Anthony Bolton

Anthony Bolton (born 7 March 1950) is one of the UK's best known investment fund managers and most successful investors, having managed the Fidelity Special Situations fund from December 1979 to December 2007. Over this 28-year period the fund achieved annualised growth of 19.5%, far in excess of the 13.5% growth of the wider stock exchange, turning a £1,000 investment into £147,000.
Until April 2014 he managed Fidelity China Special Situations PLC, a London Stock Exchange listed investment trust.
Education and career.
Educated at Stowe School and Trinity College, Cambridge, Bolton left with a degree in engineering and business studies. He pursued a career in the city where, age 29, he was recruited by Fidelity as one of their first London based investment managers. He is now President of Investments at Fidelity International Limited  and manager of Fidelity China Special Situations PLC.
Bolton began managing Special Situations (a UK equity OEIC) when he joined Fidelity in 1979 and continued until 2007. He managed other funds alongside Special Situations during this time. From November 1985 to December 2002, he managed the Fidelity European Fund (a European equity OEIC). He managed Fidelity European Growth fund (a European equity SICAV) from 1990 to 2003, Fidelity European Values PLC (a UK-listed investment trust) from 1991 to 2001 and Fidelity Special Values PLC (also a UK-listed investment trust) from 1994 to 2007.
In 2006 his Special Situations Fund was split. The success of the fund had brought in so much money from investors, it had become the UK's largest open ended fund (OEIC) and it was feared that the fund was becoming too big to manage successfully.  The fund was split into UK and Global Special Situations funds, with the Global fund passed to Jorma Korhornen and the UK fund continuing under Bolton's stewardship until the end of 2007.  With Bolton's step back from fund management, many questioned whether the fund could continue to outperform the market in future.
Sanjeev Shah succeeded Anthony Bolton as the manager of the UK Special Situations Fund in January 2008. The fund remained in the first decile over the first two years of Shah's tenure.
Bolton's former funds suffered amongst the worst redemptions in 2007. Investors withdrew £335m from the Special Situations fund and £508m from Global Special Situations. However, redemptions in both funds slowed significantly in 2008 and in March 2010, at £3 billion, the UK fund is almost back to the same size as when Bolton stepped down.
When he ceased managing funds in 2007, he took a full-time role mentoring and developing newer investment managers.
Fidelity China Special Situations.
In 2009 he announced his return to fund management and in April 2010 moved to Hong Kong to begin managing the newly launched Fidelity China Special Situations PLC, an investment trust listed on the London Stock Exchange. The Trust is fairly unusual among Investment Trusts in paying a commission (0.5%) to financial advisers, paid out of its 1.5% annual management charge, a feature standard with Unit Trusts such as the Fidelity Special Situations fund Bolton had previously managed, but uncommon in the Investment Trust world. Another unusual feature is that the Trust charges a performance fee if the fund's cumulative performance exceeds its benchmark, the MSCI China Index, by more than 2%, which is charged at 15% of any outperformance, to a maximum fee of 1.5% per year.
The fund has attracted high levels of investment, being fully subscribed at £460 million on issue in April 2010, and was initially trading at a premium to its net asset value due to high demand for the shares, whereas most investment trusts trade at a discount (in reflection of the fact that management costs damage returns). A second share issue in February 2011 was also fully subscribed, raising £166.5 million.
Although initially performing well, the fund suffered in 2011, and as of 14 November 2011 it was 5th out of 6 trusts in its sector, losing 34% of its value in 2011 and trading at 78p, well below its £1 initial flotation price. By the time in 2014 that Anthony handed over the management of the Trust which continued his strategy the share price had recovered and had outperformed the China Index over his four year tenure. In 2021 for the first time the share traded at over £4.
Compositions.
Whilst at Trinity, Cambridge, reading Engineering, Bolton, a pianist and cellist, studied composition with Nicholas Maw. In 2002 Bolton resumed composition studies, taking lessons from Colin Matthews and Julian Anderson.
Chamber works include a solo cello suite, wind quintet, octet (for the same combination as Schubert's) and "Paesaggi", a five-movement piece for 16 players. Vocal works include two song cycles: "Black Sea" for tenor to poems by Canadian Mark Strand and "Songs from the Middle Kingdom" for soprano on eight ancient Chinese poems. The Save the Children anniversary in St Paul's included Bolton's anthem "Children of Earth". "A Garland of Carols" (upper voices, harp), modelled on Britten's "Ceremony of Carols", premièred at St Paul's Cathedral in 2006.
A seven-movement orchestral suite "The Seven Wonders of the Ancient World" was composed 2005- 2015.
In 2014 he began composing a two-act opera "The Life and Death of Alexander Litvinenko" to a libretto by Kit Hesketh-Harvey. The world premiere takes place at Grange Park Opera in July 2021.
Bolton cites Benjamin Britten as one of his main compositional influences.
Private life.
Bolton has three children. The family charity, The Boltini Trust, is a supporter of contemporary music.
In September 2009 he was a guest on "Private Passions", the biographical music discussion programme on BBC Radio 3.


Thetis Blacker

Ann Thetis Blacker (13 December 1927 – 18 December 2006) was an English painter and singer. She was noted for her richly coloured pictures, especially using the batik wax-resist fabric dyeing process.
Blacker was born in Holmbury St Mary, Surrey, England. She was the daughter of Carlos Paton Blacker, a psychiatrist, and granddaughter of Carlos Blacker, a friend of Oscar Wilde. Blacker intended to be a singer and studied with the German mezzo-soprano singer Elena Gerhardt in London. She appeared in the chorus at Glyndebourne opera in the 1950s and sang the role of "Mother Goose" in "The Rake's Progress" by Igor Stravinsky. When her singing career was cut short by vocal issues in the mid-1950s, Blacker turned her focus to painting. She studied at the Chelsea School of Art in London and was taught by the wife of the artist Leonard Campbell Taylor, Brenda Moore.
In 1970, Blacker became a Churchill Fellow and visited India, Indonesia, Iran, Malaysia, Singapore, and Thailand. She worked at the Batik Research Institute in Yogyakarta, Indonesia. She went on to visit Bali and Peru, influencing her style of brightly coloured symbolic pictures using batik dyed fabric. A number of cathedrals and churches in the United Kingdom, the rest of Europe, and the United States commissioned her work including a series of five major pieces based on mythical themes: "Apocalypse" (at St Andrew's House), "Arbor Cosmica", "A Bestiary of Mythical Creatures", "The Creation" (at Winchester Cathedral), and "Search for the Simurgh".
Blacker received commissions for artworks at:
Blacker's work was exhibited at Glyndebourne in 2005. Her dealer was Henry Dyson and she died in Bramley, Surrey in 2006.


2007 Slamdance Film Festival

The 2007 Slamdance Film Festival took place in Park City, Utah from January 18 to January 27, 2007. It was the 13th iteration of the Slamdance Film Festival, an alternative to the more mainstream Sundance Film Festival. A full list of films appearing is shown below.
Awards.
The 2007 Slamdance Film Festival recognized the following films at its awards ceremony held on January 26, 2007.
Films.
Anarchy Online Films.
All of the films in this category are available for free download on slamdance.com


Shutterbugg

"Shutterbugg" is the debut solo single by American rapper Big Boi. It is the first single released in promotion of his debut solo album, "". The song features singer Cutty on the song's chorus. The song was co-produced by Scott Storch and Big Boi himself. "Shutterbugg" was nominated for a Grammy Award for Best Rap Performance by a Duo or Group in 2011. "Rolling Stone" named it the fourteenth best single of 2010 in its year-end list. PopMatters ranked it number seven on its year-end best songs list. It is also featured on the "NBA 2K11" soundtrack.
Music video.
The video for "Shutterbugg" premiered on 28 May 2010 via Big Boi's Vevo site. It was directed by Chris Robinson and premiered on 26 May 2010. The video's concept incorporates various scenes that accentuate different lines from Big Boi's lyrics. On its concept, Big Boi said in an interview for MTV, "It goes with the rhymes. Chris Robinson was definitely onboard [with the concept]. What he took from the song was a lyrical, visual adventure. There's a lot of special stuff going on. He's freaking the visuals like I'm freaking the rhymes". Scenes in the music video include Big Boi rapping on a mountain of sneakers, a wall of red disposable cups and four kegs forming a backdrop, a group of puppets serving as a backing band, and a "buxom beauty" holding the disembodied head of Big Boi in the crook of her arm. Simon Vozick-Levinson of "Entertainment Weekly" wrote that the video "boasts appropriately nutty imagery to go with the song’s wild sound".
Reception.
"Shutterbugg" peaked at number 60 on the U.S. R&B Charts but failed to chart on the "Billboard" Hot 100. However, in the UK, the song became a top 40 hit, peaking at number 31 on the UK Singles Chart. "Shutterbugg" became a top 20 hit on the UK R&B Singles Chart, peaking at number 13. "Shutterbugg" was listed as the fifth best song of 2010 by Pitchfork Media. "Shutterbugg" charted at No. 77 on Triple J's Hottest 100 of 2010, Australia's annual online music poll.
This song was also featured in the opening episode of the seventh season of Entourage.


Broadway Theatre (Toronto)

The Broadway Theatre was a burlesque live theatre and cinema in Toronto, Ontario, Canada. The theatre was opened under the name of Globe Theatre, in 1918. It was renamed the Roxy Theatre in the early 1930s and assumed its final name, the Broadway Theatre, in 1937. It was located on the southwest corner of Bay and Queen streets at 75 Queen Street West.
The Broadway was initially a traditional Burlesque theatre. In 1933, it was renamed the Roxy and offered girlie shows. In 1935, the theatre's manager was murdered in his office. $378 appeared to have been stolen, but, according to author and cinema historian Doug Taylor, Toronto Police did not believe robbery was the motive. The shooter was never identified.
Taylor wrote that when New City Hall was to be built on the north side of the street, politicians felt that the Broadway and the Casino Theatre, another Burlesque theatre just five doors west, pawn shops and the block's other businesses were inconsistent with civic dignity, and the whole block was expropriated and demolished in 1965. The block is now the site of the large Sheraton Centre Toronto Hotel.


