title: Mieko Shiomi (composer)

texts: A key player in the development of Fluxus is a Japanese artist. She is a co-founding member of the seminal postwar Japanese experimental music collective Group Ongaku. Her work has been performed in concert halls, museums, galleries, and non-traditional spaces many times. She is best known for her work of the 1960s and early 1970s, especially Spatial Poem, Water Music, and the various instructions in Events & Games, all of which were produced as Fluxus editions. She continues to produce new work. <mask> was born in Okayama, Japan. She graduated from the Tokyo University of the Arts with a degree in music in 1961.She co-founded Group Ongaku in 1960 to explore action and movement. The collective included Takehisa Kosugi, Shukou Mizuno, Mikio Tojima, and Gen'ichi Tsuge. <mask> returned to Okayama in March 1962 after completing her Bachelor's degree and a year of graduate study at the Tokyo University of the Arts. In a performance at the Okayama Cultural Center, she performed her own compositions as well as those of American composers. Between 1963 and 1964 she began to compose what she termed "action poems," eliminating musical notation from the score in favor of verbal instructions to be interpreted by the performer. George Maciunas invited <mask> to New York in 1964 after several incidents connected her to Fluxus. The card in Maciunas' file records a recommendation of <mask> from Toshi Ichiyan, as well as the fact that both Toshi Ichiyanagi and no had mentioned Shiomi's work to Maciunas.She made a trip to Tokyo to meet a friend of hers who introduced her to June Paik. He promised to send Paik's work to George Maciunas who was so enamored of the work that he had it turned into an edition that funded her flight to New York. <mask> lived in New York City from 1964 to 1965, working with George Maciunas and contributing to Fluxus events. Maciunas's loft in Soho was where <mask> and Shigeko Kubota initially lived. As a result, <mask> worked closely with Maciunas, Kubota, and Takako Saito, hosting communal fluxus dinners whose labor primarily ended up falling to the women, and producing Fluxus editions in the evenings until Kubota and <mask> took up part-time evening work. Water Music and Disappearing Music for Face were incorporated into Fluxus editions after Maciunas arrived in New York. His enthusiasm for incorporating her work into Fluxus editions secured her place as a seminal member of the loose collective, and has led many artists and musicians to perform her work at both impromptu events and formal concerts.In 1964 she performed six pieces at the Washington Square Gallery in New York, which incorporated audience participation. While living in New York, she became more aware of the boundaries of performance beyond formal events. Maciunas helped them move furniture from his loft to theirs after she arrived and jokingly referred to it as a "carrying event." She described her time in New York as a time in which she looked at various things in her daily life from different viewpoints and transformed them into non daily actions. When she couldn't extend her tourist visa, she returned to Japan in 1965, but continued her relationship with the Fluxus artists through mail art correspondence. She was still in New York when she started her Spatial Poem series. <mask> invited Fluxus members from all over the world to respond to an instruction and the responses constituted the work.In 1975, the Spatial Poems were published in a booklet. <mask> <mask> taught piano in Tokyo from 1966 to 1970. Some of the Fluxus editions from the late 1960s and early 1970s show her changing her name from Chieko to <mask> in accordance with Japanese onomancy. <mask> was active in the Tokyo art and music scene until her marriage in 1970. In the late 1960s, her activities were important for the development of the genre of intermedia, as evidenced by her participation in key intermedia events such as From Space to Environment and Cross Talk/Intermedia. <mask>'s ability to travel for rehearsals and performances was severely limited due to her marriage in 1970. Between 1970 and 1975, she shifted her activities to what she could accomplish from her base of operations in Minoo, Osaka.Music historian Miki Kaneda has described <mask>'s strategy of this time as a covertly feminist one, aimed at appropriating domestic technologies, such as the postal system, and adapting them toward her performative ends rather than breaking the constrictions of the patriarchal order that chained her to. <mask>'s Spatial Poems are a performative intervention into the distribution of the sensible in her immediate surroundings. She continued to work on her own compositions after 1977 and was involved in events and exhibitions that examined the legacies of Fluxus in the 1990s, 2000s, and 2010s. After her children reached adulthood in the 1990s, she became more active, starting with a Fluxus Balance mail art collaboration series. She has been experimenting with electronic technology since the 1990s, most notably dealing with telephones and computer synthesized voices in the series of Fluxus Media Operas she produced from 1992 to 2001. <mask> performs both older works and develops new ones. She lives and works in Osaka.The artistic development group Ongaku Group Ongaku formed in 1961 because they wanted to rediscover the meaning of music, which they thought had been lost in modern Western music. Group Ongaku hosted performances by artists including John Cage and La Monte Young and explored the possibilities of sound objects, a key element of Musique concrte. They wanted sounds that stretched the meaning of music and the experience of hearing it. Experiments with magnetic audiotape and a vacuum cleaner were among the non- musical sounds. According to the artist, the explosion of activity of Group Ongaku was indicative of our desire for new sound materials and new definitions of music itself. Every week we discovered a new technique or method for playing a previously unthought-of 'objet sonor' and argued about how to extend its use, and what relationships of sound structure could be created between each performer. The various components of every instrument we could think of, like using the inner action and frame of the piano, or using vocal and breathing sounds, created sounds from the (usually unplayable) wooden parts of instruments.<mask> was drawn to experiences that shifted attention away from the intentionality of "playing" instruments, and toward an awareness of the act of listening. Performers are positioned behind the stage curtain and even in the lobby of the performance hall as a result of her compositions Mobile I, II, III. The strategy was to draw attention to the spatial aspects of sound in order to encourage audiences to understand the constructed environment and destroy the hierarchical representation of a musically privileged space. During this time, <mask> had the revelation, while playing with keys, that her focus had shifted from finding ways to produce sounds to experimenting with actions that produced sound incidentally. She took up this line of investigation after Group Ongaku's dissolution. <mask> returned to Okayama in 1962 and found herself working in a different way. Sally Kawamura states that <mask> was inspired by her rural surroundings to compose works that could be performed in non-traditional settings.She termed them "action poems." She began working on instructional pieces, composed of words that invoke actions. Her growing doubts about the real nature of music and her belief that its essence did not reside in sound waves but in sensations of time led to this approach. She began making objects that invoked action while many of her "action poems" consisted of written imperatives. Boundary Music instructed performers to make the faintest possible sounds of a boundary condition, and Endless Box, a series of nested paper boxes, was described as a visual diminuendo. She began referring to her work as "events" after she was introduced to George Brecht's event scores through Yoko no and Ichiyanagi Toshi. The name stuck because she took up correspondence about her scores with Maciunas. One of the first Fluxus editions of <mask>'s work was Events and Games of 1964: a box containing double-sided cards with <mask>'s instructional scores in English on one side and Japanese on the other.Water Music was first performed during <mask>'s time in New York, and exemplifies her increased focus on audience participation as well as her new awareness of everyday actions as potential performances. The instructions are basic. The water should still form. 2. Maciunas made an editioned series of printed bottles out of the instructions after she performed them privately. The bottles were passed around to audience members who were asked to carry out instruction 2 at the New York festival. In September 1965, she did it again at Gallery Crystal in Tokyo.She interpreted the instructions in a number of ways, including dripping water onto a glue-covered record and drawing up water from a kiddie pool. The act of dripping the glue dissolved it to reveal the record and allowed portions of the record to play. She did the work again in 1992 at Xebec in Kobe, hitting the surface of water in several basins with upside-down cups. <mask>'s variable interpretations of the instructions gesture toward the openness of the instructions, which many other performers have taken up in the interim. Sally says that the strategy used in Water Music changes the participant's attention to everyday experiences from a utilitarian perspective to a playful one. It is an anti-consumerist gesture that places value on exploring and enjoying one's environment as experience rather than focusing on production and consumption. <mask> sees the bottled version of Water Music as an example of her concept of transmedia, which she describes as an artwork "continu[ing] its creative evolution by transferring from one medium to the next."Before leaving New York in July 1965, Spatial Poem <mask> sent out instructions to a list of addresses that George Maciunas kept on file of Fluxus-friendly individuals. Unlike most mail art at the time, what she sent out was not a work that others would simply receive, but a set of instructions to which she was soliciting responses. <mask> created performances that spanned geographic distance and time, addressing her growing concern with the privatization of traditional event dynamics that require everyone to meet in the same architecturally delineated space. Invitation texts for the full series of Spatial Poem events can be found on the MoMA's archives page. 1 is a spatial poem. October 15-16, 1965, Spatial Poem No. 2. Until August 31, 1966 Spatial Poem No. 3.December 11-31, 1971 Spatial Poem No. 4. August 5, 1972 Spatial Poem No. 5 is an open event. The Spatial Poem No. 6 was published on May 3-23, 1973. The Spatial Poem No. 7 (Sound event) was published in 1974. October 7-26, 1974 Spatial Poem No. 8 (wind event). The first four events were turned into Fluxus edition objects, including a map with pins of responses for Word event, an offset-printed graphic map of responses indicating directions and locations for Direction event, and a calendar from which pages could be ripped. The full final set of responses were compiled by <mask> into an editioned book in 1976, allowing a retrospective overview of the sets of events that comprised the Spatial Poem performances.Santone sees Spatial Poem as an illustration of the process of community in formation, an event that is a function of the circulation of performance and document. The work is a sort of metaphysics of the dynamics of social exchange and human action that spans from the personal to the political, from the regional to the international, according to art historian Kristine Styles. Kaneda focuses on how Spatial Poem allowed Shiomi to remain active in Fluxus networks even after marrying and having to run a household in Osaka. Kaneda focuses on how Shiomi uses the technologies and media at hand for a busy housewife and mother outside of the art centers to redefine the parameters of performance, creating the possibility of domestic performances so as to allow her everyday experiences to serve as a continuation of her investigations into sound. In the 1960s, <mask> was experimenting with electronic media, using a theremin-like electric-wave instrument for her contribution to Ichiyanagi Toshi's 1961 performance at Sgetsu Art Center. She used Dick Higgin's term "Intermedia" rather than explicit content in her work in order to explore the gaps between different media. In the 1990s, she set narrative instructions against conflicting music triggered by electronic sensors, played with the intelligibility of voices in a performance using international phone calls and electronic synthesizers, or commissioned a text for performers to respond to that indicted the computer-syn.<mask> <mask> composes events with music and environmental action. The works include: Mirror, Boundary Music, Event for the Midday in the Sunlight, Endless Box, and Shadow Piece II. Spatial Poems no. 1, 1966 1-no. Flying poem no. 9, 1965, 1975, The balance poem was written in 1989. 1-no.It is possible to gaze. Power. There is a cultural history of the bath in Germany and South Korea. Satoko plays <mask> <mask> in Fractal Freaks.

