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Dave Winfield

David Mark Winfield (born October 3, 1951) is an American former Major League Baseball (MLB) right fielder. He is the special assistant to the executive director of the Major League Baseball Players Association. Over his 22-year career, he played for six teams: the San Diego Padres, New York Yankees, California Angels, Toronto Blue Jays, Minnesota Twins, and Cleveland Indians. He had the winning hit in the 1992 World Series with the Blue Jays over the Atlanta Braves.

Winfield is a 12-time MLB All-Star, a seven-time Gold Glove Award winner, and a six-time Silver Slugger Award winner. The Padres retired Winfield's No. 31 in his honor. He also wore No. 31 while playing for the Yankees and Indians and wore No. 32 with the Angels, Blue Jays and Twins. In 2004, ESPN named him the third-best all-around athlete of all time in any sport. He is a member of both the Baseball Hall of Fame and College Baseball Hall of Fame.

Early life
David Mark Winfield was born on October 3, 1951, in Saint Paul, Minnesota, and grew up in the city's Rondo neighborhood. His parents divorced when he was three years old, leaving him and his older brother Stephen to be raised by their mother, Arline, and a large extended family of aunts, uncles, grandparents, and cousins. The Winfield brothers honed their athletic skills in Saint Paul's Oxford Field, where coach Bill Peterson was one of the first to notice Winfield. Winfield did not reach his full height of 6ft 6in until his senior year at Saint Paul Central High School.

College career
Winfield earned a full baseball scholarship to the University of Minnesota in 1969, where he starred in baseball and basketball for the Minnesota Golden Gophers. Winfield's 1971–72 Minnesota team won a Big Ten Conference basketball championship, the school's first outright championship in 53 years. During the 1972–73 basketball season, he was involved in a brawl when Ohio State played at Minnesota. Winfield also played college summer baseball for the Alaska Goldpanners of Fairbanks for two seasons (1971–72) and was the MVP in 1972. In 1973, he was named All-American and voted MVP of the College World Series—as a pitcher.

Following college, Winfield was drafted by four teams in three different sports. The San Diego Padres selected him as a pitcher with the fourth overall pick in the MLB draft. Winfield was also drafted by the Atlanta Hawks in the 5th round of the 1973 NBA draft and by the Utah Stars in the 6th round of the 1973 ABA Draft. Though he never played college football, the Minnesota Vikings selected Winfield in the 17th round of the 1973 NFL Draft. He is one of five players ever to be drafted by three professional sports (the others being George Carter, Noel Jenke, Mickey McCarty and Dave Logan) and one of three athletes, along with Carter and McCarty, to be drafted by four leagues.

Draft and San Diego Padres (1973–1980)
Winfield chose baseball; the San Diego Padres selected him in the first round, with the fourth overall selection, of the 1973 MLB draft. Winfield signed with the Padres, who promoted him directly to the major leagues. Although he was a pitcher, the Padres wanted his powerful bat in the lineup and put him in right field, where he could still use his powerful arm. He batted .277 in 56 games his first season.

Over the next several years, he developed into an All-Star player in San Diego, gradually increasing his ability to hit for both power and average. In 1977, he appeared in his first All-Star game at Yankee Stadium. In 1978, he was named Padres team captain and in 1979, he batted .308 with 34 home runs and 118 RBI. He played one more season with the Padres before becoming a free agent.

New York Yankees (1981–1990)
In December 1980, New York Yankees owner George Steinbrenner made Winfield the game's highest-paid player by signing him to a ten-year, $23 million contract (equivalent to $ million in ). Steinbrenner mistakenly thought he was signing Winfield for $16 million, unaware of the meaning of a cost-of-living clause in the contract, a misunderstanding that led to an infamous public feud. The $2.3 million annual average value of the contract set a record. He more than doubled the previous record set when Nolan Ryan signed with the Houston Astros in 1979.

Winfield was among the highest-rated players in the game throughout his Yankee contract. He was a key factor in leading the Yankees to the 1981 American League pennant. In the 1981 American League Division Series, Winfield batted .350 with two doubles and a triple and made some important defensive plays helping the Yankees to victory over the Milwaukee Brewers. Unfortunately, Winfield had a sub-par World Series, which the Yankees lost to the Los Angeles Dodgers in six games. After getting his only series hit, Winfield jokingly asked for the ball. Steinbrenner did not find this humorous, and criticized Winfield at the end of the series. Many commentators have since noted that Winfield's postseason doldrums were somewhat overstated when compared to those of his teammates. Four of his seven hits came in games won by the Yankees. The team's offense for the most part was inconsistent, and they were also set back by key injuries to Reggie Jackson and Graig Nettles, who each only played three games with one combined RBI (the same as Winfield).