No Diggity

"No Diggity" is a 1996 song released by American R&B group Blackstreet as the first single for their second studio album "Another Level" featuring Dr. Dre and Queen Pen. The song reached number one on the "Billboard" Hot 100 and in New Zealand, and number nine in the United Kingdom. "No Diggity" ended "Macarena"'s 14-week reign atop the "Billboard" Hot 100. It ranked at number 91 on "Rolling Stone and MTV: 100 Greatest Pop Songs". It sold 1.6 million copies in 1996, and won the 1998 Grammy Award for Best R&B Performance by a Duo or Group with Vocals and was nominated for Grammy Award for Best R&B Song. It ranked at #32 on "VH1's 100 Greatest Songs of the '90s", #407 on "Q Magazine's 1001 Best Songs Ever", #33 on "Blender's Greatest Songs Since You Were Born" in 2005 and #43 on "NME's 100 Best Songs Of The 1990s". In the United Kingdom, the song climbed back into the top forty of the UK Singles Chart in March 2013, peaking at number thirty-eight 16 years after its original release there. It was the final "Cash Box" #1 hit.
Background.
Co-producer Teddy Riley originally offered the song to Guy as part of their short-lived reunion in 1996. After failing to record any material, he then suggested the song to Guy's lead singer Aaron Hall, who refused to take part in recording the song. He then offered the song to his other group Blackstreet. In a 2010 interview, Riley revealed the song was initially a hard sell among group members. He stated:
"None of the guys liked 'No Diggity'. None of them. They would even say it. That's why I'm singing the first verse. You know how they say they pushed the little one out there to see if it tastes good and see if he would get egged? Well they pushed me out there – and it became a hit. And now they wish they were singing the first verse, so that they can have the notoriety like me. So they trust what I'm saying..."
While credited to Teddy Riley, the musical backing is actually an incognito production by Dr. Dre, who was in the process of extricating himself from his label Death Row Records. The beat to "No Diggity" was initially offered to rapper 2Pac for his Death Row debut "All Eyez On Me" by label boss Suge Knight, but with Dre leaving the label he sold the beat to Teddy Riley. Upon the release of the finished recording by Blackstreet, Tupac and Death Row responded with a diss track containing numerous insults aimed at Dr. Dre over an instrumental sampling "No Diggity", but were forced to replace the production after Blackstreet issued the label with a cease and desist order stopping them from distributing the song. An updated version of this response, "Toss It Up", would be released under his Makaveli alias just days after his death, featuring Aaron Hall.
Content.
In between Blackstreet's sung verses there are rap verses performed by Dre, Teddy Riley and Queen Pen. There is a radio version that excludes both rappers and features Blackstreet only, tailor-made for airplay on Adult R&B stations.
The song's musical backing track is an altered sample from the beginning of "Grandma's Hands" by R&B singer Bill Withers.
Critical reception.
Bill Lamb from About.com said that the song is "the peak of the work" created by Teddy Riley. He noted that he is "a key architect of new jack swing. "No Diggity" is that genre fully refined." James Bernard from "Entertainment Weekly" wrote that "beatwise, it struts confidently, accompanied by a light keyboard action. Voices, including guest Dr. Dre's, croon and rap with a sexual urgency notable even by today's standards." Tom Ewing of Freaky Trigger noted that the song "is first of all capitalism in its slinkiest form, in every sense classy. A hymn to money, sex, upward mobility, “No Diggity” triumphs over every other swingbeat anthem because it walks it so much like it talks it." "Knight Ridder" described the song as a "uptempo excursion" and a "pointed, post-hiphop strut". "New Straits Times" stated that "sampling Bill Withers's bluesy Grandma's Hands and fitting it with a swingbeat base, the song is instantly transformed into a hip-hop masterpiece of unimaginable brilliance." Jon Pareles from "New York Times" added that the track "uses a spiky Bill Withers guitar lick and a rap by Dr. Dre promising that listeners will be "giving up eargasms with my mellow waxin'." "NME" called it "such a classy concoction of urban swagger and classic R&B". "People Magazine" said that "by combining R&B vocals with hip hop's aggressive beats", "that powerful one-two punch flavors "No Diggity", which takes a nasty Delta blues riff and marries it to lip-smacking lasciviousness. The result is an instant, five-minute pop classic." In 2012, "Porcys" listed the song at number 80 in their ranking of "100 Singles 1990-1999", noting that it "probably [is] Riley's most perfect pop moment." Michael A. Gonzales for "Vibe" noted that "with a mellow D-Funk rap intro from Dr. Dre, this track pumps like a Lexus roaring down 125th Street as the Harlem neighborhood hotties look on with glee. "I can't get her outta my mind / I think about the girl all the time", Teddy whines about his object of desire, over haunting keyboards and astonishingly bouncy, minimalist production."
Music video.
The music video for the song is directed by Hype Williams and features Blackstreet members in front of a beachhouse standing in the sand, dancers in a wet road surrounded by black limousines, and a marionette playing the piano sample in a club. It was nominated for Best R&B Video and Best Rap Video on 1997's MTV Video Music Awards.
Impact and legacy.
"Blender" listed "No Diggity" at number 33 on their ranking of "Greatest Songs Since You Were Born" in 2005.
"NME" placed it at number 43 on their "100 Best Songs Of The 1990s" list in 2012.
"Q Magazine" ranked it at number 407 in their list of "1001 Best Songs Ever" in 2003.
"Slant Magazine" listed the song at number 15 in their ranking of "The 100 Best Singles of the 1990s" in 2011.
VH1 put it on number 32 in their list of "100 Greatest Songs of the '90s".
Personnel.
Published by Donrill Music/Zomba Enterprises, Inc. (ASCAP/Chauncey Black Music for Smokin' Sounds [ASCAP]/Queenpen Music (ASCAP)/Sidi Music (BMI)/Sony Songs Inc./Ain't Nothin' Goin' On But Fuckin' (ASCAP).
Track was mixed by Serban Ghenea and recorded by George Mayers, John Hanes, Sean Poland and Chris Johnson for Future Recording Studios, Virginia Beach, VA.
Track mastered by Herb Powers at Hit Factory, New York, NY.
Queen Pen appears courtesy of Funky Mama Productions/Interscope Records.
Dr. Dre appears courtesy of Aftermath Entertainment.
Track contains portions of "Grandma's Hands" written by Bill Withers and published by Interior Music Corp./Avant Garde Music Publishing, Inc. performed by Bill Withers, used courtesy of Sony Music Entertainment.
All-Star Remix contains a sample of "As Long As I've Got You", written by Isaac Hayes and David Porter and performed by The Charmels.
Will Remix contains a mimic of "Cell Therapy", written by Barnett, Burton, Gipp and Knighton and performed by Goodie Mob.
Lucas & Steve version.
Blackstreet re-recorded their vocals for a house version of "No Diggity" with Dutch DJs Lucas & Steve via Spinnin' Records.


Gabie Kook

Gabriela Kook (more widely known as Gabie Kook, born 1988 in Argentina) is an Argentinian-born Korean YouTuber with an international audience. Her YouTube channel covered an array of topics, but was mostly focused on food and cooking.
As of May 2021, most of her videos have been removed or set to private, following a video showing her flouting South Korea's COVID-19 quarantine regulations in October 2020 led to backlash (including threats of prosecution). A video apologising for the incident was uploaded on 20 April 2021.
Personal life.
Kook was born in Buenos Aires, Argentina, and lived in Spain until she was 12-years-old. Following that, she studied in the United States and France. Although born outside of the country, her parents were South Korean; she has described herself as a "third culture kid".
She graduated from Le Cordon Bleu, a culinary education facility in Paris. She became well-known in 2014, when she was a runner-up in MasterChef Korea.
She is the wife of Joshua Carrot (known on YouTube as "Korean Englishman"). The couple married in 2016.
In 2020, Kook was diagnosed with endometriosis.
In 2020, Kook also said she experienced anti-East Asian racism as a result of the COVID-19 pandemic (the disease was first reported in Wuhan, China).
Controversy.
In October 2020, Carrot and Kook came under scrutiny due to their violation of South Korea's COVID-19 quarantine regulations. Kook came to Korea from London in the United Kingdom for endometriosis treatment, and was required to quarantine for two weeks. However, a video was uploaded to social media of her and friends celebrating her birthday by welcoming friends at their door while they were supposed to be in isolation, and receiving birthday gifts. In one shot, Kook is shown removing her face mask to blow out candles on a birthday cake and apply lipstick, albeit in a socially distanced manner. Kook has also faced controversy over her eligibility for national health insurance in South Korea; in her apology video, Kook confirmed that she was mistaken in believing she was paying for national health insurance in South Korea, when it was in fact the National Pension. She later underwent endometriosis treatment in the UK.
Both Carrot and Kook posted public apologies after the incident, though both apologies were criticised for being inadequate.
The violation has since been investigated by Korean police who have found sufficient evidence to send the case to prosecution in December 2020. Kook was accused of violating the Infectious Disease Prevention Act at the end of January; however, on April 14, the Seoul Western District Prosecutors' Office suspended the indictment against her as the prosecution decided not to file an indictment and dropped the case against Kook.
As of May 2021, Kook's channel has no videos aside from her apology.


Drama (film and television)