masks:
Mieko Shiomi
Shiomi
Shiomi
Shiomi
Shiomi
Shiomi
Shiomi
Shiomi
Shiomi
Mieko
Shiomi
Mieko
Shiomi
Shiomi
Shiomi
KaneShiomi
Shiomi
Shiomi
Shiomi
Shiomi
Shiomi
Shiomi
Shiomi
Shiomi
Shiomi
Shiomi
Shiomi
Shiomi
Shiomi
Shiomi
Mieko
Shiomi
Mieko
Shiomi


title: Hal Colebatch (author)

type: paraphrased

texts: Colebatch was an author, poet, lecturer, journalist, editor, and lawyer. Colebatch was the son and biographer of an Australian politician. Lady Colebatch was the daughter of a long-time mayor and a parliamentarian. He received degrees in History/Politics and Political Science from the University of Western Australia. He obtained degrees in law and jurisprudence. <mask> was nominated as the Liberal candidate in the 1977 and 1993 state elections for the seat of Perth, but he was not elected to the Legislative Assembly on either occasion, but he did win the seat from the Australian Labor Party. <mask>. P<mask> is not the author of <mask>. Colebatch.<mask>'s work includes eight volumes of poetry, and a series of 18 science-fiction stories published in the US in the Larry Niven series The Man-Kzin Wars. Man-Kzin Wars XII was published in February 2009. He published works of political, social, legal and economic commentary. He was described in "A New Literary History of Australia" as having had a quiet but steady career in Australian poetry. Blair's Britain was chosen as The Spectator's Book of the Year in 1999 and he was a regular contributor to publications. He wrote op-ed articles for The Australian and other publications, as well as contributing to The American Spectator Online. He wrote regular book-reviews and other features for both The Record in Perth and The West Australian.His Return of the Heroes is a study of heroic fantasy, which includes The Lord of the Rings, Star Wars and Harry Potter. The biographies of Sir Victor Garland and Sir Stanley Argyle were written by him. Lucky Ross, written by John Ross, an Australian Navy officer who was transferred out of HMAS Sydney 19 days before it was sunk, was edited by Colebatch. He wrote histories for the Parents' and Friends Association and The Victoria League. Counterstrike was published by Acashic and Time Machine Troopers was a sequel to H.G. Wells's The Time Machine. One of the first books to grapple with the problems of false and manufactured counter-knowledge is called Counterstrike. Time Machine Troopers is described as better than Wells.The Age of Revolution, No. was published in 2011. It has a Wagtail Poets series. Many of his poems concern Perth and its suburbs, as well as travels in Britain, Asia, the Middle East and elsewhere. His poetry is in both free-verse and highly structured forms. Peter Alexander, Professor of English at the University of New South Wales, described <mask> as one of Australia's best writers in his biography of Les Murray. His seventh book of poetry, The Light River, was published in 2007. <mask>'s work was suppressed by the Australian literary establishment because of his refusal to join poetic cliques, according to Murray.The book contains a long narrative poem, The San Demetrio, about the salvaging of a burning petrol-tanker at sea in World War II, and a poem on the return of terrorism. A romantic love story is told in the poem Red-Head with Phosphorus. His poems are included in a number of anthologies. The West Australian premier's literary prize was won by The Light River. Colebatch worked as a reporter on The West Australian in the early 1970s and made several trips to the Kimberley to report on the construction and filling of the Ord River Dam and associated animal rescues. He explored several kilometres of extensions to Easter Cave in the south-west of Western Australia. In Man-Kzin Wars X: The Wunder War, many scenes are set in caves and caverns, reflecting his knowledge of the subject.Hobbies included sailing, war-gaming and underwater photography. He spent a lot of time in Britain, the Middle East and Europe. He worked for the Australian Institute for Public Policy, the "dry" think-tank established by John Hyde, former MHR for Moore, Harold Clough, and Debrett's publications. Sir Victor Garland is a senator. Chris Ellison. After finishing articles with Stone James in Perth, he ran his own law practice. Colebatch lectured in international law at Edith Cowan University and the University of Notre Dame Australia, as well as in creative writing and political science at the University of Western Australia.He was one of the authors of a book on traffic law in Western Australia. He wrote a short film and had a volume of short stories accepted for publication. His book Australia's Secret War won the Prime Minister's Literary Award for history, but attracted controversy due to accusations of political bias. The judges for the award were Gerard Henderson and Peter Coleman. The book details strikes and purported sabotage by left-wing unions during World War II, but many of his examples were criticized for inaccuracy or for relying on statements by individual servicemen. Death Colebatch died during a stay in a Perth hospital. "The Colonel's Tiger" is a fiction in Man-Kzin Wars VII.Man-Kzin Wars No. are MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE The Wunder War took place in Baen in 2003 Acashic, 2011. Time Machine Troopers was released in 2011. The Light River is a poetry collection. There is a list of poems by Claude de Bernales. Hesperian Press was published in 1996.The biography of Sir <mask>ch is called Steadfast Knight: A Life of Sir <mask>. Perth, W.A. The Fremantle Arts Centre Press was published in 2004. Return of the Heroes: The Lord of the Rings, Star Wars, Harry Potter, and Social Conflict is a biography of his father. The Victoria League for Commonwealth friendship in Western Australia was started in 1909. Australia's Secret War: How Unionists Sabotaged Our Troops in World War II is the official biography of the Modest Member. A survey of caves in myth, legend and story, and of the development of speleology are included in the book.There are external links to the book reviews. 59–63. Australian anti-communists, Australian biographers, Australian lawyers, Australian science fiction writers, Australian people of English descent, and Australian male novelists were born in 1945.

masks:
Colebatch
Hal G
. Colebatch
Hal K
Colebatch
Colebatch
Colebatch
Hal Colebat
Hal Colebatch