Winfield did not let Steinbrenner's comments affect his play. He hit 37 home runs during the 1982 season.

On August 4, 1983, Winfield killed a seagull by throwing a ball while warming up before the fifth inning of a game at Toronto's Exhibition Stadium. Fans responded by hurling obscenities and objects onto the field. After the game, he was brought to a nearby Metropolitan Toronto Police station and charged with cruelty to animals. He was released after posting a $500 bond. Yankee manager Billy Martin quipped, "It's the first time he's hit the cutoff man all season." Charges were dropped the following day. As Winfield missed the Yankees team bus to Hamilton that night to catch their flight home, he was driven to Hamilton personally by Blue Jays general manager Pat Gillick. In the offseason, Winfield returned to Toronto and donated two paintings for an Easter Seals auction, which raised over $60,000. For years afterward, Winfield's appearances in Toronto were greeted by fans standing and flapping their arms.

From 1981 through 1984, Winfield was the most effective run producer in MLB. In 1984, he and teammate Don Mattingly were in a race for the batting title in which Mattingly won out by .003 points on the last day of the season; Winfield finished with a .340 average. In the last few weeks of the race, it became obvious to most observers that the fans were partial to Mattingly. Winfield took this in stride, noting that a similar thing happened in 1961 when Mantle and Maris competed for the single season home run record.

In 1985, Steinbrenner derided Winfield by saying to The New York Times writer Murray Chass, "Where is Reggie Jackson? We need a Mr. October or a Mr. September. Winfield is Mr. May." This criticism has become somewhat of an anachronism as many cite the statement to Steinbrenner after the 1981 World Series. Winfield was struggling while the Yankees eventually lost the division title to Toronto on the second to last day of the season. The "Mr. May" sobriquet lived with Winfield until he won the 1992 World Series with Toronto.

Throughout the late 1980s, Steinbrenner regularly leaked derogatory and fictitious stories about Winfield to the press. He also forced Yankee managers to move him down in the batting order and bench him. Steinbrenner frequently tried to trade him, but Winfield's status as a 10-and-5 player (10 years in the majors, five years with a single team) meant he could not be traded without his consent. Winfield continued to put up excellent numbers with the Yankees, driving in 744 runs between 1982 and 1988, and was selected to play in the All-Star Game every season. Winfield won five (of his seven) Gold Glove Awards for his stellar outfield play as a Yankee.

In 1989, Winfield missed the entire season due to a back injury. 1990 was the last year of his contract with the Yankees, but the troubles with Steinbrenner in his feud with Winfield continued to escalate. He had a rusty spring training before being relegated from the field to being the designated hitter. Further troubles led to being just the DH against left-handed pitchers. On May 11, manager Bucky Dent and general manager Pete Peterson met in a room with the intent of stating a trade of Winfield for Mike Witt of the California Angels. Winfield stepped in the room and stated his refusal to be traded; the argument over whether his 10-and-5 rights overrode his list of having the Angels on his trade list failed to meet at an impasse when Angels owner Gene Autry came in with a three-year extension. He proceeded to hit 19 home runs in 112 games for the Angels in the remainder of the 1990 season. As for Steinbrenner, he attempted to curry favor by stating to Winfield that he would welcome back Winfield openly if he had won the arbitration case; by this point in the month of May, he was already under investigation by commissioner Fay Vincent for his apparent connections to Howard Spira, a known gambler with supposed Mafia connections, whom he had paid $40,000 for embarrassing information on Winfield. A month later, the team received a fine that required them to pay money to the league and the Angels for tampering and Steinbrenner soon received a life-time ban. However, the suspension lasted only two years.

California Angels (1990–1991)
Winfield was traded for Mike Witt during the 1990 season and won The Sporting News Comeback Player of the Year Award. He hit for the cycle in June 1991 against the Kansas City Royals, hitting 5-for-5 in the game. He also recorded his 400th home run against the Twins in his hometown.