In film and television, drama is a category of narrative fiction (or semi-fiction) intended to be more serious than humorous in tone. Drama of this kind is usually qualified with additional terms that specify its particular super-genre, macro-genre, or micro-genre, such as soap opera (operatic drama), police crime drama, political drama, legal drama, historical drama, domestic drama, teen drama, and comedy-drama (dramedy). These terms tend to indicate a particular setting or subject-matter, or else they qualify the otherwise serious tone of a drama with elements that encourage a broader range of moods.
All forms of cinema or television that involve fictional stories are forms of drama in the broader sense if their storytelling is achieved by means of actors who represent ("mimesis") characters. In this broader sense, drama is a mode distinct from novels, short stories, and narrative poetry or songs. In the modern era before the birth of cinema or television, "drama" within theatre was a type of play that was neither a comedy nor a tragedy. It is this narrower sense that the film and television industries, along with film studies, adopted. "Radio drama" has been used in both senses—originally transmitted in a live performance, it has also been used to describe the more high-brow and serious end of the dramatic output of radio.
Types of drama in film and television.
The Screenwriters Taxonomy contends that film genres are fundamentally based upon a film’s atmosphere, character and story, and therefore the labels “drama” and “comedy” are too broad to be considered a genre.  Instead, the taxonomy contends that film dramas are a “Type” of film; listing at least ten different sub-types of film and television drama.
Dark drama.
Dramas dealing with intensely serious issues. (Film examples: "Oldboy" [2003] and "Requiem for a Dream" [2000])
Docudrama.
Dramatized adaptation of real-life events. While not always completely accurate, the general facts are more-or-less true. The difference between a docudrama and a documentary is that in a documentary it uses real people to describe history or current events; in a docudrama it uses professionally trained actors to play the roles in the current event, that is "dramatized" a bit. (Film examples: "Black Mass" [2015] and "Zodiac" [2007])
Docu-fiction.
Different from docudramas, docu-fictional films combine documentary and fiction, where actual footage or real events are intermingled with recreated scenes. (Film examples: "Interior. Leather Bar" [2013] and "Your Name Here" [2015])
Comedy-drama.
A serious story that contains some characters or scenes inherently humorous to the audience.  (Film examples: "The Best Exotic Marigold Hotel" [2011], "The Man Without a Past" [2002], "Silver Linings Playbook" [2012], "" [1994] and "The Truman Show" [1998])
Hyper-drama.
Coined by film professor Ken Dancyger, these stories exaggerate characters and situations to the point of becoming fable, legend or fairy tale.  (Film examples: "Fantastic Mr. Fox" [2009] and "Maleficent" [2014])
Light drama.
Light-hearted stories that are, nevertheless, serious in nature.  (Film examples: "The Help" [2011] and "The Terminal" [2004])
Psychological drama.
Like dark drama, it deals on the characters' inner life and psychological problems. (Film examples: "Anomalisa" [2005], "Babel" [2006], and "Whiplash" [2014])
Satire.
Satire can involve humor, but the end result is typically sharp social commentary that is anything but funny. Satire often uses irony or exaggeration to expose faults in society or individuals that influence social ideology.  (Film examples: "Idiocracy" [2006] and "Thank You for Smoking" [2005])
Straight drama.
Straight Drama applies to those that do not attempt a specific approach to drama but, rather, consider drama as a lack of comedic techniques.  (Film examples: "Ghost World" [2001] and "Wuthering Heights" [2011])
Type/genre combinations.
According to the Screenwriters Taxonomy, all film descriptions should contain their type (comedy or drama) combined with one (or more) of the eleven super-genres. This combination does not create a separate genre, but rather, provides a better understanding of the film.
According to the taxonomy, combining the type with the genre does not create a separate genre.  For instance, the “Horror Drama” is simply a dramatic horror film (as opposed to a comedic horror film).  “Horror Drama” is not a genre separate from the horror genre or the drama type.
Action drama.
Action dramas tend to be visceral, not intellectual, with dynamic fight scenes, extensive chase scenes, and heart-racing stunts. The hero is nearly always sharp-witted, quick on their feet, and able to improvise mentally and physically. The hero begins the film with an internal problem, quickly followed by an external problem. By story’s end, the hero resolves both problems. Examples of action dramas include "Die Hard" (1988) and the "Mad Max" series.
Crime drama.
Crime dramas explore themes of truth, justice, and freedom, and contain the fundamental dichotomy of "criminal vs. lawman". Crime films make the audience jump through a series of mental "hoops"; it is not uncommon for the crime drama to use verbal gymnastics to keep the audience and the protagonist on their toes. Examples of crime dramas include: "The Big Short" (2015), "The Godfather" (1972), and "The Usual Suspects" (1995).
Drama thriller.
In a drama thriller, the protagonist is often an unwitting hero reluctantly drawn into the story and must do battle with an epic villain to save the lives of innocent victims; the hero inevitably finds himself deeply involved in a situation involving insane criminals with a very dark past, who will threaten, double-cross, and kill anyone who stands in their way.
According to screenwriter and scholar Eric R. Williams:
Films such as "Black Swan" (2010), "Se7en" (1995), "Shutter Island" (2010), and "Zodiac" (2007) are thriller dramas.
Fantasy drama.
According to Eric R. Williams, the hallmark of fantasy drama films is "a sense of wonderment, typically played out in a visually intense world inhabited by mythic creatures, magic and/or superhuman characters. Props and costumes within these films often belie a sense of mythology and folklore – whether ancient, futuristic, or other-worldly. The costumes, as well as the exotic world, reflect the personal, inner struggles that the hero faces in the story." Examples of fantasy dramas include: "Life of Pi" (2012), "Lord of the Rings" (2001-2003), "Pan’s Labyrinth" (2006), and "Where the Wild Things Are" (2009).
Horror drama.
Horror dramas often involves the central characters isolated from the rest of society. These characters are often teenagers or people in their early twenties (the genre’s central audience) and are eventually killed off during the course of the film. Thematically, horror films often serve as a morality tale, with the killer serving up violent penance for the victims’ past sins. Metaphorically, these become battles of Good vs. Evil or Purity vs. Sin. "The Conjuring" (2013), "Psycho" (1960), "Halloween" (1978), and "Friday the 13th" (1980) are examples of horror drama films.
Life drama (day-in-the-life).
Day-in-the-life films takes small events in a person’s life and raises their level of importance. The “small things in life” feel as important to the protagonist (and the audience) as the climactic battle in an action film, or the final shootout in a western. Often, the protagonists deal with multiple, overlapping issues in the course of the film – just as we do in life. Films of this type/genre combination include: "12 Years a Slave" (2013), "Dallas Buyers Club" (2013), "Moonlight" (2016), and "The Wrestler" (2008).
Romantic drama.
Romantic dramas are films with central themes that reinforce our beliefs about love (e.g.: themes such as “love at first sight”, “love conquers all”, or “there is someone out there for everyone”); the story typically revolves around characters falling into (and out of, and back into) love. " Annie Hall" (1977), "Carol" (2015), "Her" (2013)", La La Land" (2016) and "The Notebook" (2004) are examples of romance dramas.
Science fiction drama.
The science fiction drama film is often the story of a protagonist (and her allies) facing something “unknown” that has with the potential to change the future of humanity; this unknown may be represented by a villain with incomprehensible powers, a creature we do not understand, or a scientific scenario that threatens to change the world; the science fiction story forces the audience to consider the nature of human beings, the confines of time or space, and/or the concepts of human existence in general.  Examples include: "Blade Runner" (1982), "Children of Men" (2006), "Clockwork Orange" (1971), "Planet of the Apes" (1968), and "Ready Player One" (2018).
Sports drama.
Obviously, in the sports super-genre, characters will be playing sports. Thematically, the story is often one of “Our Team” versus “Their Team”; their team will always try to win, and our team will show the world that they deserve recognition or redemption; the story does not always have to involve a team.  The story could also be about an individual athlete or the story could focus on an individual playing on a team. Examples of this genre/type include: "Hoosiers" (1986), "The Hustler" (1961), "Moneyball" (2011), and "Remember the Titans" (2000).
War drama.
War films typically tells the story of a small group of isolated individuals who – one by one – get killed (literally or metaphorically) by an outside force until there is a final fight to the death; the idea of the protagonists facing death is a central expectation in a war film. In a war film even though the enemy may out-number, or out-power, the hero, we assume that the enemy "can" be defeated if only the hero can figure out how.  Examples include: "1944" (2015), "Apocalypse Now" (1979), "Hacksaw Ridge" (2016), "The Hurt Locker" (2008), "Life is Beautiful" (1997), and "Wildeye" (2015).
Western drama.
Films in the western super-genre often take place in the American Southwest or Mexico, with a large number of scenes occurring outdoors so we can soak in scenic landscapes. Visceral expectations for the audience include fistfights, gunplay, and chase scenes. There is also the expectation of spectacular panoramic images of the countryside including sunsets, wide open landscape and endless deserts and sky. Examples of western dramas include: "Django Unchained" (2012), "Hell or High Water" (2016), "Mad Max" (1979), "No Country for Old Men" (2007), and "Unforgiven" (1992).
Misidentified categories.
Some film categories that use the word “comedy” or “drama” are not recognized by the Screenwriters Taxonomy as either a film genre or a film type. For instance, “Melodrama” and “Screwball Comedy” are considered Pathways, while “Romantic Comedy” and “Family Drama” are macro-genres. " "
Family drama.
A macro-genre in the Screenwriters Taxonomy. These films tell a where many of the central characters are related. The story revolves around how the family as a whole reacts to a central challenge. There are four micro-genres for the Family Drama: "Family Bond, Family Feud, Family Loss," and "Family Rift."
Melodrama.
A sub-type of drama films that uses plots that appeal to the heightened emotions of the audience. Melodramatic plots often deal with "crises of human emotion, failed romance or friendship, strained familial situations, tragedy, illness, neuroses, or emotional and physical hardship". Film critics sometimes use the term "pejoratively to connote an unrealistic, pathos-filled, camp tale of romance or domestic situations with stereotypical characters (often including a central female character) that would directly appeal to feminine audiences". Also called "women's movies", "weepies", tearjerkers, or "chick flicks". If they are targeted to a male audience, then they are called "guy cry" films. Often considered "soap-opera" drama.
Crime drama / police procedural / legal drama.
Character development based on themes involving criminals, law enforcement and the legal system.
Historical drama.
Films that focus on dramatic events in history.
Medical drama.
Focuses on doctors, nurses, hospital staff, and ambulance saving victims and the interactions of their daily lives.
Teen drama.
Focuses on teenage characters, especially where a secondary school setting plays a role.


The Comedy Festival

The Comedy Festival, formerly known as the US Comedy Arts Festival, was a comedy festival that ran from 1995 to 2008. The festival included stand-up comedy performances, appearances by the casts of television shows, and has a film component called the Film Discovery Program.
History.
The first 13 editions of the US Comedy Arts Festival were held annually at the Wheeler Opera House and other venues in Aspen, Colorado. The primary sponsor of the festival was HBO, with co-sponsorship by Caesars Palace (the primary venue), TBS, GEICO Insurance, Twix candy bars and Smirnoff Vodka. In-between, HBO had started a spin-off version simply named The Comedy Festival, which was held in Las Vegas, Nevada, since 2006, in collaboration with the Anschutz Entertainment Group. The Aspen event folded in 2007 once HBO exited the festival business, considering the expenditures too high. TBS picked up the Las Vegas event in 2008, and organized a follow-up edition that year, also arranging for other comedy festivals in collaboration with Just For Laughs. In turn, Aspen replaced the festival with similar events, the Aspen RooftopComedy Festival and the Aspen Laff Festival.


List of opera companies in Africa and the Middle East

This inclusive list of opera companies in Africa and the Middle East contains opera companies with entries in the Wikipedia plus other particularly noted companies based in these regions. For opera companies from other continents, see List of important opera companies.