title: Nia Dinata

texts: Aisyah Dewi, better known as "Nia <mask>", is an Indonesian film director. Her movies tackle subjects that are controversial in Indonesia such as homosexuality, migrant workers, and polygamy. In the mid 1990s, <mask> began directing video clips and commercials, and in 1998 directed the made-for-television Mencari Pelangi. After founding her own production house, she directed her first feature film. One of her most successful works was Arisan!, the next film she directed. Her third directorial effort, Berbagi Suami, was controversial but successful. The subjects Dinata covers have caused controversy in Indonesia.In 2006 she was named Indonesia's most talented new filmmaker. Two of her films have been nominated for an Academy Award. On 4 March 1970 <mask> was born in Jakarta. <mask> used to watch movies weekly. She received a bachelor's degree in mass communications from Elizabethtown College, where she became interested in cinematography. She took a course at New York University. She took her first job as a reporter for Seputar Indonesia after returning to Indonesia.She studied the techniques on her own and began directing video clips and commercials. The 1998 made-for-television film Mencari Pelangi won two national awards and was directed by <mask>. She started her own production company around 1999. Ca-bau-kan was her first feature film and was about the trials of Chinese Indonesians in pre-independence Indonesia. The film was cut from its original running time of 160 minutes to 124 minutes for commercial viability, but <mask> was satisfied, saying it was "as good as it could be for that short running time". Sekar Ayu Asmara's debut, Biola Tak Berdawai, was produced by her. She directed Arisan!The Gathering had gay themes and was produced on a small budget. The first Indonesian film dealing with homosexuality is considered one of her more commercially successful films. Most of the commercially successful films at the time were horror and children's films. Dinata was 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 She was invited to join the Young Directors Program at the Palais des Festivals in 2004. The 2006 film Berbagi Suami was based on her experiences when her father took a second wife. In 2007, Dinata produced Quickie Express, which was described in the press as a sex comedy but was actually a love story with social content.She produced and directed one of the short films in the collection, as well as the documentary Pertaruhan. The Indonesian International Children's Film Festival was started in 2009. Children are involved in all aspects of the festival, which features both local and international children's films. It has been done three times. <mask> is making a sequel to Arisan! The first movie was expected to be released eight years after the first one. Batik: Our Love Story was a documentary on the traditional batik textile.Ucu was a screenwriter. Dinata's works dealing with issues that are often at odds with the social values of the Muslim-majority Indonesia have been controversial. After the success of Arisan!, she began receiving hate mail that accused her of promoting homosexuality and said that she was going to hell. During the promotional tour for Berbagi Suami, she was accosted by a male audience in Makassar, who disagreed with the anti-polygamy message in the film and stated that she had not researched Islam's views on the practice. Long Road to Heaven was 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 800-313-5780 Dinata stated that she will never practice self-censorship. Dinata holds onto the original cuts for special viewings despite the fact that the versions of her works released in theatres and on DVD are censored.<mask> fought against film censorship in the Constitutional Court of Indonesia in 2007, and has dealt with it since the beginning of her career. The films of Style Dinata are often social commentaries. She has a female perspective in her works. She values feature-length films over television shows and commercials. Jane Perlez, writing for The New York Times, said that <mask> is "more art house than Hollywood" when it comes to addressing Indonesian social issues. She doesn't want to direct any teen movies because she wouldn't have the passion. In 2006 <mask> was described as Indonesia's most talented new filmmaker.She was nominated for an Academy Award for Best Foreign Language Film for two of her films. The Best Film for Arisan was awarded in 2004. Arisan won "best director" at the MTV Indonesia Movie Awards. She is married to a computer engineer and has two children. She likes to watch movies and is a fan of Woody Allen. Ca-bau-kan directed The Courtesan and Arisan! The Gathering; 2003 Berbagi Suami, Love for Share; 2006 Perempuan Punya Cerita, Chants of Lotus.Arisan is the writer of 2 (The Gathering 2; 2011), Ini Kisah Tiga Dara, and A World Without (2021). Berbagi Suami is an adaptation of Sing to the Dawn. Ca-bau-kan was producer of The Courtesan, Biola Tak Berdawai was producer of The Stringless Violin, and Janji Joni was producer of Quickie Express.

masks: Dinata Dinata Dinata Dinata Dinata Dinata Dinata Dinata Dinata Dinata


title: Moshe Teitelbaum (Satmar)

texts: The world leader of the Satmar Hasidim was a Hasidic rebbe. On November 17, 1914, in jfehért, Hungary, <mask> was born. The author of Atzei Chaim was the son of Rabbi Chaim Tzvi <mask>. His mother was from the Halbershtam family. When they were fourteen and eleven years old, Yekusiel Yehuda Teitel died. He was raised by family and friends, including his uncle and grandfather. <mask> was appointed dean of the Karacscka yeshiva.The daughter of a Rabbi was married to <mask> in 1936. He became the rabbi of Yugoslavia in 1939. The Hungarian government, aided by Nazi forces, began deporting Jews in the spring of 1944. After his wife and three children were murdered, <mask> and his wife were sent to the concentration camp. He was liberated in 1945 after being transferred to the Brabag plant. The daughter of <mask> of Volovo married a man after the war. The entire family was killed in the concentration camp.After the war, the couple moved back to Sentbauma. He filled his brother's position as rabbi of Sighet after learning that he had been murdered in the Holocaust. They were forced to flee Communist persecution and set sail for New York City in 1947. There, <mask> became known as the Sigheter, leading his ancestors. He first established a beth midrash, Atzei Chaim Siget, in Brooklyn, and then moved to Brooklyn in 1966. No heir to inherit leadership of Satmar was appointed in 1979. At the age of sixty-six, his nephew was the logical successor.He was a good speaker. In the years prior, he had limited contact with Satmar, led his own Hasidic group, and did not necessarily have the same level of scholarship as his late uncle, so there was some uneasiness about appointing him. It was understood that the community was better off with a leader and that the best thing for the community was to have the Rebbe as their leader. <mask> Hasidim elected the Satmar Council of Elders. The Council decided on a new leader. He could have turned down the appointment and remained as leader of his small sect, but <mask> promised more power and prestige. The details of <mask>'s official appointment were planned by the Council.A general meeting was announced a few weeks later on one day's notice. The leader of the Council announced at the meeting that <mask> was the new rebbe of Satmar. The new rebbe refused to be accepted within the first year of his death. This was done to allow the Satmar community to mourn and adjust to the death of his father. The leader of the community continued to live in the park. In August of 1980, the Satmar Rebbe was succeeded by <mask> in an elaborate "crowning" in New York. At the ceremony, <mask> told the Hasidim not to expect what they got from him.Some Satmar Hasidim, including the Bnei Yoel and Kagners, did not accept him as the rebbe. They never had a good relationship. The tension between the two began when they were married. There were two wives, one of which had a grown daughter. The grown daughter and her cousin fought over control of the house. Fayga didn't have any children or an heir forJoel after his daughter died. More controversy was marked by the start of the Satmar Rebbe.The Satmar congregation in Kiryas Joel, New York, had a chief rabbi and rosh yeshiva who was named after his father. The residents of Kiryas Joel resented the appointment of a man who had issues with his personality and nature. Joel's established personnel were removed from positions of authority and replaced by his loyalists. Concerns were raised about <mask>'s level of piety. There were likely false rumors that in the negotiations between the Council and <mask>, he made many compensation demands, including demands that property be placed in his name, and special fees for High Holiday services. Some false rumors claimed that <mask> was busy promoting his real estate investments, that he had a stock market ticker-tape in his house, and that he was engrossed in business. He considered himself a "custodian" of what was created by his uncle, and recognized his stature relative to the stature of his uncle.He stated that they must study the teachings of their uncle. Many of the customs were enacted by him. <mask> was more practical and plain-spoken than the more mystical Joel. It is possible that <mask> did not speak out against Zionism as much as he could have because it did not have the same ideological draw. Some felt that <mask> was not as charitable as he could have been because he did not raise as much charity funds. Tensions between <mask> and the Bnei Yoel increased in 1989. The Bnei Yoel was referred to as "infidels" in an April 1989 Passover speech.New residents had to get permission from their village leaders before moving in. The two groups got into a fight in 1990 when a supporter of Fayga tried to put a gate outside her home. A melee erupted, hundreds of angry Hasidim poured into the streets, three men were dragged from a car that was set on fire, and three police officers were injured. Profanities were written on the sidewalk of the Alta Fayga supporters. Satmar doubled in size from 1980 to 2006 and is the largest Hasidic group in the United States. Satmar's real estate holdings were worth hundreds of millions of dollars at the time of his death. The five-volume Hasidic commentary on the Bible was written by <mask>.In May 1999, Zalman was appointed as the local leader of the Williamsburg congregation. He was the leader of Satmar in Jerusalem. It was seen as a sign that Zalman would be the leader of Satmar after his father's death. When his father traveled, he assumed his father's responsibilities as his father's representative in communal affairs. The appointment of Zalman as the local leader caused a group to form around him. It was claimed that Zalman was appointed because they were concerned that they would lose influence under Aaron's regime. The two sides were able to negotiate over who would speak at the funeral and in what order.Both sides claimed to be the leader. Zalman was named as <mask>'s successor, but his supporters argue that he had suffered from dementia. On April 24, 2006 <mask> died of cancer. Tens of thousands of members of the Jewish community attended his funeral and burial procession. All of the rebbe's children or their husbands said their farewells in order of their ages in the main Satmar synagogue. He was buried near his uncle in the sect's cemetery. The Governor of New York State, George Pataki, and the Mayor of New York City issued statements of remembrance.He was survived by his wife, four sons, and two daughters. At the time of his death, he had at least 86 children. His first and third sons, Zalman Leib and Aaron, each claimed leadership of Satmar at the time of his death. The second son, Lipa, was the leader of a small congregation. Rabbi Chaim Shia Halberstam was his son-in-law. People from Sighetu Marmaiei, Satmar Anti-Zionist Jews, American Hasidic rabbis, and Hungarian Orthodox rabbis are mentioned.