Toronto Blue Jays (1992)
Winfield was still a productive hitter after his 40th birthday. On December 19, 1991, he signed with the Toronto Blue Jays as their designated hitter, and also made "Winfieldian" plays when he periodically took his familiar position in right field. He batted .290 with 26 home runs and 108 RBI during the 1992 season.

Winfield proved to be a lightning rod for the Blue Jays, providing leadership and experience as well as his potent bat. Winfield was a fan favorite and also demanded fan participation. In August 1992, he made an impassioned plea to the reserved fans during an interview for more crowd noise. The phrase "Winfield Wants Noise" became a popular slogan for the rest of the season, appearing on T-shirts, dolls, buttons, and signs.

The Blue Jays won the pennant, giving Winfield a chance at redemption for his previous post-season futility. In Game 6 of the World Series, he became "Mr. Jay" as he delivered the game-winning two-run double in the 11th inning off Atlanta's Charlie Leibrandt to win the World Series Championship for Toronto. At 41 years of age, Winfield became the third-oldest player to hit an extra base hit in the World Series, trailing only Pete Rose and Enos Slaughter.

Minnesota Twins (1993–1994)
After the 1992 season, Winfield was granted free agency and signed with his hometown Minnesota Twins. In 1993, he batted .271 with 21 home runs, appearing in 143 games for the 1993 Twins, mostly as their designated hitter. On September 16, 1993, at age 41, he collected his 3,000th career hit with a single off Oakland Athletics closer Dennis Eckersley.

During the 1994 baseball strike, which began on August 12, Winfield was traded to the Cleveland Indians at the trade waiver deadline on August 31 for a player to be named later. The 1994 season had been halted two weeks earlier (it was eventually canceled a month later on September 14), so Winfield did not get to play for the Indians that year and no player was ever named in exchange. To settle the trade, Cleveland and Minnesota executives went to dinner, with the Indians picking up the tab. This makes Winfield the only player in major league history to be "traded" for a dinner (although official sources list the transaction as Winfield having been sold by the Twins to the Indians).

Cleveland Indians (1995)
Winfield, who was the oldest player in MLB at the time, was again granted free agency in October but re-signed with the Indians as spring training began in April 1995. A rotator cuff injury kept him on the disabled list for most of the season, thus he played in only 46 games and hit .191 for Cleveland's first pennant winner in 41 years. He did not participate in the Indians' postseason.

Honors and awards
Winfield retired in 1996 and, in his first year of eligibility, was inducted into the Baseball Hall of Fame in 2001 as a San Diego Padre, the first Padre to be so honored. The move reportedly irked Yankees' owner George Steinbrenner, however Winfield sounded a conciliatory note toward him, saying, "He's said he regrets a lot of things that happened. We're fine now. Things have changed."

In 1998, Winfield was inducted by the San Diego Hall of Champions into the Breitbard Hall of Fame, honoring San Diego's finest athletes both on and off the playing surface.

In 1999, Winfield ranked number 94 on The Sporting News list of Baseball's Greatest Players, and was a nominee for the Major League Baseball All-Century Team.

He was inducted into the San Diego Padres Hall of Fame in 2000. The Padres retired Winfield's No. 31 on April 14, 2001.

On July 4, 2006, Winfield was inducted into the College Baseball Hall of Fame in its inaugural class.

In 2010, Winfield was selected as one of 28 members of the NCAA Men's College World Series Legends Team.

The Big Ten Network named Winfield its #15 ranked Big Ten Conference "Icon" in 2010.

The 2016 MLB All-Star Game, played at Petco Park in San Diego, was dedicated to Winfield. He had represented the Padres at the first All-Star Game to be played in San Diego.

On June 21, 2024, Winfield returned to Fairbanks for the unveiling of a bronze statue near Growden Park, where he had played for the Alaska Goldpanners of Fairbanks. Winfield also threw out the ceremonial first pitch for the annual Midnight Sun Game.

Post-playing career and appearances
In 1996, Winfield joined the new Major League Baseball on Fox program as studio analyst for their Saturday MLB coverage.

From 2001 to 2013, Winfield served as executive vice president/senior advisor of the San Diego Padres.

In 2006, Winfield teamed up with conductor Bob Thompson to create The Baseball Music Project, a series of concerts that celebrate the history of baseball, with Winfield serving as host and narrator.

In 2008, Winfield participated in both the final Old Timers' Day ceremony and final game ceremony at Yankee Stadium.