Genealogy of musical genres

The genealogy of musical genres is the pattern of musical genres that have contributed to the development of new genres. Evolution in musical instruments
in technology and in culture can influence the evolution of musical genres.
Genealogical charts or family trees of musical genres show how new genres have emerged from existing genres and how multiple genres have contributed to a new genre. Since music can be endlessly broken down into smaller and smaller categories, a genealogical chart will usually focus on one major genre and its different strains. For instance, jazz is considered to be a genre with many subgenres, including New Orleans jazz, ragtime, swing, bebop, free jazz, and Latin jazz. How these developed out of one another is shown in a genealogical chart, often with major figures or innovators of each subgenre.
A genealogy of genres may also incorporate several major genres, such as jazz, rock and roll and folk music.
The family tree of music can also be explored by starting at the Wikipedia article for a given genre, and clicking on the items in the stylistic origins, subgenres, derivative forms, and fusion genres sections of the genre infobox. See also a dynamic, interactive view of "The Genealogy and History of Popular Music Genres from Origin 'Til Present, 1870-2016" by MusicMap.


Bojagi

A bojagi (, sometimes shortened to ) is a traditional Korean wrapping cloth. Bojagi are typically square and can be made from a variety of materials, though silk or ramie are common. Embroidered bojagi are known as subo, while patchwork or scrap bojagi are known as chogak bo.
Bojagi have many uses, including as gift wrapping, in weddings, and in Buddhist rites. More recently, they have been recognized as a traditional art form, often featured in museums and inspiring modern reinterpretations.
History.
Traditional Korean folk religions believed that keeping something wrapped protected good luck. It is believed that the earliest use of the wrappings dates to the Three Kingdoms Period, but no examples survive from this period.
The earliest surviving examples, from the early Joseon Dynasty (1392–1910), were used in a Buddhist context, as tablecloths or coverings for sutras. The cloths particularly marked special events, such as weddings or betrothals, where the use of a new cloth was believed to convey "an individual's concern for that which was being wrapped, as well as respect for its recipient." For a royal wedding, up to 1,650 bojagi might be created.
Everyday use of bojagi declined in the 1950s, and they were not treated by Koreans as art objects until the late 1960s. In 1997, the "Korean Beauty" postage stamp series included four stamps featuring bojagi.
Physical characteristics.
Traditionally, the bojagi is a square, measuring from one "p'ok" in width (approximately 35 cm), for small items, to ten "p'ok" for larger objects such as bedding. Materials included silk, ramie, and hemp.
Royal bojagi ("kung-bo)".
Royal wrapping cloths were known as "kung-bo". Within the Joseon royal court the preferred fabric in "bojagi" construction was domestically produced pink-red to purple cloth. These fabrics were often painted with designs, such as dragons.
Unlike the used and re-used frugality of non-royal wrapping cloths, hundreds of new bojagi were commissioned on special occasions such as royal birthdays and New Year’s Day.
Common bojagi ("min-bo" or "chogak bo").
"Min-bo" or "chogak bo" (조각보) were "patchwork" bojagi made by commoners. In contrast with the royal "kung-bo", which were not patchwork, these cloths were created from small segments ("chogak") of fabric from other sewing, such as those left over from cutting the curves in traditional hanbok clothing. Both symmetrical 'regular' and random-seeming 'irregular' patterned cloths were sewn, with styles presumably selected by an individual woman's aesthetic tastes.
As food coverings.
"Chogak bo" are closely associated with food coverings. The mid-19th century to early 20th century examples that have survived until the present day often have a small loop of ribbon attached in the centre of the square, to aid in lifting the cover away from food. Table-sized bojagi often have straps attached to the corners, so they can be fastened to the table, to secure items in place, when the table is moved.
Different bojagi were used for covering different foods and at different seasons. While lightweight cloths helped air to circulate during summer, to keep food warm in winter bojagi could be padded and lined as well. To prevent the bojagi from being dirtied from food, the underside is often lined with oiled paper.
For carrying items.
Bojagi were used for transporting items, as well as covering, or keeping things together in storage. One such example is a 'knapsack' arrangement, where the cloth is wrapped and tied so that items can be securely transported upon ones' back.
Embroidered bojagi.
Embroidered bojagi, also called subo (수보) (the prefix "su" means embroidery), was another form of decorated cloth. A common ornament was that of stylized trees, varying in style from 'naive', to detailed depictions of flowers, fruits, birds and symbols of good luck. These cloths are closely associated with joyous occasions such as betrothals and weddings, used to wrap items such as gifts from the family of the bridegroom to the new bride, and the symbolic wooden wedding geese which is a metaphor of the groom's fidelity and protection.
The embroidery was done with spun thread, on a cotton or silk ground. The "subo" fabric was then lined, and possibly padded. Mothers of brides during the Joseon Dynasty frequently stitched dozens of bojagi for their daughters to take to their new homes. Because many survive in pristine condition, these bojagi did not have a practical function, but served as signs of affection and good wishes.
Modern references and exhibitions.
The Museum of Korean Embroidery in Seoul has a collection of 1,500 pieces of bojagi, with a particular focus on chogak bo.
Museum collections outside of Korea, including in Kyoto, London, San Francisco, and Los Angeles, also contain bojagi.
The patchwork style of the chogak bo have inspired artists working in other media, such as clothing designers Lee Chunghie and Karl Lagerfeld. The facade of the flagship store of French jeweler Cartier in Cheongdam-dong is also reportedly inspired by the craft. Japanese embroiderers have also worked in the style.
The patterns of chogak bo have been compared to the work of Paul Klee and Piet Mondrian.


Golden Boot Awards

The Golden Boot Awards is an American acknowledgement of achievement honoring actors, actresses, and crew members who have made significant contributions to the genre of Westerns in television and film. The award is sponsored and presented by the Motion Picture & Television Fund. Money raised at the award banquet is used to help finance various services offered by the Fund to those in the entertainment industry.
Actor Pat Buttram conceived the idea of the Golden Boot Award, and they were presented annually since 1983, until being discontinued in 2007.
Honorees.
1983, The 1st Annual Golden Boot Awards.
 Steele
External links.
List of honorees from The Golden Boot Awards at B-Westerns.com


Wendela Gustafva Sparre

Wendela Gustafva Sparre af Rossvik (December 14, 1772 – May 7, 1855) was a Swedish textile artist. She was a member of the Royal Swedish Academy of Arts. She managed the Harg ironworks in Uppland between 1816 and 1827.
Life.
Sparre was born at Långdunker manor in Hyltinge parish in Södermanland to the noble Gabriel Sparre af Rossvik, captain of the royal regiment of Prince Frederick Adolf of Sweden, and Maria Vendela Ulfsparre af Broxvik. On 15 October 1801, she married the nobleman and royal equerry Axel Oxenstierna (1743-1816), with whom she had a son, Carl Gabriel Oxenstierna (1802-1873).
After her marriage Sparre spent the majority of her life on her husband's estate, the Hargs ironworks in Uppland. She nursed her son, who was in poor health during his childhood. When she was widowed in 1816, she managed the Harg ironworks until the maturity of her son (that is, in 1827, when her son reached the age of 25 and thus reached his majority).
Wendela Gustafva Sparre was known and acknowledged as a non-professional artist within silk embroidery. In 1797, she participated in the art exhibition of the academy with a work depicting a "Landscape of the South". The same year, she was elected to the Swedish Royal Academy of Arts.
Her best known work is "Flodlandskap" ('Riverside') from 1796.


Fanny Garde

Fanny Susanne Garde [1855–1928) was a Danish porcelain painter who worked for the Bing & Grøndahl porcelain factory from 1886. She began by decorating the company's Heron dinnerware set (Hejrestellet), which proved to be an award-winning success in underglaze painting. She went on to contribute many of her own designs, especially vases decorated with flowers or fruits, sometimes also working with crackle-glazed porcelain. She is remembered in particular for decorating Bing & Grøndahl's Seagull set (Mågestellet), featuring a white bird in a blue sky.
Biography.
Born on 20 February 1855 in Norre Løgum parish in Tønder Municipality in the south of Jutland, Fanny Susanne Garde was the daughter of the parish priest Peter Christian Garde (1816–1906) and Augusta Charlotte Margrethe Lawætz (1826–1906). In 1876 she arrived in Copenhagen where she attended the recently established Arts and Crafts School for Women headed by Charlotte Klein. After her studies, she remained at the school until 1884 as a teacher. While there she met Effie Hegermann-Lindencrone, establishing a close personal relationship with her and travelling with her on trips to Italy, France, England and Germany.
The two worked together at G. Eifrig's Københavns Lervarefabrik in Valby in 1885 before joining Bing & Grøndahl's porcelain factory the following year. Thanks to the firms artistic director Pietro Krohn, who had been their instructor at the Arts and Crafts School, they were given a studio of their own where they decorated the Heron Set, pioneering the firm's underglaze technique. The set was successfully exhibited at Copenhagen's Nordic Exhibition in 1888 and at the Exposition Universelle in Paris in 1889. As a result, the firm was able to develop underglaze as its main approach, popularizing its blue, transparent porcelain.
Although Garde worked mainly with underglaze painting, she later also used the crackle-glaze technique, becoming one of the firm's most active artists. She decorated vases and other items of porcelain with flowers and fruits in her distinctive style, achieving particular success with her Vase with Christmas Roses (1897) and her Vase with Blackberries (1907). Perhaps her most successful decorative work was the Seagull Set with a white bird flying in a blue sky.
Garde presented her work at several international exhibitions, including the International Exhibition of Modern Decorative and Industrial Arts held in Paris in 1925, where she won a gold medal.
Fanny Garde died in Copenhagen on 29 April 1928 and is buried in Solbjerg Park Cemetery in Frederiksberg.


Minnie Sue Coleman

Minnie Sue Coleman (October 11, 1926 – January 3, 2012) was an American artist. She was one of the Gee's Bend quilt-makers, along with her mother, Minder Coleman. In 2006 her quilt ""Pig in a Pen" medallion" appeared on a US Postal service stamp as part of a series commemorating Gee's bend quilters.