masks:
Moshe Teitelbaum
Teitelbaum
Teitelbaum
Teitelbaum
Teitelbaum
Rabbi Teitelbaum
Teitelbaum
Satmar
Satmar
Moshe
Moshe
Moshe
Moshe
Moshe
Moshe
Moshe
Moshe
Moshe
Moshe
Moshe
Teitelbaum
Moshe
Teitelbaum


title: Leela Dube

texts: <mask>e was a renowned anthropologist and feminist scholar. She was the widow of an anthropologist and sociologist and a younger sister of a classical singer. She is survived by her two sons. She wrote several books, including Matriliny and Islam: religion and society in the Laccadives and Women and kinship: comparative perspectives on gender in South and East Asia. Although she had taught at Osmania, her academic career really began in 1960 at Sagar University. She moved to Delhi in 1975. She played a crucial role in shaping the "Towards Equality" report of the Committee on the Status of Women in India, Government of India, discussion of which in the Parliament of India brought women's studies to centre stage in Indian academia.She was responsible for introducing women's studies into mainstream sociology and was a key person in the Indian Sociological Society. She was one of the founding faculty of the Institute of Rural Management. It was put on the international map by one of her studies. She pioneered a course in IRMA called "Rural Environment" which attempted to push a "business management techniques program design" towards asking questions about village society. The course was designed to prepare for the village field work segment. This was an innovation for business schools that she pioneered. Three half credit courses were offered in 2012 called "Rural Society and Polity", "Rural Livelihood Systems" and "Rural Research Methods".As a preparation for the field work that follows, it continues to be offered as a first semester course. Women activists and women's studies scholars dominated the Research Committee at the World Sociological Congress of 1984. She commented on the tradition of son preference in India. In a debate in the Economic and Political Weekly in 1982–86 on sexselective abortions, her contribution was noteworthy and her prediction about the direct relationship between deficit of women and increased violence against women proved to be true in later years. RC 32 was institutionalised in the World Sociological Congress due to the efforts of women's studies scholars. The 12th International Congress of Anthropological and Ethnological Sciences, Zagreb, Croatia, 24–31 July 1988, invited many activists to present papers on "Codification of Customary Laws into Family Laws in Asia". The Congress gave new insights into the departure of feminist anthropologists from the colonial legacy of "Big Brother watching you".Power relations between the North and The South in the construction of knowledge and the hegemonic presence of the ETIC approach in academics were questioned by Leacock. The Nehru Memorial Museum and Library was associated with the Indian Council of Social Science Research. She spent time at several universities in different parts of the world. Her eyes were donated after she died. The Oxford University Press published Visibility and Power: Essays on Women in Society and Development in 1986. "On the Construction of Gender: Hindu Girls in India" was written by her. 23, No.April 18). Women's groups use it for study circles and training. The series on Women and the Household, Structures and Strategies: Women, Work, and Family was useful in teaching women's studies in economics, sociology, geography, social work and governance. The United Nations University Press published Women and Kinship: Comparative Perspectives on Gender in South and South-East Asia. Her 2001 book, Anthropological Explorations in Gender: Intersecting Fields, is an important contribution to feminist anthropology in India. It looks at gender, kinship and culture through unconventional materials such as folk tales, folk songs, proverbs, legends and myths to create an ethnographic profile of feminist thought. The "seed and soil" theory of Hindu scriptures and epics shows a domination-subordination power relationship between men and women.Manavashastratil Lingbhavachi Shodhamohim, a translation of her last book in English, appeared in 2009. She was given an award in 2005. She received an award from the Indian Sociological Society. Indian anthropologists Osmania University faculty Feminist studies scholars Indian women anthropologists


title: Kimberley Joseph

texts: The Cook Island-Australian actress is based in the United States. <mask> was raised on the Gold Coast of Australia and educated in Switzerland. She dropped out of Bond University at the age of 19 when she was cast in the soap opera Paradise Beach. She appeared in the soap for 18 months without formal acting training. She co-hosted the popular Seven Network series Gladiators after Paradise Beach ended. After three series of Gladiators, <mask> wanted to return to acting, so he took the role of villain Joanne Brennan in Home and Away from 1995 to 1996. She spent 18 months auditioning for roles in Los Angeles after moving to the US to study acting.She played Jo Ellison in Cold Feet. She returned to Australia two days after filming the final episode of the fourth and fifth series. She played a recurring role as Dr. Grace Connelly in the Australian soap opera All Saints. After filming All Saints, she got a small role as a flight attendant in the pilot episode of Lost. The role was supposed to be a one-off in the pilot but a producer liked <mask> and the character so brought her back for a recurring role in the second, third and sixth seasons. <mask> has been involved in efforts to highlight the effects of Soviet nuclear testing, including directing a short film. <mask> was born in Rarotonga, Cook Islands to Joe and Wendy on August 30, 1973.Joe met Wendy while she was in Rarotonga. When she was three years old, the family moved to Australia's Gold Coast, where she attended school for the next nine years. <mask> attended a private school in Switzerland for four years after travelling extensively in Europe. She learned to speak Spanish and French. She did not complete her degree at Bond University after returning to Australia. <mask> dropped out of University at the age of 19 after getting a part in the soap opera Paradise Beach. She had no formal acting training but was able to use it to her advantage.The series was canceled after only 18 months, but <mask> gained acting experience with Raelee Hill, Megan Connolly, and Isla Fisher. She appeared on Hey Hey It's Saturday after Paradise Beach ended. <mask> Brennan in Home and Away in an effort to get away from presenting. The character dealt drugs to school children. She could return to the character later on in the soap. She played a role in a play with Hughes. She made appearances in Hercules: The Legendary Journeys and Sale of the Century and Tales of the South Seas. <mask> moved to the US to study acting at the Atlantic Theater Company in New York City. She spent 18 months living off her savings trying to get an acting job.She only had a single commercial and a job interviewing LA-based film actors for Australian television. She was told in 2001 that she would have to travel to Australia to be interviewed for her green card. On the day she was due to fly back to Australia, her agent informed her that she was auditioning for a role in the British television series Cold Feet, which was looking for a new main cast member. She moved to Manchester two weeks later and was doing script read-throughs with the rest of the cast. Jo Ellison was in the fourth and fifth series. After filming the final episode in 2002, <mask> left Britain and returned to Australia. In 2004, she appeared on Australian television for the first time since 1999, playing Dr. Grace Connelly in All Saints.She returned to Los Angeles the day after she finished filming her scenes. She was a flight attendant in the pilot episode of Lost. <mask>'s scenes were filmed in Los Angeles for two and a half days. A draft of the pilot called for her character to be dead on the beach, but subsequent rewrites removed the scene. <mask> and her character were going to be brought back to the series at a later date. She came back at the beginning of the second season when it was revealed that her character, named Cindy, had survived the plane crash in the pilot episode. Despite being asked not to change her appearance too much after the pilot, <mask> had her hair cut so in her first few episodes of the second season she had to "go through the whole debacle of putting a Rambo scarf around her head, which just looked ridiculous."The second season of her show was filmed over five weeks. Her character was kidnapped in the middle of an episode and not seen again until after <mask> reprised the role for two episodes. The sixth and final season was <mask>'s return to the role. In Ron Howard's two films, <mask> played a tennis champion and had a minor role. She was cast in the movie because she had the right look. Before the film's release, both of her scenes were cut. <mask> appeared in commercials for HughesNet.<mask> was in Linkin Park's music video for Castle of Glass. <mask> played the wife of a sailor who died. <mask> is based in Los Angeles for acting. She was involved in Aid International projects about the effects of Soviet nuclear testing. She took pictures of victims of radiation poisoning when she visited the area with Struan Stevenson. Stevenson's book Crying Forever was published in 2006 after the photographs were displayed in the Scottish Parliament building in 2004. She returned to the area with Stevenson in July 2008 and is working on a documentary film.The film, titled When the Dust Settles, was released on November 12th, 2009. Gabriel is the son of <mask> and Scott Chrisman. Filmography as host Gladiators, International Gladiators, and When the Dust Settles.

masks: Joseph Joseph Joseph Joseph Joseph Kimberley Joseph Joseph JosephJoanne Joseph Joseph Joseph Joseph Joseph Joseph Joseph Joseph Joseph Joseph Joseph Joseph Joseph


title: Linda MacDonald

texts: <mask> is a multimedia artist who was at the forefront of the studio quilt art movements. She has been called a fine artist. <mask> grew up in a household with quilts but took their presence for granted, along with other family skills such as knitting, crochet, and dressmaking. <mask>'s early successes were related to art. She won the rank of "class artist" and was called on by teachers when they needed drawings for their classroom. She was able to more economically be made at home because she learned to sew from her mother. <mask> was aware of the national and California art scenes as well as the beginnings of the studio art quilt movement, an art form that uses traditional quilting techniques to create art objects.She decided to just work from her daily life and experiences and forget about the movement. She was one of the people who drove the California art quilt revolution while others did the same thing in New England and Ohio. She realized she could use her art training on textiles. <mask> added art quilter to her career as an artist. She was introduced to quilt making in 1974 when she joined a feminist consciousness-raising group. She used The Quiltmaker's Handbook to try the craft at home. He showed us how to stack all the pinned pieces in his first book.His work was important and he sewed them in long flags. It was contemporary. She began designing her own repeat blocks rather than copying old ones after making a few more quilts. She realized she was grateful for the warm reception viewers gave to quilts. The difference in feeling between a drawing and a quilt was remarkable. There is no distance between a person and fabric. She was home with her young children and it was easy to sew.Initially, she didn't realize other artists were making quilts. She used her skills as an artist to create designs. This art quilter used new technology. Her work evolved from colorful pieced work exploring decidedly modern geometric constructions to largely monochromatic abstractions painted with an airbrush. The "riots of the 1960s" interrupted <mask>'s formal education in art at San Francisco State University. She was able to finish her degree in 1978 after moving with her husband to a rural country existence in northern California. <mask> was able to teach high school in "art and other subjects" after receiving her teaching credentials from Dominican University.<mask> was an art teacher at San Francisco State. The California Art Quilt Revolution identified three phases of <mask>'s work as a quilt artist. The initial phase of creating large three-dimensional landscapes soon gave way to her second phase using an airbrush to make fanciful figures on fabric that she then assembled into quilts. As the "imagery and message evolved" using "recognizable northern California plants and animals" in her art, she continued to use the airbrush. She wanted to highlight the impact of logging on the forests surrounding her and the small town where she lives. To diffuse some of the community tension, we used sensitivity and a sense of humor. <mask>'s "fierce environmentalism" can be seen in the comforting folds of fabric.She exhibited in a show called "Soft Protests" at the New England Quilt Museum. <mask> didn't expect to make a living selling her art or teaching her skills as a quilt artist. The reason for doing it was her passion for art. One of the main reasons for being alive is the need to do art. That experience, that excitement. <mask>'s early exhibitions were in the Willits museum. The first president of the American Quilt Study Group gave her encouragement.She couldn't say "she made quilts" as she wouldn't be considered a serious artist. She likes to show her quilts in multi-media exhibits. Her quilts have 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 She has exhibited at both "Quilt National" in Athens, Ohio, and "Visions" in Oceanside, California. Her work has been included in over 100 exhibitions, as well as having her art in permanent collections in The Museum of Art & Design. "Linda <mask>: Images of a Changing California" was a mixed-media show that called her "a prominent Mendocino artist who has been actively involved in creating art focused on strong ecological themes in a playful and poignant manner." Linda MacDonald is best known for her environmental work because of her experience in northern California.Her "series of quilts with a logging theme" followed her "environmental themes such as oil drilling." She has a playful sense of humor. Even the old growth must work for its keep is an example of this. "<mask>: Stories from the North Woods" was a mixed-media exhibition that featured drawings, paintings, fiber, and eco-graphics. Her fiber section used tongue-in-cheek humor to state the obvious. The chain saw was used. The life of a forest being decimated by logging until it is eventually "the inevitable forest of stumps" is chronicled in Trees, Lumber, Houses, and People.<mask>, an artist who began as a painter, switched to textiles in the 1980s, and soon combined the two, primarily painting on traditional canvas as of 2013). Artists from the San Francisco Bay Area and people from Willits, California.

