosties in the UK.
Re-released Boglins.
Mattel rejuvenated the Boglins line in 2000 though Lansay, Awesome Toys and Vivid Imagination with two new series of puppets: large, electronic ones that talked, and several smaller ones that stuck out their tongues or spat water when squeezed. In 2016 there was a Boglin art show in New York by Clutter Arts featuring a Boglin mold painted by multiple artists. Boglins would make another return in 2017 under a licensing deal with Seven Towns and Clutter Magazine in limited run batches to the collector's market.


Sampler (needlework)

A needlework sampler is a piece of embroidery or cross-stitching produced as a 'specimen of achievement', demonstration or a test of skill in needlework. It often includes the alphabet, figures, motifs, decorative borders and sometimes the name of the person who embroidered it and the date. The word "sampler" is derived from the Latin "exemplum", which means 'example'.
History.
The earliest sampler extant is a spot sampler, i.e. one having randomly scattered motifs, of the Nazca culture in Peru formerly in the Museum of Primitive Art, New York City. It is estimated to date from ca. 200 BCE –300 CE and is worked in cotton and wool pattern darning on a woven cotton ground. It has seventy-four figures of birds, plants and mythological beings.
Coptic sampler fragments of silk on linen in double running stitch and pattern darning have been found in Egyptian burial grounds of 400–500 CE. These are pattern samplers having designs based on early Christian symbols.
Samplers were known to be used by stitchers in Europe as early as the beginning of the 16th century, although none that early have been found. A collection of fifty "dechados" (samplers) was listed in the 1509 inventory of the possessions of Queen Joanna (Juana I) (1479-1555) of Castile (Spain). They were described as stitchery and "deshilado" (drawn thread work), some in silk and others in gold thread. At the time of the inventory they were in the care of her chamberlain Diego de Rivera and his son Alonso, but they have all disappeared.
The oldest surviving European samplers were made in the 16th and 17th centuries. As there were few pre-printed patterns available for needleworkers, a stitched model was needed. Whenever a needleworker saw a new and interesting example of a stitching pattern, they would quickly sew a small sample of it onto a piece of cloth - their 'sampler'. The patterns were sewn randomly onto the fabric as a reference for future use, and the needleworker would collect extra stitches and patterns throughout their lifetime.
The first printed pattern book "Furm oder Modelbüchlein" was published by Johann Schönsperger the Younger of Augsburg in 1523, but it was not easily obtainable and a sampler was the most common form of reference available to many women. Pattern books were widely copied and issued by other publishers. Some are still available in reprint today.
The earliest English dated surviving sampler, housed in the Victoria and Albert Museum in London, was made by Jane Bostocke who included her name and the date 1598 in the inscription. Stitched with silk and metal thread on linen it has pictorial figures above with border and all-over patterns below. The inscription reads: ″IANE:BOSTOCKE 1598 ALICE:LEE:WAS:BORNE:THE:23:OF:NOVEMBER:BEING:TWESDAY:IN:THE:AFTER:NOONE:1596″ The museum has two other samplers believed to date from the 16th century, one from Germany with religious motifs and one from Italy with floral patterns and grotesques. Both are worked in silk and linen.
A Dutch sampler dated 1585 survives in the Nederlands Openluchtmuseum in Arnhem.
A sampler in the Museum of London has two cutwork bands stitched in silk, gold, and silver threads and thirteen bands of "reticella" whitework in white linen thread. The fourth band from the top has the initials E R, the royal arms of Queen Elizabeth I, and the maker's name SUSAN NEGABRI in bold letters. It is believed to date before the queen's death in 1603.
Because very few samplers from the 16th century have been found it is not possible to generalize about their style and appearance. By the middle of the 17th century English, Dutch, and German samplers were being stitched on a narrow band of fabric wide. As fabric was very expensive, these samplers were totally covered with neat rows of stitches. They were known as band samplers and valued highly, often being mentioned in wills and passed down through the generations. These samplers were stitched using a variety of needlework styles, threads, and ornament. Many of them were exceedingly elaborate, incorporating subtly shaded colours, silk and metallic embroidery threads, and using stitches such as Hungarian, Florentine, tent, cross, long-armed cross, two-sided Italian cross, rice, running, Holbein, Algerian eye and buttonhole stitches. The samplers also incorporated small designs of flowers and animals, and geometric designs stitched using as many as 20 different colors of thread. Some were stitched partially or entirely in whitework.
Band samplers were more decorative than the utilitarian random motif spot samplers, and stitchers finished them by adding their names, dates of completion, and sometimes teacher or school names. As the work of sampler making moved into schools in the late 17th and early 18th centuries design styles changed. Alphabets and verses were added along with pictorial elements such as architectural motifs, landscapes, and large potted plants. Educational themes included maps, multiplication tables, perpetual calendars, and acrostic puzzles.
By the 18th century, samplers were a complete contrast to the scattered samples sewn earlier on. They became wider and more square, eventually with borders on all four sides. Samplers were mainly school exercises during the 18th and 19th centuries, and were almost entirely worked in cross stitch. Design styles were increasingly influenced by Berlin woolwork which became popular worldwide, due to the availability of patterns, initially emanating from Berlin, Germany. This style of needlework reached its height of popularity between the 1830s and 1870s. These samplers were stitched more to demonstrate knowledge than to preserve skill. The stitching of samplers was believed to be a sign of virtue, achievement and industry, and girls were taught the art from a young age.
Berlin woolwork designs had naturalistic shading and more depth of perspective than the flat two-dimensional objects on traditional needlework. By mid-19th century adult needleworkers were devising long and narrow stitch samplers having geometric patterns done in woolwork. The Art Needlework movement and elimination of samplers from female education brought about the decline in traditional sampler making that continued into the 20th century.
Modern samplers.
Samplers are widely stitched today, some using kits purchased from needlework shops, some from chart-packs, and many from patterns available on the Internet or through e-mail from designers. Patterns range from simple using only one stitch, to complex, using 15 to 20 and more stitches. Designs range widely in style, from accurate reproductions of historic pieces to much more contemporary and modern styles including subversive stitching. Popular topics include designs commemorating births and marriages, family trees, and mottoes of all kinds. Map charts are widely available in English-speaking countries and Denmark. These are often pictorial maps of local areas, whole countries, or even the imaginary realms of Tolkien's Middle-earth. Many sampler reproductions are also available, copying colors and imperfect stitches from the originals.
The word "sampler" is sometimes inaccurately applied to any piece of needlework meant for display. However, the genre may broadly be said to include any needlework in sampler style with or without lettering.
Materials used include aida cloth, evenweave, and linen fabrics, in cotton, linen, and man-made materials combined in more and more ways; and fibers from cotton floss to silk, rayon, viscose, and metallic.