Wayang wong

Wayang wong, also known as wayang orang (literally "human "wayang""), is a type of classical Javanese and Balinese dance theatrical performance with themes taken from episodes of the "Ramayana" or "Mahabharata". Performances are stylised, reflecting Javanese court culture:
Despite being closely associated with Javanese and Balinese tradition, variants of "wayang wong" dance drama can also be found in neighboring Javanese ethnic traditions, including Sundanese tradition.
History.
The bas relief panels on the 9th-century Prambanan temple show episodes of the "Ramayana" epic. The adaptation of "Mahabharata" episodes has been integrated in the Javanese literature tradition since the Kahuripan and Kediri era, with notable examples such as Arjunawiwaha, composed by Mpu Kanwa in the 11th century. The Penataran temple in East Java depicts themes from the "Ramayana" and "Mahabharata" in its bas reliefs. The Javanese dance drama associated with "wayang"s epic themes from the "Ramayana" and "Mahabharata" would have existed by then.
"Wayang" in Kawi (Old Javanese) means "shadow" and "wong" means "human". "Wayang wang" was a performance in the style of
"wayang kulit" (the shadow theatre of Central Java) wherein actors and actresses took the puppets' roles. The first written reference to the form is on the stone inscription Wimalarama from East Java dated 930 CE. The genre is currently done in masked and unmasked variations in Central Java, Bali, and Cirebon, as well as in Sunda (West Java).
"Wayang wong" is closely associated with Javanese culture. Originally, it was performed only as an aristocratic entertainment in four palaces of Yogyakarta, Pakualaman, Surakarta and Mangkunegaran. In the course of time, it spread to become a popular and folk form as well. Javanese "wayang wong" performances are regularly staged in Trimurti Ramayana open air stage in Prambanan temple compound as Ramayana Ballet, Purawisata cultural hall in Yogyakarta, Sriwedari park in Solo, and also Ngesti Pandawa in Semarang.
Variations.
Other than in the Javanese dance tradition, the variants of "wayang wong" dance drama can also be found in other traditions, including in Balinese and Sundanese traditions.
Wayang wong Bali.
"Wayang wong Bali" refers to a Balinese version of "wayang" dance drama. Its contemporary presentation is usually included within the "kecak" dance, where fragments or episodes of the "Ramayana" are performed amidst the chanting "kecak" dancers. However, a Balinese "wayang wong" version that does not include "kecak" dancers has also existed, especially in Ubud. "Wayang wong Bali" is usually associated with Buleleng District.
Wayang wong Cirebon.
"Wayang wong Cirebon" refers to a tradition of "wayang" dance drama in the city of Cirebon, West Java. Cirebon has two styles of "wayang wong". The first is a commoners or village version in which the performers are masked. The second is a Cirebon palace variant where the
performers dance are unmasked. Cirebonese "wayang wong" developed at the beginning of the nineteenth century, and influenced the "wayang wong Priangan" by the end of that century.
Wayang wong Priangan.
"Wayang wong Priangan" refers to a Sundanese version of "wayang" dance drama, developed in the Priangan region in the heartland of West Java. "Wayang wong Priangan" developed in the late nineteenth century, peaked in the regencies of Bandung, Sumedang, Garut and Sukabumi in the period before World War II, and receded by the late 1960s as audiences waned. In the Sundanese tradition, the most prevalent "wayang" tradition is "wayang golek", a wooden rod puppet performance. Nevertheless, the "wayang"-themed dance drama performance also exists, usually performed in Sundanese "sandiwara" traditional drama form.
Wayang gedog.
"Wayang gedog" (lit. "masked "wayang""), another form of "wayang wong" performance, is usually considered to be a cross between "wayang wong" and the "topeng" dance. These performances take themes from the Panji cycle stories about the kingdom of Janggala. Players wear masks known as "wayang topeng" or "wayang gedog". The word "gedog" comes from "kedok", which like "topeng" means "mask". The main theme is a love story about Princess Candra Kirana of Kediri and Raden Panji Asmarabangun, the crown prince of Janggala. Candra Kirana was the incarnation of Dewi Ratih (the Hindu goddess of love) and Panji was an incarnation of Kamajaya (the Hindu god of love). Candra Kirana's story has been given the title "Smaradahana" ("The fire of love"). At the end of the complicated story they finally marry and produce a son. Panji Asmarabangun ruled Janggala under the official names of "Sri Kameswara", "Prabu Suryowiseso", and "Hino Kertapati".
Dance style.
"Wayang wong" has fixed patterns of movement and costume:
For male performers:
For female performers:
The movements known as "nggruda" or "ngenceng encot" in the classical high style of dance consist of nine basic movements ("joged pokok") and twelve other movements ("joged gubahan" and "joged wirogo") and are used in performing the "bedoyo" and "srimpi".
Today, the "wayang wong", following the "Gagrak" style of Surakarta, is danced by women. They follow the "alus" movements associated with a "kshatriya", resembling Arjuna. In the "Gagkra" style from Yogyakarta, a male dancer uses these same "alus" movements to depict princes and generals. There are about 45 distinct character types.
Performances.
Performances of "wayang wong" are regularly staged in the Javanese cultural heartlands, the court cities of Yogyakarta and Surakarta (Solo). The national capital Jakarta also stages "wayang wong" performances, although they are not always well-publicised.
Yogyakarta.
A series of well-known dramatic monthly evening performances of "wayang wong" from the "Ramayana" is performed all year round at the Prambanan temple near Yogyakarta. The most complete "Ramayana wayang wong" involving more than a hundred dancers, artists and gamelan musicians is performed only during the dry season (usually May to October) on a large, open-air stage with the Prambanan Trimurti temples as the background. During the monsoon rainy season, however, the performance is moved into a smaller indoor theatre nearby. In downtown Yogyakarta, on the eastern side of Keraton Yogyakarta, the "Ramayana wayang wong" is also performed every night, starting at 8 p.m. at Purawisata theatre, Jalan Brigjen Katamso, Yogyakarta.
Surakarta.
Episodes from the "Mahabharata" and "Ramayana" are often performed daily in the Wayang Orang Sriwedari theatre in Sriwedari Cultural Park at Jalan Slamet Riyadi 275, Surakarta city, in Central Java. This daily performance starts at 8.15 p.m. every night, except on Sundays.
Jakarta.
In Jakarta the "Wayang Orang Bharata" group, one of the oldest "wayang orang" groups existing in Jakarta, generally stages performances in the Bharata Theatre just north of Pasar Senen near the centre of the city each Saturday night. The Bharata Theatre, which seats around 300 people, was renovated with funds from the Jakarta city government in the early 2000s. The performances are often based around stories of conflict between clans drawn from the "Mahabharata". Presentations involve traditional Javanese dancing, stylised fighting, and periods of dialogue, accompanied by music from a substantial gamelan orchestra. Actors representing the well-known Punokawan clowns, including the much-loved Semar, usually involve themselves in the action, often poking considerable fun at the self-important lives that the princes and high-born warriors lead. Ticket prices are relatively modest, with even the best seats in the Bharata Theatre generally costing (early 2013) less than $US 10 per person.
Other than the weekly "wayang wong" performances of Bharata in the Senen area, Jakarta has sometimes staged special annual "wayang orang" performances in Gedung Kesenian Jakarta near Pasar Baru in Central Jakarta, Taman Ismail Marzuki, or in Gedung Pewayangan Kautaman, near Taman Mini Indonesia Indah. These are not routine performances; schedules should be inquired about in advance at those theatres. There are several "wayang wong" troupes in Jakarta, such as Swargaloka, Senawangi, Puspobudoyo and Sekar Budaya Nusantara.
Television.
"Wayang wong" performances are sometimes aired on television, such as on TVRI and "World of Wayang" on Kompas TV.


Foxy Brown (film)