masks:
Linda MacDonald
MacDonald
MacDonald
MacDonald
MacDonald
MacDonald
MacDonald
MacDonald
Linda MacDonald
MacDonald
MacDonald
MacDonald
MacDonald
Linda MacDonald
Linda MacDonald


title: Richard Glücks

texts: <mask> was a high-ranking Nazi official. He was Concentration Camp Inspector (CCI) from November 1939 until the end of World War II. He was the supervisor for the medical practices in the camps, as well as the forced labour of the camp inmates, and he was also responsible for the mass murder of inmates. After Germany capitulated, Glcks took his own life. The early life of Glcks was in Odenkirchen in the Rhineland. He worked in his father's business after completing gym in Dsseldorf. Glcks joined the army as a volunteer in 1909.He moved to Argentina as a trader in 1913. When World War I broke out, Glcks returned to Germany under a false identity and joined the army again. He was awarded the Iron Cross I and II for his service during the war. The Battle of Verdun and the Battle of the Somme were fought by glcks. After the war, he became a liaison officer between the German forces and the Military Inter-Allied Commission of Control, the allied body for controlling the restrictions placed upon Germany in the Treaty of Versailles regarding re-armament and strength of their armed forces. He joined the staff of the 6th Prussian Division in 1924. He served in the Freikorps.The rise under the Nazi regime saw Glcks join the NSDAP in 1930. From 6 September 1933 to 20 June 1935 he was a member of the staff of the "West". The historian claims that Glcks possessed an "abundance of ideological commitment". He became the chief of staff to Theodor Eicke on April 1, 1936. After Eicke became field commander of the Totenkopf division in the summer of 1939, Himmler promoted Glcks to the post of Concentration Camps Inspector. In contrast to the warm relationship between Himmler and the older Eicke, Glcks only rarely met with Himmler, who promoted him not for his leadership. According to historian Michael Thad Allen, Glcks's rise in power was more about Eicke's poor managerial skills.The same uncompromising rigidity was carried out at the camps as Eicke had set it up, and there was no effort to exploit the working potential of inmates. Some senior camp members were suspicious of Glcks because he never served in a concentration camp. He preferred men of action and allowed them some freedom in operating their camps. Historian Robert Lewis Koehl described Glcks as being "unperceptive" and lacking in energy if not lazy, which may account to some extent for his hands-off approach. The use of concentration camp inmates for forced labour was the first thing that Glcks's responsibilities covered. The death rate in the camps went against the economic objectives of his department, so he urged camp commandants to lower it. He wanted the inmates to be made to work continuously.The site for a new concentration camp to Himmler and Reinhard Heydrich was recommended by Glcks at the same time. The chief directors of I.G. were accompanied by glcks. On 1 March 1941, it was decided that the camp would be expanded to accommodate up to 30,000 prisoners, an additional camp would be established nearby Birkenau capable of housing 100,000 POWs, and a factory would be constructed in proximity with the camp prisoners. Farben's disposal. In 1941, Glcks was promoted to the rank of aBrigadefhrer and in 1943, he was made a Generalleutnant of the Waffen-SS. The "Final Solution" was implemented by Glcks and Oswald Pohl. To oversee the coordination of camp related activities, which varied from the medical concerns of personnel and prisoners, the status of construction projects, and the progress of extermination operations, Glcks attended weekly meetings conducted by Pohl.He was aware of his subordination to Pohl and never tried to outdo his superior. After the Wannsee Conference in January 1942, Himmler ordered Glcks to prepare the camps for the immediate arrival of 100,000 Jewish men and 50,000 women being evacuated from the Reich as labourers in lieu of the diminishing availability of Russian prisoners. The CCI became Amt D of the Wirtschafts- und Verwaltungshauptamt in February 1942. The camp administration was managed by Glcks until the end of the war. The Inspector of Concentration Camps was placed under the authority of the Chief of the WVHA. By March 1942, Glcks was receiving instructions from the head engineer to meet the productivity demands of the engineers. He was involved in a meeting with Himmler on the topic of medical experiments on camp inmates.The mass murders and other atrocities committed at the Auschwitz concentration camps were well aware of by Glcks. The status of the extermination activities was regularly informed by the Auschwitz Kommandant. The unfavorable location of the crematoria was complained about by Glcks during his visit to Auschwitz in 1943. Hss ordered a row of trees to be planted between Crematorias I and II. When high officials from the Reich or the Nazi Party came to visit, the administration was told not to show the crematorias to them if they had questions about the smoke coming from the chimneys. The best camp doctor in a concentration camp is one who holds the work capacity among inmates at its highest possible level, according to a directive issued by him sometime in December 1942. The camp commanders were told in July 1944 that they were to follow the instructions of the regional commanders.More lives were lost as a result of these death marches. According to historian Leni Yahil, Glcks was responsible for the entire network of concentration camps, and his authority extended to the largest and most notorious of them all, Auschwitz. From what historian Martin Broszat relates, most of the important matters concerning the concentration camps were decided by the Inspector of Concentration Camps. In January 1945, Glcks was decorated for his contributions to the Reich in managing the fifteen largest camps and the five-hundred satellite camps. The entire Nazi camp system and the persecution network it represented were overseen by Glcks and Pohl. When the WVHA offices in Berlin were destroyed by Allied bombing on April 16, 1945, the WVHA was moved to Born on Dar in Pomerania on the Baltic sea. Glcks and his wife fled to Flensburg due to the advances of the Red Army.After the capitulation of Germany, he is believed to have committed suicide by swallowing a capsule of potassium cyanide at the Mrwik naval base in Flensburg-Mrwik, although the lack of official records or photos gave rise to speculation about his ultimate fate. There are references to a character named Glcks in the 1972 novel The Odessa File and the 1974 film adaptation. He is depicted in the novel as still being alive and the head of ODESSA, which is determined to destroy the State of Israel nearly two decades after the end of World War II. Holocaust Education & Archive Research Team has a list of the list of the list of the list of the list of the list of the list of the list of the list of the list of the list of the list of the list of the list of the list of the list of the list of At Holocaust Research Project.org, there is a description of <mask>s. People who committed suicide in Germany were from the Mnchengladbach Nazi Party.