Twist per inch

TPI (twists per inch or turns per inch) is a term used in the textile industry. It measures how much twist a yarn has, and can be calculated by counting the number of twists in an inch of yarn.
Variation per yarn.
Twist is needed in yarn to hold the fibres together, and is added in the spinning and plying processes. The amount of twist varies depending on the fibre, thickness of yarn, preparation of fibre, manner of spinning, and the desired result. Fine wool and silk generally use more twist than coarse wool, short staples more than long, thin more than thick, and short drawn more than long drawn.
The amount of twist in a yarn helps to define the style of yarn – a yarn with a lot of air such as a woollen-spun yarn will have much less twist than a yarn with little air such as a worsted-spun yarn. The amount of twist also affects the yarn in terms of stretchiness, strength, halo, and many other attributes. Filling or weft yarns usually have fewer twists per inch because strength is not as important as with warp yarns, and highly twisted yarns are, in general, stronger. Warp yarns have to be stronger so that they can withstand the tension of the loom. Filament fibers, such as silk, or many synthetics, need only be twisted slightly to create a yarn.
Handspinning.
Handspinners use the number of twists per inch often. Because the amount of twist defines a lot about a yarn, the number of twists per inch is an important measure to recreate a yarn. As a spinner spins, they will often stop every few minutes to check to see that the number of twists per inch is the same throughout the yarn, as well as that the number of wraps per inch (the thickness of the yarn) is the same. Measuring the number of twists per inch while spinning singles also helps the spinner create a balanced yarn when plying. Yarns that have relatively few twists per inch tend to have a softer hand but are not as strong as yarns with more twists per inch, such as medium twist or hard twist yarns. Yarns that have a very hard twist, enough so that the yarn will double back onto itself when released from tension, are called crepe-twist yarns.
Determining how many twists per inch.
The number of twists per inch can, in plied yarns, be determined by counting the number of bumps in one inch, and dividing that number by the number of singles (the strands plied together to make the yarn). If the adjacent picture, for example, was of an inch of two ply yarn, then the number of twists per inch would be 6 divided by 2, or three, as there are six bumps, and it is a two ply.
While this method works well with plied yarns, singles don't have bumps to count. One way to determine the tpi for a single is to add a contrasting color fibre when spinning it, and then count the number of times the contrasting fibre has wrapped around the yarn. Another method is to measure an inch of yarn and untwist it, counting how many full revolutions it takes until there is no twist left. This can be done by inserting two paper-clips into the yarn, at an inch apart, thus making it easier to count a full revolution. A less precise method is to allow the single to ply against itself: the resulting two ply yarn is about half the number of twists per inch of the single. Thus one can roughly find the number of twists per inch for the single, or one can use the doubled back yarn as a measure.
With a thick-and-thin yarn, it is best to count the twist over several inches and average the results. This is because the number of twists per inch will tend to vary between the thin and thick sections.
In industry.
In the industry the number of twists per inch is calculated as:
formula_1
where formula_2 is the Twist Multiplier, also known as formula_3 or the Twist Factor. This Twist Multiplier is an empirical parameter that has been established by experiments and practice that the maximum strength of a yarn is obtained for a definite value of K. In the case of ring spun cotton yarns, for example, the following values of K have been found to give the best results.