Foxy Brown is a 1974 American blaxploitation film written and directed by Jack Hill. It stars Pam Grier as the title character, described by one character as "a whole lot of woman", who showcases unrelenting sexiness while battling the film's villains. The film was released by American International Pictures as a double feature with "Truck Turner". The film uses Afrocentric references in clothing and hair. Grier starred in six blaxploitation films for American International Pictures.
While not prosecuted for obscenity, the film was seized and confiscated in the United Kingdom under section 3 of the Obscene Publications Act 1959 during the video nasty panic.
Plot.
Foxy Brown (Pam Grier) seeks revenge when her government-agent boyfriend is shot down by members of a drug syndicate at her doorstep. She links her boyfriend's murderers to a "modeling agency" run by Stevie Elias (Peter Brown) and Kathryn Wall (Kathryn Loder) that services local judges, congressmen, and police in the area. Foxy decides to pose as a prostitute to infiltrate the company, and helps save a fellow black woman from a life of drugs and sexual exploitation, and reunites her with her husband and child.
Not long after she infiltrates the company, her relationship to her late boyfriend and her brother, Lincoln 'Link' Brown, who ratted her boyfriend out, is exposed. She is caught before she can escape. After an exchange of words and heated death threats, Kathryn decides to keep her alive in hopes of her being worth some money in the sex-slave trade. They give her a shot of heroin and then send her to a farm, which is actually a drug manufacturing plant, with two of Miss Kathryn's henchmen. After she wakes from her sleep, she tries to escape her captors, but is caught by one of the henchmen with a whip and dragged back to the bedroom, where he proceeds to tie her to the bed. Then, Kathryn's second goon comes and gives Foxy another shot of heroin, and the dealer subsequently rapes her.
Using her quick thinking, Foxy uses a razor to get free and escapes her captors by setting the farm on fire. Kathryn orders Stevie to kill Foxy; he vainly attempts to scare information out of Link, and then kills him and his girlfriend. Foxy asks her Black Panther brothers for help; they kill Stevie's partners in crime, capture Stevie and castrate him. Foxy comes to Kathryn's house and shows her the jar containing Stevie's genitals. After killing Kathryn's guards and shooting her in the arm with a hidden pistol, Foxy says that death is too easy for her and wants her to suffer the way that Kathryn made her suffer.
Themes and analysis.
Stereotypes.
According to Yvonne D. Sims in her book "Women of Blaxploitation", "Foxy Brown" was heavily criticized, not only for its “disturbing” portrayal of black womanhood, but also for its controversial stereotypes about violence and drug abuse in black culture. In a time when African Americans were making progress politically, socially, and culturally, "Foxy Brown"'s heroine contradicted the image they were creating for themselves in society. Though Foxy is considered a heroine in this film, her role as vengeful black woman willing to pose as a prostitute and exposing herself throughout the film goes against some of the characteristics one would expect in a heroine. It also addresses the stereotype of the objectification of black women. Nelson George states that Pam Grier has been embraced by many feminists for her roles that not only display her beauty, but also her fearlessness and ability to exact retribution on men who challenge her.
Blaxploitation.
Blaxploitation is a genre of exploitation films that usually targets the black audience in urban communities. Blaxploitation was very popular at the time this film was made after parts of the film industry saw untapped box-office potential in the black audience. The reputation of the blaxploitation film genre has gone from being categorized as low-budget black films to American classics that people read and teach discourse on. Although it is criticized for being another avenue of exploiting African-American culture, at the time, it was one of the few ways for African Americans to get into the film industry. Grier talks about this in an interview with "Essence" in 1979:
"Why would people think I would ever demean the Black woman? I was tried and convicted without being asked to testify in my defense. Sure, a lot of those films were junk. But they were what was being offered. They provided work for me and jobs for hundreds of Blacks. We all needed to work. We all needed to eat."
Maternalism.
In "Foxy Brown" and "Coffy" (1973), the women share a distinct characteristic; they are nurturers. In each film, the plot surrounds justice for a loved one who was a victim of drug abuse, violence, and gang activity. Foxy wants revenge for her late boyfriend, Michael, and she also wants to shut down the drug and prostitute operation so they can no longer harm her community. Director Jack Hill made an obvious reference to Angela Davis, the American activist, when she was talking to Black Caesar, and she demands they get justice for "all of the people." In "Coffy", Grier was seeking revenge against the drug underworld for her younger sister getting hooked on drugs, and now has to live in a rehabilitation home. In both films, the women risk their lives carrying out vigilant missions to make the streets a better place, but also, and more importantly, to avenge their family.
Women's power movement.
This movie spoke directly to the women's power movement and struggle in the 1970s. Despite criticism, Foxy was the poster child for a new type of heroine who was subsequently appropriated by the blaxploitation genre. She redefined African-American beauty, sexuality, and womanhood, which led to the diversification of African-American actresses onscreen. Grier said:
"The 1970s was a time of freedom and women saying that they needed empowerment. There was more empowerment and self-discovery than any other decade I remember. All across the country, a lot of women were "Foxy Brown" and "Coffy". They were independent, fighting to save their families not accepting rape or being victimized... This was going on all across the country. I just happened to do it on film. I don't think it took any great genius or great imagination. I just exemplified it, reflecting it to society."
Additionally, "Foxy Brown" and "Coffy" show that women can stand up for themselves and for what they believe. The image of Foxy in an evening gown, well-equipped with a gun, is a visual representation of that idea that one does not have to be masculine to have power. "Female power," according to Grier, is "very different [from] male power, and a woman should maintain it always."
Production.
According to director Jack Hill, due to tension between American International Pictures (AIP) and him, he was not invited to direct the sequel for "Coffy" until last minute. Tensions arose at a screening of a different film on which AIP had been working, which they were eager to show to Hill. Hill walked out, unimpressed, and AIP made a vow to never hire him again. AIP founder Samuel Z. Arkoff reconciled with Hill, however, after the success of "Coffy".
"Foxy Brown" was originally intended to be a sequel to his "Coffy", also starring Pam Grier, and originally used the working title "Burn, Coffy, Burn!" However, AIP decided at the last minute it did not want to do a sequel. Therefore, it is never said exactly what kind of job Foxy Brown has – "Coffy" was a nurse, and since this was no longer to be a sequel, they could not give Foxy Brown that job and did not have time to rewrite the script to establish just what kind of job she had.
On the audio commentary on the film's DVD release, Hill mentions that he was initially against the outfits that the wardrobe department chose for Foxy Brown. Since Pam Grier had become a star in "Coffy", an impetus existed to present the actress as even more stylish than she had appeared in the previous film. The 14 costumes were designed by a California couturier named Ruthie West, who was also the stylist for the Jackson 5, Thelma Houston, Bobbie Gentry, the Curtis Brothers, and Sisters Love, among others. Hill, by his own account, though, initially felt that the outfits were too trendy and specific to the time period, and within a few years would cause the film to look dated and obsolete. In the years since the film's release, however, Hill has reversed his opinion on Foxy's clothes, particularly in the wake of not only "Foxy Brown"s ascent into pop culture icon, but also the '70s nostalgia movement that started in the mid-1990s.
Hill also mentioned that the character of Foxy Brown became something of a female empowerment symbol that seemed to transcend the time period of the film. As such, Hill believes, Foxy's 1970s clothes and hairstyles merely add to the charm of the character.
Reception.
"Foxy Brown" was a financial success. Produced on a budget of $500,000, it grossed $2,460,000.
A. H. Weiler of "The New York Times" wrote that Grier was "in a rut" and "fast becoming a bore despite all the sex, brawls and gore in 'Foxy Brown'". "Variety" wrote that even by blaxploitation standards, the film is "something of a mess. Hill's screenplay has peculiar narrative gaps that are not concealed by heaps on 'right on, brother' dialog, while his direction is frenzied without being exciting." The review concluded that Grier was "reasonably competent and self-assured" and would be interesting to see in a different role. Gene Siskel of the "Chicago Tribune" gave the film one star out of four and wrote, "Some critics have found meaning in recent black films featuring large, well-endowed women as heroic figures. I find nothing ground-breaking about that. 'Foxy Brown' is selling Pam Grier's body just like it was sold a couple years ago in a half-dozen Philippine women-in-prison pictures." Linda Gross of the "Los Angeles Times" stated, "For the most part, 'Foxy Brown' is just another movie about vengeance, vigilantes, dope, call girls and violence — interspersed with sex, vulgarity and hatred." The "Atlanta Daily World" wrote that Grier had the star caliber to "carry a film and to have the title role." Verina Glaessner of "The Monthly Film Bulletin" wrote, "For all its additional heavyweight violence ... "Foxy Brown" is in every way a far less interesting work than writer-director Jack Hill's previous film with Pam Grier, "Coffy." ... Hill's colourless script does little for an actress who unmistakeably has, regardless of her material, all the strength and resilience of a Jane Russell."
The film holds a 60% "Fresh" rating on Rotten Tomatoes based on 20 reviews.
In 2003, the character Foxy Brown was one of 400 characters nominated in AFI's 100 Years...100 Heroes & Villains list.
Soundtrack.
The film's songs were written and performed by Willie Hutch, and a soundtrack album was released on Motown Records in 1974.
Influence.
"Foxy Brown" is one of the most influential blaxploitation films; Pam Grier's character is often considered to be the female archetype of the genre. The film has directly influenced or been mentioned in many other films, including:
It is often noted by film historians as one of the first blaxploitation films to provide a portrayal of a strong and independent woman; until Grier, women often existed exclusively to support their men for a small part of the film.
Additionally, "Foxy Brown" and the preceding film "Coffy" are unique for their establishment of pushers and pimps as villains. Before these films, the blaxploitation genre often espoused empathy for the social positions of such individuals.
Pam Grier titled her memoir "Foxy: My Life in Three Acts" (2010), influenced by this film.
Television series.
In December 2016, a television series based on the film was reported as being developed by streaming service Hulu, with DeVon Franklin and Tony Krantz executive producing, and Meagan Good starring as Foxy Brown.


Ba. Na. Sundara Rao

Balagere Narasimhamurthy Sundara Rao or Ba. Na. Sundararao, (26 March 1918 8 October 1986), who wrote poetry under the pen name Vanavihari, was known by his Kannada initials as Ba.Na.Sum.. Banasum was active in Kannada literary circles from the 1950s until his demise in 1986, and is well known as an author, historian, and journalist.
A prolific writer, he authored 25 Kannada books including "Bengalurina Itihasa", one of the few authentic sources on the history of Bengaluru from founding till Indian independence. He also wrote and published biographies of notable people of Karnataka, several travelogues, short stories, poems and many articles in various periodicals. He was a great orator and gave lectures on history, literature, education and the Indian freedom movement.
As a Kannada historian, Banasum published "Banglodaya", a book about the creation of Bangladesh; and "Bharata-Pakistana Samarada Itihasa" History of Indo-Pak War; the books demanded considerable labour and his meetings with the military personnel at various levels culminated in another monumental work on the biographical sketches of one hundred warriors from Karnataka who fought in the Indo-Pakistani War of 1971, some of whom lost their lives in the war. The book "Karnatakada Veera Yodharu" (Kannada: ಕರ್ನಾಟಕದ ವೀರಯೋಧರು) (Brave Warriors of Karnataka), was released in 1972 by General K. M. Cariappa. He also wrote biographies of Sir M. Visveswaraiah, Cha. Vasudevayya (teacher of Sir M.V.), and of notable dramatist Bellave Naraharishastri.
As a novelist, Banasum documented the struggles of the people of Bengaluru who could not enjoy the freedom on 15 August 1947. The Mysore Wodeyars had to be coaxed in to joining the Indian Democratic Government, and that resulted in a movement entitled "Chalo Mysore" (Kannada: ಚಲೋ ಮೈಸೂರು) (March to Mysore). Centered on this movement, he penned a historical novel with this title, and published it in 1984.
Sundararao gave a lecture series on the history of Bengaluru at the Secretariat Club in Cubbon Park during the 1980s. The lecture notes were compiled into the nucleus of a book, and turned into his magnum opus, Bengalurina Itihasa, which was released in 1986 by Chief Editor of the Karnataka State Gazetteer Dr. Suryanath U. Kamath. The book was published after many years of laborious research in government archives and after researching relevant archeological artefacts located all over the city and surrounding rural areas. This book is considered as an authentic source on the history of Bengaluru.
Ba. Na. Sundararao was felicitated for lifetime contribution to Kannada literature by literary persons, students and well-wishers at the Kannada Sahitya Parishat, in June 1986. A fest-shrift entitled "Vanavihari" (Kannada: ವನವಿಹಾರಿ) also was published, documenting his achievements. Soon after this he suffered a fatal cardiac arrest, which abruptly ended an eventful life. Ba. Na. Sum's birth centenary was celebrated in 2018, when public interest was revived, and his contribution to Kannada literature was hailed.


Henri Loux

Henri Édouard Loux (20 February 1873, Auenheim - 19 January 1907, Strasbourg) was a Alsatian designer, watercolorist and poster artist. He is best known for the porcelain designs he created for "Obernai" tableware.
Biography.
He spent what is described as a "happy, rural" childhood in Rountzenheim. He studied at a Protestant gymnasium in Strasbourg, where he was poor student, except for his artistic abilities.
At the urging of his drawing teacher and his father (who was also a teacher), he attended the , where he made the acquaintance of Léo Schnug and the ceramicist, . Later, he enrolled at the Academy of Fine Arts, Munich, where he was influenced by Art Nouveau.
He returned to Strasbourg in 1897. After his father died, in 1901, he lived with his mother. During this time, he began his career doing graphic work for a new magazine called the "Neuer Elsässer Bilderbogen". It failed to establish itself and folded after only a dozen issues. Shortly after, in 1902, he came into contact with Utzschneider & Cie, a faience manufactory in Sarreguemines. It was for them he would create his most familiar work: 36 designs for dishes and other tableware that would become associated with the city of Obernai, and be known by that name. The designs consist primarily of country and village scenes, typical of Alsace around the year 1900. The success of these designs would eclipse all of his other work. In 1978, Utzschneider was bought out by the Fenal family, owners of the , which still manufactures this tableware.
He died, aged only thirty-three, of heart failure, caused by tuberculosis. He is interred at the . In 1997, the Musée historique de Haguenau held a major retrospective.