masks:
Richard Glcks
Richard Gluck


title: Lorenzo Massa

texts: <mask> was an Argentine Catholic priest. He was one of the founding members of Club San Lorenzo deAlmagro. <mask> was born in Morn, Buenos Aires, Argentina, while his parents were born in Torino, Italy. His sisters were also religious. He became a priest on February 13, 1898. In 1900, he took his first job as a Salesian of Don Bosco Agricultural School. At College Pius IX, he was a teacher and assistant in theology.He was appointed as manager of the Oratorio San Antonio in Argentina in 1908. The group of boys from Los Forzosos del Almagro were led by a young man named Federico Monti. The virtue of force is defined by this name. They were offered the chance to play in the Oratory of San Antonio because of the drawbacks of playing in the street. The club would be called Club Atlético San Lorenzo de Almagro. The first 10 Salesians came to Argentina on December 14, 1875. They have created works and activities for the youth in every city.The Salesians in Argentina turned the whole society "donboscana way to the formation of youth" through the Holidays oratories, which were characterized by joy, Christian upbringing slowly instilled through techniques such as the classic "Goodnight Salesian". In the formation of Oratorios, the work of the Salesians continued to grow. The bands, the brackets, and the battalions Gymnasts recorded brilliant pages between 1908 and 1914. There is a need to form a stable body. Father Joseph Vespignani, at the upper point of the Salesians, had received reports of current that attracted young people to leave the Church, and had even reached Argentinian scoutist version. Excited about the idea of giving concrete form to something more stable, and recalling Blossio brackets created by Don Bosco at the beginning of his work, combined with the activities of existing brackets gymnasts, he called Father <mask>a. The framework of Dom Bosco's Argentinian Scouts was outlined from that moment.The first Chaplain battalion was involved in the creation. 1. The announcement of 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 Is it possible to join this noble institution with our charism? The man asked. He presented his draft form to the children of the company, the Children Battalion. The children were invited to join the Children's Battalion after Mass.According to the size of each split into nine companies of 30 children, Child Battalion was the Defenders of the Fatherland. Father Vespignani undertook to get the approval of the Superior Chapter of the Salesians. Father <mask>a received a call from Father Joseph Vespignani, who wanted to find Don Bosco's Argentinian Explorers. The dedication of the new school building "Saint Francis of Sales" took place on August 14, 1915, at the corner of Hiplito Yrigoyen and Yapey. "Today our house is proud to receive his visit, but we'd be more proud if the President of Argentina agreed to be escorted by our scouts," said the principal of the house. The honor guard of the President's Office was made up of 40 explorers who wore their new uniforms. On August 14, 1915, everything became a reality for the celebration of the 100th anniversary of the birth of Don Bosco.Father Jose said "Scouts will be a selection of festive Oratory, where the most prominent oratorians participate in the privileges and responsibilities inherent in Battalions." "You shall preserve lifelong autonomy and self-regulation." Explorers of Don Bosco have emerged in the name of God and country to preserve and advance the moral and religious values of youth, arousing noble sentiments of patriotism, twinned with family affection and respect for authority in a climate of expansive joy. The first Captain and Chief of the General Command, Mr. Ramn Conde, was in uniform before the end of the first year. Father Joseph Vespignani was drafted by the Law of Scouts Honor of Don Bosco in 1930. On the morning of October 31, 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 Father Massa was found dead in his bed by a janitor.It is thought that he died of a heart attack. His remains were deposited in the Oratorio San Antonio in 4050 Mexico Street on October 31, 2008. The first Salesian work in Tucumn was founded through an Arts and Crafts workshop called Salesian College General Belgrano. The Lorenzo Massa Technical Institute is one of the Salesian houses that he participated in. The story of Massa in the San Lorenzo de Almagro's foundation is recreated in the film El Cura Lorenzo, which starred ngel Magaa. There are people from Morn Partido, Argentine people of Italian descent, and Roman Catholic priests from Piedmontese descent.

masks:
Lorenzo Bartolomé Massa
Lorenzo Bartolomé Massa
Lorenzo Mass
Lorenzo Mass


title: Jacob D. Robida

texts: <mask><mask> was an American neo-Nazi. <mask> attacked three patrons at a gay bar in Massachusetts before fleeing by vehicle to Charleston, West Virginia, where he picked up his passenger. <mask> shot and killed a police officer after being stopped for a traffic violation. <mask> lost control of his vehicle in Norfork, Arkansas after running over a spike strip. He fatally shot Bailey and then shot himself in the head during a firefight with police. <mask> died in a hospital in Missouri. <mask> entered Puzzles Lounge, a popular gay bar south of Boston.The 18-year-old, dressed in black, proceeded to order a drink using a fake ID. He asked the bartender if the lounge was a gay bar after downing his first drink. The bartender said yes. <mask> swung a hatchet at a patron's head after a second drink. <mask> produced a handgun and began shooting, wounding at least three more people, after other patrons tackled him and relieved him of the weapon. <mask> was wanted by police for three counts of attempted murder after the incident was treated as a hate crime. <mask> fled the scene in a green 1999 Pontiac Grand Am to Charleston, West Virginia, where he was joined by another person.Bailey and <mask> lived in West Virginia in 2004. It's not clear if Bailey joined him willingly or if she was kidnapped. Police immediately began a hunt for <mask> and raided his mother's home. She told them that he had left after she saw him bleeding from the head. hatchets, knives, handguns and a shotgun were among the weapons they found. There were anti-Semitic writings on the walls of his bedroom. State police contacted the FBI because they were afraid he might have left Massachusetts.flyers depicting <mask> were distributed all over Massachusetts. In the afternoon of February 4, 2006 <mask>'s vehicle was seen in Arkansas, where Jim Sell, a Gassville police officer, initiated a traffic stop at the Brass Door Restaurant parking lot. <mask> opened fire with a 9mm handgun, killing the officer after talking with Sell. He fired at the Arkansas State Police Sgt. when he turned onto Arkansas Highway 201. Van Nowlin. Although the police laid spike strips, they failed to stop the car. <mask> drove into the small town of Norfork after fleeing for 18 miles down Arkansas Highway 5.He lost control of his car in the middle of town, spun out, and hit two parked vehicles. He shot at police. He shot Bailey in the head at point blank range, killing her instantly. <mask> shot himself in the head. He was flown more than 100 miles to Springfield, Missouri, where he died of his injuries the next day. The actions of a single deranged individual act as a wake up call to our community and once again the nation... The cycle of violence must stop.The guns have to leave the streets. We have to remove the violent video games from our homes. Believing the mayor was jumping to conclusions, members of GamePolitics wrote to Lang, saying that nobody had mentioned video games as a connection to the mass murders, nor had <mask> mentioned games on his website. In reply to Andrew Eisen, a member of GamePolitics.com who had written to the mayor over his comments, Lang wrote, "When you get a chance please explain to me the social benefits behind police and military video games for the future of our children." Mr. <mask> played these video games a lot as he was obsessed with weapons, violence and destruction. His space website has more information. I appreciate what you have to say.Robida's website was found to have a passion for Neo-Nazism and the Insane Clown Posse. One song talks about attacking people with a hatchet. The statement on the Robida attacks was released by the Insane Clown Posse. Alex Abbiss, the group's manager, extended his sympathies and prayers to the families of the victims. If anyone knows anything about the behavior of the people associated with the organization, they will know that they have never been down or down with bigotry. Jack Thompson, a disbarred attorney, commented on the incident, describing the bar attack as a "killing scenario" from Postal2 and the killing of Sell a "suicide by cop homicide" inspired by Grand Theft Auto. The "suicide by cop" theory was dismissed by police when it was discovered that <mask> had killed himself.Thompson claimed that <mask>'s friends had said that he played the Grand Theft Auto games. The video game link was rejected by the Bristol County District Attorney after he looked at all the evidence from <mask>'s apartment and car. The investigators did not find any video games when they searched <mask>'s home. There is no proof that video games were involved. There are crimes against lesbian, gay, bisexual, and queer people in the United States.

masks:
Jacob D
. Robida
Robida
Robida
Robida
Robida
Robida
Robida
Robida
Robida
Robida
Robida
Robida
Robida
Robida
Robida
Robida
Robida
Robida
Robida
Robida
Robida
Robida
Robida


title: Roma Babuniak

texts: There is an artist whose work is associated with bone china and unglazed biscuit porcelain. She lived and worked in Germany from 1981 to 2014. The 1st International Ceramics Contest Mino, Japan, an award with Honorable Mention for outstanding achievement, is one of the prizes she has won. After completing an Art Foundation Degree from the University of Salford, she went on to study at theSheffield School of Art and Design, where she obtained a Bachelor of Arts degree in fine art. In 1980 she received a grant from the Welsh Arts Council for a solo exhibition. She moved to Germany in 1981 and has a studio there. She had her work exhibited in galleries and exhibitions in England, Germany, Italy, France and Japan.The "Encuentro" exhibition was held at the Gonzalez Marti Museum in Valencia, Spain. She was awarded the Premio Diputacio da Valencia in 1999. At the international biennial in L'Alcora, Spain, in 2004, <mask> received the L'Alcalaten prize. The British Arts Council's Contemporary Applied Arts with whom she exhibited in 1994/95, as well as innovative exhibitions such as at Pulbrook and Gould's Weston, were all brought into contact with her by the selection for the Chelsea Crafts Fair. The work was purchased for the collection at the Victoria and Albert Museum, London, and exhibited at The Scottish Gallery in Edinburgh, where it was purchased for the Royal Museum of Scotland, now under the management of the National Museum of Scotland. In Japan, her work was exhibited in Mino, where she received honorable mentions at international exhibitions. She was invited as an artist-in-residence to Shigaraki in Japan in 2005, followed by a solo exhibition at the Noritake Garden Gallery in Nagoya.At the "Junges Porzellan" exhibition in Selb, Germany, Jrgen Schrer invited her to become part of the design team of ceramic artists. The Meissen Porzellanmanufaktur was saved by Dr. Christian Krutzke, but the project was abandoned after the threat of bankruptcy. Experiments were projected from organic forms in the earlier years of her career. She rejected function in favor of a greater power of expression, so these works never evolved into functional objects. By the 90's, the use of precious metals and other materials revealed a more architectural aspect to her sculpture. Babuniak's work is minimalist, disciplined and reserved, drawing on suburban landscapes where the subject matter is reduced to the essential characteristics. Her use of incongruous materials creates tension within the pattern.Her work has appeared in publications in many countries and she has a following of private and public collectors. There were demands of her own career that halted the reopening of the Studio Galerie, which focused on contemporary international artists from Germany and Japan: Christian He, Takao Inoue, Herbert Klee, Albert Lohr, Akashi Murakami, Christine Ott, Angelika Sieger. She started "Windows for Show" in Tegernsee, Germany. This was an innovative concept which brought together six interregional artists who exhibited together for 3 months in an environment not traditionally associated with art exhibitions, but which promoted direct exposure to the public. He has been a member of the AK68 Art Society in Germany since 1998. She served on the Board from 2008 to 2013 and is still on the panel. The exhibitions of Christine Ott, Albert Lohr, and Christian He were in this time.She has been involved in the creation and opening of a new international gallery in Western Australia. In co-operation with the Business Design Centre London, the House and Garden Show and 'Eating- In' were held.


title: Nicholas F. Seebeck

texts: The DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch <mask> moved to the United States at the age of 9. The Descriptive Price Catalogue of All known Postage Stamps of the United States and Foreign countries was published in 1876. He began printing stamps for the Dominican Republic in 1879. He received a fee for printing a specified number of stamps under a standard printing contract. The practice of year-dating otherwise identical stamp designs began with the Bolivar issues. In 1884, <mask> was able to sell his business and purchase a significant interest in the Hamilton Bank Note Engraving and Printing Co., which printed tickets for the New York City transportation system.In 1884, <mask> sold his New York stamp business and used the money to start the Hamilton Bank Note Engraving and Printing Co. <mask> came up with a plan to print stamps for foreign countries. The stamps would be dated and invalidated at the end of each year, to be replaced by a new series, if he offered them for free. The stamps would be returned to <mask> for sale. <mask> had the right to reprint any invalid stamps that were needed for sale. <mask> insisted on printing stamps with values not relevant to the postal rates of the countries using them. There are many long series of stamps that only have a few values in common with postal uses.The remaining values were intended for people. There is a debate for Honduras. The following denominations were paid: 1c - local post card, 2c domestic post card, 5c domestic letter, 10c double domestic letter or foreign letter, 20c - double rate foreign letter or single foreign letter plus registration. 1c - local card rate, 2c - domestic card rate, 3c - foreign card rate, 5c domestic letter rate, 10c single letter rate to Pacific rim countries, 11c - single foreign letter rate for letters transiting Panama. 20c - double foreign letter rate for Pacific rim countries or single rate plus registration, 24c - double letter rate to Pacific rim countries, 25c - single foreign Pacific rim letter rate plus registration, and 26c double letter rate for via Panama when rate went from 15c to 13c Commercial letters with the 1P, 5P and 10P stamps are known, but the 2P, 5P and 10P stamps were not used. <mask> was able to take advantage of the fact that his brother-in-law was the New York consul for El Salvador and Honduras.In 1889, <mask> left for a tour of Central America with letters of introduction from Schernikow to talk with government officials about an idea for a stamp printing arrangement that would benefit all concerned and signed contracts in 1889-1890 with several countries. Ten years worth of stamp issues were included in the contracts. Early in the 20th century, German philatelic experts studied the Seebeck issues and claimed that they had excess quantities printed before the stamps were delivered. If these stamps were ever delivered to the respective countries' postal authorities, they are still considered original postage stamps since they were printed during the time they were valid for postage. Condemnation of <mask> by the community was unanimous. Seebeck didn't realize that most stamp collectors want to collect the stamps that are usable and available for postage, and not special creations designed to separate them from their money. They were against Seebeck's unlimited reprinting rights, the yearly creation of new issues, and the issuance of postally-irrelevant stamp values.For the 1892 Columbus anniversary, stamps with face values up to $10 were issued. Although the U.S. and Canada received similar abuse for their stamp series, <mask>'s efforts were seen as particularly blatant. Many people refused to collect these issues. The bad publicity and administrative nuisance of the frequently-changing issues caused several countries to back out of their contracts with Seebeck. <mask> died at the age of 42 in the last year of his contract. <mask> was <mask>' grandson and the Hamilton Bank Note Company was still in existence in the 1940s. The plates from which the stamp reprints were produced reached the market.Most of the Hamilton issues are cheap and common, at least in unused condition. While the reprints abound, many of the original post-1895 issues are rare in unused condition. It is difficult to tell the stamps shipped for postal sale from the numerous reprints. The collector of this area needs to beware of forged cancellation on postally-used stamps. Notes Sources Minutes of the Hamilton Bank Note Company, by Bill Welch, The Seebecker, 1990 The Seebeck Issues of Nicaragua, by Albert Quast and Dr. Robert Willer, and The Collectors Club Philatelist, NY, 1968. The London Philatelist, No 711, pp. The Seebeck items were featured in the External links blog.The deaths of American stamp dealers in the 19th century.

masks:
Seebeck
Seebeck
Seebeck
Seebeck
Seebeck
Seebeck
Seebeck
Seebeck
Seebeck
Seebeck
Seebeck
Nicholas Seebeck
August Seebeck
Nicholas


title: Randall Williams (showman)