Calcutta Puppet Theatre

Calcutta Puppet Theatre is a Bengali puppet academy, theatre group, an institute of dance, drama and music. The group was formed in 1973 by Suresh Dutta.


Florine Smith

Florine Smith (born 1948) is an American artist associated with the Gee's Bend group of quilters.
Her work is included in the collection of the Fine Arts Museums of San Francisco.
Work.
Florine Smith sketches her patterns before beginning to cut and piece together her quilt. This is a rare method of quilting in Gee's Bend, but once Smith begins to cut and sew, she moves to an improvisation of her own pattern. "Her patterns are frequently dictated in part by the physical limitations of her fabrics—since corduroy is prone to raveling and fraying, her quilts typically are made with large, simple rectangular pieces."
Smith travels around the country teaching quilting workshops that rely on minimal tool usage and simple techniques. She is a national ambassador for the Gee's bend quilting tradition and legacy.


Dragaredokko

Dragaredokko is the name of an opera by the Norwegian composer Geirr Tveitt, performed in 1940. The entire score was destroyed in a fire in 1970, but an incomplete piano transcription still exists in the National Library of Norway.


Tubelining

Tubelining is a technique of ceramic decoration. It involves squeezing a thin line of clay body through a nozzle onto the ware being decorated. An alternative term is "slip trailing".
The skill takes time to acquire and it is associated with art pottery rather than mass production.
UK production.
Tubelining has been used by a number of firms in the Staffordshire Potteries.
In particular, the Moorcroft pottery continues to be well known for using tubelining as an integral feature of its designs.
USA production.
Designers using tubelining included Frederick Hurten Rhead, who taught the technique at the Arequipa Pottery in California.


Pumping on Your Stereo

"Pumping on Your Stereo" is a song by Supergrass, released as their first single from their self-titled third album (1999). The single reached No. 11 on the UK Singles Chart and in New Zealand. It also peaked at No. 13 on the Canadian "RPM" Top 30 Rock Report in May 2000. In October 2011, "NME" placed it at No. 124 on its list "150 Best Tracks of the Past 15 Years".
Background.
Mick Quinn said in regard to the recording of the song: "There were certain instances where Danny didn't hit the snare [drum] loud enough so we all had to clap over the snare. In the end it sounds like [David] Bowie."
Danny Goffey explained the history behind the song: "It came about when we were just in our rehearsal studio and we all started singing it over three chords. It's quite easy to play. The easier the song is to play, the better we play it. It just happened really quickly. It was one of those songs that just comes together in 10 minutes."
Though the title of the song is "Pumping on Your Stereo," the band thought it funny to actually sing the word "humping" in place of "pumping," and this is how it is thus heard on the recording. In live performances, the band has sung "pumping" instead. Supergrass can be heard applauding themselves and whooping at the end of the recording, at the very end of this drummer Danny Goffey says, "Can we go home now?"
Single artwork.
Created by Nick Veasey, the single artwork is a photograph of the internal workings of a stereo, in fitting with the song's title. The second CD of the CD release has the same cover design as the other formats, apart from the colours, which were altered to produce a more pinkish hue with black text.
Music video.
The video, directed by Hammer & Tongs, shows the band with their heads on Muppet-like puppet bodies, playing equally muppet-like instruments in a black room.
Floating pink feather boas, Moai heads and fireworks are also seen through the duration of the video. The band members remove their heads from their bodies in the video, and as the song finishes Danny Goffey's head can be seen being knocked off of his shoulders and flying across the stage until it hits a speaker and falls. At the very end, he moans "Can we go home now?" in sync with the song.
Mick Quinn described how the video came about: "It's pretty straightforward really. We couldn't use our regular directors [Dom and Nic] because they were too busy doing another video. We looked around for some other directors, and we came up with Gus Jennings, who had worked with other people like Bentley Rhythm Aces. The puppets was his idea. It looked like the most interesting thing to do."
Track listings.
UK CD1
UK CD2
UK 7-inch vinyl
"That (You'll Never Walk Again) was just a demo we did on our eight track," says Danny. "It's just the three of us around the mic. It's about the riots at France '98, the World Cup. It's just a really stupid song. It just happened. Probably either Gaz or Micky started singing it and we all joined in. Then we overdubbed some stupid cowbells on it."
In popular culture.
The song features in the movie "Road Trip". It was also featured in Formula One's video for the 2009 Italian Grand Prix. The song was featured on an advert for the Toyota Yaris in 2011 in the United Kingdom.


Gradus ad Parnassum

The Latin phrase gradus ad Parnassum means "steps to Parnassus". It is sometimes shortened to gradus. The name "Parnassus" was used to denote the loftiest part of a mountain range in central Greece, a few miles north of Delphi, of which the two summits, in Classical times, were called "Tithorea" and "Lycoreia". In Greek mythology, one of the peaks was sacred to Apollo and the nine Muses, the inspiring deities of the arts, and the other to Dionysus. The phrase has often been used to refer to various books of instruction, or guides, in which "gradual" progress in literature, language instruction, music, or the arts in general, is sought.
Classics.
The first application of the phrase is to a kind of Latin or Greek dictionary, in which the quantities of the vowels are marked in the words, to help beginners to understand the principles of Latin verse composition, in relation to the values of the metrical feet. The first 'step' or lesson is contained in the title phrase itself, because 'gradus' being a fourth-declension noun (a step), with a short '-us' in the singular, becomes 'gradūs', with a lengthened '-ūs', in the plural (steps). The difference in meaning teaches one to observe the difference in vowel quantity between two forms which look the same but have different grammatical properties, and so to pronounce the title of the dictionary correctly. Then 'Parnassus' is a poetic figure alluding to the Muse (of poetry): and the second function of the Thesaurus is even so, to illustrate such figures. Therefore, the whole expression "Gradus ad Parnassum" is not just a title but an epitome of the work itself, combining declension, construction, scansion and figure.
The "Gradus ad Parnassum" made famous under the name of Jesuit Paul Aler (1656–1727), a schoolmaster, published in 1686, presented anew an earlier Thesaurus attributed to Pierre Joulet, sieur de Chastillon (1545–1621). This was not a general dictionary but a thesaurus of synonyms, epithets, verses and phrases in classical poetic usage. The work in Alers' form existed into the 19th century with the definitions as well as the entries written in Latin. Known to many generations of students throughout Europe, and passing through numerous editions, 19th century English-speaking schoolchildren knew the 1818 revision by Dr John Carey (1756–1826) simply as 'Carey's Gradus'. It was specially intended for the study and appreciation of Latin poetry of the classical period, and to aid students in the practice of verse composition. There is also a Latin gradus by C.D. Yonge (1850); English-Latin by AC Ainger and HG Wintle (1890); Latin-French by F.J.M. Noël (1810); Greek by Thomas Morell (1762, new ed. ed. by E. Maltby, Bishop of Durham, 1815); John Brasse (1828). Since the year 2000, the name Gradus ad Parnassum was incorporated as the name of a small music school in New Jersey, Gradus ad Parnassum Inc.
The large general dictionaries of Greek and Latin adopted this pattern of information. For example, the Liddell-Scott-Jones "Greek-English Lexicon" (1843) and its current derivatives give quantity information where it is crucial and where it is available; so do Charlton T. Lewis and Charles Short's "A Latin Dictionary" (1879) and its derivatives. The synonyms, epithets, poetical expressions and extracts became incorporated under the more important headings.
Yonge.
Charles Duke Yonge published "A gradus ad Parnassum: For the use of Eton, Westminster, Harrow, and Charterhouse schools, King's college, London, and Marlborough college" in 1850 a work that was still in print in 1902, by then titled "…For the use of Eton, Westminster, Harrow, Charterhouse and Rugby schools, King's college, London, and Marlborough college" and bound with "A Dictionary of Epithets: Classified according to their English meaning".
Music and art.
Works entitled "Gradus ad Parnassum" include:
"Doctor Gradus ad Parnassum" is a satirical piano composition by Claude Debussy, from his suite "Children's Corner", poking fun at one or the other of these sets of exercises (Czerny's according to Myriam Chimènes's notes to the Arturo Benedetti Michelangeli version).
"Ad Parnassum" is a significant painting in the divisionist style by Paul Klee.


Knitting on airplanes


Julie Skarland

Julie Skarland (born 1960) is a Norwegian visual artist who has specialized in women's fashion design since the early 1990s. One of the Norwegians to have made a success of working abroad in fashion, she first established herself in Paris with her Julie Skarland Princess-factory in 1991, opening her own shop in 1998. In 2005, she moved to New Delhi, producing new designs in an adventurous folklore-inspired style. After spending almost 30 years abroad she returned to Norway in 2017.
Biography.
Born in Trondheim in 1960, she followed in her father's footsteps, studying architecture until one of her teachers complimented her on the dress she had made for herself, wondering why she did not want to study fashion design. As a result, she abandoned her architecture studies in 1983 and took up design, tailoring and dressmaking. In 1987, she moved to Paris to study fashion design at the avant garde Studio Berçot.
After she completed her studies in 1989, she began to design her own clothes. Her innovative designs produced a new look based on coarse contrasting materials inspired by the textile traditions of Norway. Her light, romantic collections were widely featured in the major fashion magazines and presented at shows in New York, Tokyo and Milan.
In 2005 she moved to India where she was able to have her designs tailored by local craftsmen on the basis of the fair trade principle. She developed increasingly into a textile artist and was able to overcome most of the stress she had experienced in Paris where she had had to produce four new collections each year.
After spending 10 years in India she returned to Norway where she began to make use of far more colour in her designs, in contrast to the mainly white garments she had produced in India. Her more recent designs have been inspired above all by animals and nature.
Exhibitions.
In addition to several group exhibitions since the 1990s in France, Norway, India and Germany, her designs have been shown at a number of solo exhibitions in Norway, the most important of which have been "Alice in Hindustan" (2010) at the Nordenfjeldske Kunstindustrimuseum in Trondheim, "Paris - New Delhi - Oslo" (2014) at the Norwegian Museum of Decorative Arts and Design in Oslo, and "In my Gardem" (2017) at the Kunstbanken Hedmark Kunstsenter in Hamar.
Awards.
In 2003, Skarland was awarded the "Designer of the year" prize at the Oslo Fashion Awards and in 2006, she received the annual culture award from the Municipality of Trondheim.