texts: Victorian showman <mask> popularised moving pictures on British fairs. The first mention of a cinematograph exhibition in <mask>' show was at the Rotherham Statute Fair. <mask> toured Britain for 25 years, first with a ghost illusion show and then with a bioscope. During the summer of 1897, he exhibited at the Victorian Era Exhibition in Earl's Court, London with a show designed to pay tribute to Queen Victoria's Diamond Jubilee. <mask> was a founding member of the United Kingdom Van Dwellers' Protection Association, a fairground trade organization which evolved into the Showmen's Guild of Great Britain. <mask> spent his entire life on the road after he was born. His father's family DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatchIn the mid 1840s, the <mask> family began travelling with fairground shows and then began making and touring with waxworks and mechanical exhibitions. There were a number of visual displays incorporating three-dimensional models with various moving parts in the mechanical exhibitions. The individual displays were presented against a scenic background. A colliery village or a battlefield re-enactment are examples of exhibits that portray some scene or event. The loss of Her Majesty's ship "Captain" and a storm and rescue at sea were depicted in <mask>'s father's show. A model of a coal pit was included in the exhibition. The <mask> family diversified into rides and other fairground attractions in the early 1900s.Their exhibits included waxworks and mechanical displays, photography and fine art exhibits, ghost shows, and cinematograph exhibitions. <mask> started the ghost illusion show in 1871. A ghost illusion show was a type of stage show that combined theatrical presentations with the optical technique known as Pepper's Ghost. Ghost illusions were popular in British theatres throughout the 1860s but did not appear in fairground shows until the early 1870s. The adaptation of Pepper's Ghost was usually a short stage play, consisting of three acts and a comic song, done in about twenty minutes. The final act usually ended with a transformation scene depicting the final passage from this life to the next, and at least one ghostly entity made its appearance. The ghost was a three-dimensional representation of an actor who was brightly lit up by the spotlight and positioned off stage, out of sight of the audience.The travelling show proprietors had to put on the ghost. Light, a large mirror, and a large sheet of glass were required to reflect the images. The glass had to be erected so that it sat at a forty-five degree angle at the front of the stage and it had to be housed in a box specially built for transport. The final component was a platform-type stage built high enough to accommodate the actors who worked directly below and to the front of the stage, as well as the limelight worker, whose job it was to illuminate the actors whose images were reflected onto and through the glass. An enclosure was built around the front of the stage to keep the audience from seeing what was happening below the surface. The programs for <mask>' show varied, but audiences were usually treated to at least one melodrama and a comical farce or two. His show at the New Year's fair was advertised as a specially written adaptation of the late Chas.The tableaux illustrative of the heart-stirring poem of Little Jim, the Collier's Child, and the thrilling legend of Adrian, the Avenger are included. The artists he employed included actors, song and dance teams, ballet dancers, mummers and comedians like the Great Little Titch. He hired international acts such as The Brothers LaFayette and Professor Howard. <mask>' show had many of the same trappings as a touring company. The crew of the show in Manchester at the time of the census consisted of actors, actresses, comedians, musicians, and comic singers. fair-going audiences liked <mask>' phantasmagoria. <mask>' "Hobgoblinscope," in which ghosts, phantoms, and goblins appear and disappear, and sing and dance in such a way as to amuse the audience, is not the least amusing show on the ground.<mask> was invited to exhibit at the Victorian Era Exhibition in London in 1897 by Imre Kiralfy, who was a showman. A number of short plays, films of the Queen's Jubilee Procession, and a tableau vivant representation of the Queen surrounded by flags of all nations were included in his show that year. The exhibition guide referred to the show asPepper's Ghost. Hildethorpe, 1889 The Bells, or the Murder of the Hull Fisher Boy: Otto Brand, or the Bonnie Lass of Bridlington. The Colleen Bawn, Boston May Fair 1895, Faith, Hope, and Charity: Boston May Fair 1895, Uncle Tom's Cabin, and Henry Irving were all British actors. The show traveled under a number of different names over the years. The new medium of moving pictures was introduced to the British public by travelling showmen in the late 1890s.The cinema took off in Britain because of the combined network of showmen and performance venues that were already in place. <mask> was one of the first showmen to exhibit films. The first mention of a cinematograph exhibition in his show was at the Rotherham Statute Fair in 1896. He probably showed films two weeks earlier. <mask> referred to his first cinematograph as the "Electroscope" and, at Hull Fair in October that year, he had been advertising "The Electroscope and Living Pictures." The following month, he became the first showman to exhibit films at the World's Fair, an indoor "<mask> Williams' Cinematographe Pavilion did immense business at the Valentine's Fair at King's Lynn, Norfolk in February 1897." Haydon and Urry is a company.Haydon and Urry, a London-based firm that produced cinematographs and films during the late 1890s, supplied <mask> with his first cinematograph by early February 1897. The company's involvement in the cinema trade was short-lived, but they are noted for supplying many of the first fairground exhibitors. <mask> was the first showman to use Haydon and Urry's cinematograph and his use came about as a result of three factors: need, availability, and timing. In 1896, Haydon and Urry were working on their own cinematograph. <mask> was at the Royal Agricultural Hall when they moved to 353 Upper Street. Just as <mask> needed a new cinematograph, their new one was ready for market in February 1897. The projector he was using for the film exhibition at the World's Fair had been condemned as a fire risk by London County officials.Haydon and Urry applied for a patent for their cinematograph just as the World's Fair was coming to an end and just prior to <mask> opening at King's Lynn. The projector used by <mask> at Lynn would have been the firm's earliest model and the same model he used throughout the summer at the Victorian Era Exhibition in Earl's Court, London. <mask> initially billed his cinematograph as The Electroscope, but after he upgraded to Haydon and Urry's improved model in October, he began advertising it as The Biograph. The Eragraph projector was popular with other early film show proprietors, including Harry Scard, Albert and George Biddall, and Alfred Reynold. The main draw in 1897 was supplied by Haydon and Urry of Queen Victoria's Jubilee Procession. The Jubilee films, a series of six films, were produced by James and Richard Monte, two brothers employed by the firm. The first footage of the Queen's procession to be seen by the public is believed to have been the films that were exhibited at the London Pavilion.Within 24 hours of the procession having taken place, a second copy of the films was dispatched by train and displayed at the Variety Exhibition on Lime Street. The Monte brothers produced a number of films for Haydon & Urry, including The Bride's First Night, Twelve months After, and Lady Overboard. He organized a number of protests against the railway companies over the years. A group of showmen met at the Black Lion Hotel in late 1890 to organize a protest against the Moveable Dwellings Bill. George Smith, a child welfare reformer, initiated the bill that provided for the regulation of vans, vehicles and tents used as dwellings. The showmen believed that if the bill passed, it would restrict their ability to travel and pose a serious threat to their livelihoods. George Smith and the showmen had a dispute over the bill for three years.Smith died less than a year after his final attempt to regulate the nomadic population was a revised bill in 1894. The showmen were opposed to the bill. The men and women who made a living with traveling amusements formed the United Kingdom Van Dwellers' Protection Association at a meeting in London in February 1891. The new van dwellers association helped define those in the travelling amusement trade as a distinct group, socially and economically separate from other groups of travellers. The Showmen's Guild of Great Britain was formerly known as the Van Dweller's Protection Association. As one of the Vice Presidents for the Manchester Section, <mask> was deeply involved in the Van Dweller's Protection Association. <mask>' last show was at the Freeman Street Market in Great Grimsby, where he died of a disease on November 14, 1898.The Reverend Thomas Horne conducted the funeral service at Weaste Cemetery. <mask> was survived by his partner, Annie Radford <mask>, as well as his children, <mask>, Thomas, Eddie Albert, and George. His first wife, Mary Ann, died in 1884. <mask>' main bioscope was taken over by his daughter Carrie and new husband Dick Monte. The Randall Williams Cinematograph Show was destroyed by fire in 1913. <mask>' No. His daughter and son-in-law took over the show.They used their bioscope until 1906. References from other sources. pp. In London in 1974. Arthur, M.C.B. Merry Go Round features "The House of Williams". 2, No.pp. May, 1943. John Barnes. The Cinema in England from 1894-1901. In 1994-1998,  888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 888-349-8884 Michael Chanan. The Dream that Kicks: The Prehistory and Early Years of Cinema in Britain was published in 1980.Ann Featherstone. The Journals of Sydney Race 1892-1900: A Provincial View of Popular Entertainment was published in London in 2007. "Gashinski." "Putting on the Ghost" was published in February 2007. Tweedale, 7–19. "Gashinski." "World's Fair: Royal Agricultural Hall: The Cinematograph" was published in February 2008.Tweedale, 15–21 "Gashinski." There are a few useful people for the ghost business. Denis Gifford. The British Film Catalogue is a reference guide. Imre, Kiralfy. The Victorian Era Exhibition Guide was published in 1897.The Picture House is located in Lavenham, Suffolk. Kevin and Smith are related to Stephen. The travelling cinematograph show was held in 1999. George Smith. I've been a gipsying among our gipsies and their children in their tents and vans. George Speight. "Professor Pepper's Ghost" is in the Theatre Notebook.43, No. 1, pp. The event was held in London in 1989. The Royal Agricultural Hall papers are from the Theatre and Music Hall Committee. There is a file at the London Metropolitan Archives. Peter Wilkes. The Fairground Heritage.Trent Valley, 1989. Peter Wilkes. The Great Trent Valley goose fair was held in 1989. <mask>. "King of Showmen" was written in Northwest Wales in 1988. <mask>. The onion fair was held in 2001.The Who's Who Victorian Cinema: Greorge Haydon and Frank Harvey Urry National Fairground and Circus Archive can be found in the Monte Williams Collection.

masks:
Randall Kay Williams
Williams
Williams
Williams
Williams
Williams
Williams
Williams
Williams
Williams
Williams
Williams
Randall Williams
Williams
Williams
Williams
Randall
Williams
Williams
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Williams
Williams
Williams
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Williams
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Randall
Williams
Williams
Karen Williams
Ned Williams


title: William Vincent Legge

texts: An ornithologist and a soldier, Colonel <mask> was an Australian soldier and an ornithologist. Legge's hawk-eagle, Legge's flowerpecker and Legges Tor are all named after him. <mask> was born at Van Diemen's Land. The <mask> family moved from Ireland to Australia in the 19th century. He named the 1200 acres "Cullenswood" after his home in Ireland. After studying in France and Germany, <mask> joined the Royal Military Academy, Woolwich, where he picked up several languages. After serving in England and Australia, he was commissioned into the Royal Artillery.He was stationed in Sri Lanka from 1869 to 1877. He worked at Aberystwith for five years. He moved back to the state. He was involved in the defence of the River Derwent. He was recommended by Sir Peter Scratchley to retire as Lieutenant-Colonel from the Imperial service. The reception for the Duke of Cornwall was organised by him. The forces were taken over by the Commonwealth in 1904.<mask> was offered the command of the forces in Tasmania after he showed interest in the defences of the River Derwent. He retired from the imperial service with the rank of lieutenant-colonel and took up his new command. Legge completed the torpedo course in May. The new breech-loading guns for the colony were ordered by Vernon from the Elswick Works. Many of his other recommendations went unheeded, despite the fact that the forces were reorganised and the batteries were armed with several of the latest types of guns. He was re-engaged twice before his appointment ended. Legge was offered the command again when Colonel A. T. Cox retired in 1898.He was in charge of the reception of the Duke of Cornwall in 1900 and held his post until the Commonwealth took over in 1904. Colonel <mask> had a strong interest in ornithology. He wrote History of the Birds of Ceylon, a collection of two quarto-sized volumes, with coloured plates by Keulemans, after studying the birds of the region. The work consisted of 1200 pages with 34 plates in colour and some of them became the standard book on the subject due to their high quality. He was the secretary of the Royal Asiatic Society. He gave part of his collection of birds to the Natural History Museum at South Kensington and the rest to the museum at Hobart. He published short notes on ornithology.The founding President of the RAOU, <mask>, served on the Check-list Committee until his death. He was a member of several organizations, including the British Ornithologists' Union, the American Ornithologists' Union, the Royal Geographical Society, and the Linnean Society. He was a founding member and president of the Royal Australasian Ornithologists Union. Legges was named after him to honor his survey of the region. He acted as vice-president in 1901 and president in 1904 at the conference of the Australasian Association for the advancement of science. Contributions to the sixth report of the committee were made by him. Legge and Talbot were married on December 1, 1867.She was the daughter of Major W. Gray. On 3 August 1916 he married Kathleen Louisa Douglas, a daughter of the postmaster-general Arthur Cunningham Douglas and sister of the mine manager R. M. Murray. He died at the age of 76 and was survived by his wife and two sons. Walk to the West Notes References Anon can be found here. The year 1918. There are Obituary Notices. Emu 18: 77–79."Robin" is the name of the person. The year 2001. A hundred years of Australian ornithology can be found in The Flight of the Emu. Carlton is in Victoria. The University Press of Melbourne. Lord, Murray. Colonel W.<mask> was a pioneer of Asian Ornithology.ASIA 8: 84–89. The Australian Dictionary of Biography has additional sources listed. The Mercury, 16 August 1916, 27 March 1918, 12 August 1927 Examiner (Launceston), 27 March 1918 had a note on the height of the Legge. The first volume of the History of the Birds of Ceylon was published in1878.

masks:
William Legge
Legge
Legge
William
Legge
Legge
Legge
Vincent Legge