Mary Alice Barton

Mary Alice Barton (June 9, 1917-December 7, 2003) was a nationally recognized American quilter, quilt historian, collector and philanthropist.
She was inducted into the Quilters Hall of Fame as of September 29, 1984, for greatly contributing "through her collecting, researching and sharing of information." In 1999, her work as a quilter was recognized when her "Heritage Quilt" was chosen as one of the 100 Best American Quilts of the 20th century.
Barton was one of the first people who collected women's magazines and clothing, using them to date quilts by the fabrics they contained. She created "one of the most comprehensive collections of quilts, costumes, and fashion plates ever assembled and donated to public institutions." Her collection was eventually divided among a number of Iowa institutions, donated for use in research and teaching as well as exhibition.
Biography.
Mary Alice Pemble was born on June 9, 1917, one of six children of Harold H. Pemble (1889–1970) and Edith Lisle Pemble (1886–1968) of Indianola, Iowa. Her family lived in town, where they had a large garden, cattle, horses, and chickens. They later started an orchard outside of town. Mary's father helped run a hardware store, and her mother sold cheese and produce with the children's help.
Both of her grandmothers were quilters who made quilts for her. Mary learned to sew and embroider at a young age, and won awards at the Iowa State Fair for her dresses, suits and coats. She was also an outstanding student athlete.
She graduated from Indianola High School in 1936. She attended Simpson College, and then completed a B.S. degree in landscape architecture at Iowa State University.
In 1942, she married a classmate, Thomas Arthur Barton (1918–1989). They moved to Washington, D.C.. During World War II they worked as engineering draftsmen at the Hydrographic Office of the U.S. Navy, making maps for air navigation. Mary Barton was the only woman in her department.
In 1946, with the arrival of her first child, Barton gave up her job to become a full-time homemaker. The couple eventually had 4 sons. Following her husband's career, they moved from Washington to Iowa, to Michigan, and finally back to Ames, Iowa. There Thomas Barton became the head of the department of Landscape Architecture.
Collecting.
In 1949, Barton inherited several family quilts made by her grandmothers. She first purchased a quilt at a farm auction in 1967. In 1968, she organized a program on quilts for the Heritage Division of the Faculty Women's Club at Iowa State University. As part of the program she wrote a play on the history of quilting. "Aunt Mary's Quilting Party" was performed around a quilt frame for the Faculty Women's Club on January 8, 1969. The lack of collected and published resources on fabrics and quilts impelled Barton towards collecting.
Barton collected far more than just finished quilts. She created extensive notebooks to document a collection that also included fabric scraps, patterns, magazines, photographs, family letters and diaries, newspaper clippings, fashion illustrations and catalogs. She studied the manufacture of fabrics and their use in clothing, quilts and household textiles. By researching the companies that had produced dated materials, and comparing fabrics to other dated materials and garments in her quilt and clothing collections, she was able to create references that showed what fabrics looked like and how they were used at different times. As a result it became possible to use the references to date quilt pieces and determine not only when they were individually made, but also when they were combined into quilts.
Barton was invited to lecture at major events, including the Kansas Quilt Symposium (1978) and the Missouri Quilt Symposium (1980). She served on the planning committee of Iowa's first statewide quilting event, the Heirloom to Heirloom Quilt Conference (1983). There, and again at the Continental Quilting Congress in Arlington, Virginia in 1984, she set up innovative Study Centers. There, people could use items from her collection, arranged by decade, to comparatively date other works.
Interviewed in 1984, she described herself as an "independent researcher" and a "conservator" who was "just trying to save things for future historians."
At the Continental Quilting Congress in Arlington, Virginia, on September 29, 1984, Mary Barton was inducted into the Quilters Hall of Fame.
Quilting.
Barton created many quilt study panels comparing fabrics and patterns from her collections. She also made a number of complete quilt tops, often reproducing antique quilts that she particularly liked.
Barton may have begun working on her "Heritage Quilt" as early as 1966, although some sources suggest 1968. In this quilt, she created a historically accurate visual record of the tools, activities, places, people and quilt patterns involved in her pioneer family's migration across America. The fabrics "worn" by the women and children in the quilt are heirloom materials.
Completed in time for the 1976 bicentennial, the quilt won a blue ribbon at the 1976 Iowa State Fair. It was entered in the National Bicentennial Quilt Contest in Warren, Michigan, where it won an honorable mention. In 1999, Barton's work as a quilter was nationally recognized when her "Heritage Quilt" was chosen as one of the 100 Best American Quilts of the 20th century. The choice of quilts was adjudicated by the Quilter's Newsletter Magazine, the International Quilt Festival, Quiltmaker magazine and McCall's Quilting. This resulted in publication of a book, an exhibition at the 2000 International Quilt Festival, and a PBS documentary film.
Philanthropy.
Mary Barton's activities as a collector and philanthropist were inspired in part by her concern that the crafts heritage of Iowa should be preserved in Iowa. As early as the 1970s, she began donating quilts from her collection to organizations in Iowa.
Barton donated hundreds of quilts to the Living History Farms in Urbandale, Iowa; Simpson College in Indianola, Iowa; the State Historical Society of Iowa; and the Farm House Museum on the campus of Iowa State University.
Her "Heritage Quilt", along with 67 quilts and quilt tops and 1500 other items, was donated to the State Historical Museum of Iowa between 1987 and 2001. This donation became the basis of the exhibit "Patterns for learning: Selections from the Mary Barton Collection" in 1993. A similarly named exhibit was presented in 2007-2008. As of 2009, many items from her collections were included in the Quilt Index.
Mary Barton left her extensive collection of fashion illustrations and related materials, organized by year from 1776-2008, to the Iowa State University Archives. Part of her collection was donated in 1988, the rest in 1995.


Radioshow

Radioshow is а cult Lithuanian black comedy radio and TV show hosted by Algis Ramanauskas-Greitai and Rimas Šapauskas. It is also the name of their humorous rock band. Radioshow has started at radio station Radiocentras in 1992. Later it has moved to the radio station Ultra Vires. In 1995 Radioshow debuted as a comedy puppet show on TV at LNK station. From 1997 till 1999 Radioshow was running at BTV TV station. In 2004 it briefly ran on Vilnius radio station Užupio radijas before being shut down, because of swearing on the air. However the show was immediately picked up by the regional radio station Vox Maris.
Controversy.
Because of the constant taboo breaking, swearing and making fun of the symbols of national pride, Radioshow was often criticized by the conservative media and the older generation. Music critic Viktoras Gerulaitis has stated, that "These guys are sowing the seed of Satan, and it seems there is no-one that could stop them". This quote was later sampled into the song by Algis Ramanauskas' band "Svastikos Sukitės Greitai". It is ironic, that today Algis Ramanauskas is a member of the conservative Homeland Union party.
Another controversy was caused in 1995 by the obscene album "Unplugged" attributed to Radioshow. However Algis Ramanauskas denied his authorship and claimed, that it was a bootleg made by the imitators.
Characters.
Main characters.
Bronius.
Bronius is approaching retirement age and is full of sentiments to the Soviet era. He often refers to programming of the Russian TV and Belarusian radio and television. He is annoyed by modern Lithuania - he has some command of English but uses it mostly to communicate disgust with all things Western. Bronius has a dirty mind and a dirty mouth and enjoys sexual innuendo and filthy fantasies, particularly those involving TV celebrities, which he describes with considerable inspiration and lewd detail. Bronius is a character voiced by Algis Greitai.
Česlovas.
Česlovas is a former teacher. Česlovas' looks resemble former speaker of the Lithuanian Parliament social democrat Česlovas Juršėnas. This character is married and has two daughters (Sigutė and Akvilė), but despite that he often displays random acts of latent homosexuality, as the most of Radioshow characters do. Česlovas is voiced by Rimas Šapauskas.
Albinas.
Albinas, also referred to as "Senis" (), is a 100-year-old man of far-right nationalistic beliefs. His claim that he was born in the mountains of Scotland is a reference to the TV series "". Albinas makes frequent references to his pre-war memories.
Zbygniewas.
Zbygniewas is a character of Polish ethnicity, speaking Lithuanian with a heavily inflicted Russian accent. Zbygniewas claims to hail from Nemenčinė, a town near capital Vilnius with large predominance of Polish, Belarusian and Russian population. In his younger days he was a hippie and used to read Kafka. His career included a stint at as a communal heating boiler attendant, a choice occupation for rebellious intellectuals in the former Soviet Union, and also at a mortuary, which involved a sexual encounter with a dead female body, which Zbygniewas discusses with great reluctance. He is voiced by Algis Ramanauskas-Greitai.
Igorj.
Russian speaking character voiced by Rimas Šapauskas.
Mindaugas, later - Budulis.
Coarse-voiced, aggressive young Lithuanian gangster guided by values and rules of Russian prison life ("paniatkes") and making frequent references to his encounters with the law enforcement authorities. This character underwent some changes and is currently known as Budulis. He is discernible from a blackened mouth and a track suit worn on a permanent basis. In later episodes of the show, Budulis makes references to his work as a labourer in Ireland. (voiced by Rimas Šapauskas)
Filadelfijus.
Filadelfijus is a young incompetent journalist. His name originates from a motion picture title "Philadelphia". In the beginning he was speaking in a high-pitched voice, hinting that he might be homosexual. However, in the later shows unprofessional babbling and not the allusions to his homosexuality became his distinctive mark. Filadelfijus is voiced by Rimas Šapauskas.
Minor characters.
"Mindė" - nationalist character (animated pig's head); "Vanga" - Bulgarian prophetess (animated portrait of Lithuanian writer Žemaitė, taken from one Litas banknote); "Dujokaukė Kiulamae" - Estonian character always speaking derogaratively about the Lithuanians (his name translates into English from Lithuanian as "Gas Mask" and the surname is of the former BC Žalgiris Estonian basketball player Gert Kullamäe; "Slavik" from Maladzechna; "Almantas", a gay type.
External links.
 Steinberger Guitar Community