On June 5, 2008, Major League Baseball held a special draft of the surviving Negro league players to acknowledge and rectify their exclusion from the major leagues on the basis of race. The idea of the special draft was conceived by Winfield. Each major league team drafted one player from the Negro leagues.

On March 31, 2009, Winfield joined ESPN as an analyst on their Baseball Tonight program.

On December 5, 2013, Winfield was named special assistant to Executive Director Tony Clark at the Major League Baseball Players Association.

On July 14, 2014, Winfield returned to Minnesota to throw out the first pitch at the 2014 Home Run Derby along with fellow St. Paul natives Joe Mauer, Paul Molitor, and Jack Morris.

In March 2016, Winfield helped represent Major League Baseball in Cuba during President Obama's trip to the island in an attempt to help normalize relations. On March 21 he gave a press conference with Joe Torre, Derek Jeter, and Luis Tiant in Havana and attended the baseball game between the Tampa Bay Rays and the Cuba National Team the next day.

In July 2022, Winfield delivered Bud Fowler's Hall of Fame speech in Cooperstown.

In popular media
During the 1994–95 MLB strike, Winfield and a handful of other striking players appeared as themselves in the November 27, 1994, episode of Married With Children (Season 9, Episode 11).

Philanthropy
Well known for his philanthropic work, Winfield was the first active athlete to create a philanthropic foundation, The David M. Winfield Foundation. He began giving back to the communities in which he played from 1973, his first year with the Padres, when he began buying blocks of tickets to Padres games for families who could not afford to go to games, in a program known as "pavilions." Winfield then added health clinics to the equation, by partnering with San Diego's Scripps Clinic who had a mobile clinic which was brought into the stadium parking lot. When Winfield joined the Toronto Blue Jays, he learned teammate David Wells was one of the "Winfield kids" who attended Padres games.

In his hometown of St. Paul, he began a scholarship program (which continues to this day). In 1977, he organized his efforts into an official 501(c)(3) charitable organization known as the David M. Winfield Foundation for Underprivileged Youth. As his salary increased, Foundation programs expanded to include holiday dinner giveaways and national scholarships. In 1978, San Diego hosted the All-Star game, and Winfield bought his usual block of pavilion tickets. Winfield then went on a local radio station and inadvertently invited "all the kids of San Diego" to attend. To accommodate the unexpected crowd, the Foundation brought the kids into batting practice. The All-Star open-practice has since been adopted by Major League Baseball and continues to this day.

When Winfield joined the New York Yankees, he set aside $3 million of his contracted salary for the Winfield Foundation. The foundation created a partnership with the Hackensack University Medical Center including founding The Dave Winfield Nutrition Center, near his Teaneck, New Jersey, home. The Foundation also partnered with Merck Pharmaceuticals and created an internationally acclaimed bilingual substance abuse prevention program called "Turn it Around".

The Winfield Foundation also became a bone of contention in Steinbrenner's public feud with Winfield. Steinbrenner alleged that the foundation was mishandling funds and often held back payments to the organization, which resulted in long, costly court battles. It also created the appearance that Steinbrenner was contributing to the foundation, when in actuality, Steinbrenner was holding back a portion of Winfield's salary. Ultimately, the foundation received all of its funding and the alleged improprieties proved unfounded.

Winfield's philanthropic endeavors had as much influence on many of MLB's players as his on-field play. Yankee Derek Jeter, who grew up idolizing Winfield for both his athleticism and humanitarianism, credits Winfield as the inspiration for his own Turn 2 Foundation. In turn, Winfield continues to help raise funds and awareness for Jeter's Foundation and for many other groups and causes throughout the country.

Personal life
Winfield resides in California with his wife Tonya, and three children, Shanel and twins David II and Arielle.

Quotes

 * Now it's on to May, and you know about me and May. —after setting an American League record for RBI in April 1988.
 * I am truly sorry that a fowl of Canada is no longer with us. —to the press after being released following the 1983 bird-killing incident.
 * These days baseball is different. You come to spring training, you get your legs ready, your arms loose, your agents ready, your lawyer lined up. —at spring training, 1988, in response to his on-going feud with Steinbrenner.
 * I have no problem with Bruce Springsteen.—when asked by the New York Daily News why he has such a problematic relationship with "the Boss" (a nickname shared by both Springsteen and Steinbrenner).
 * "Three-ninety-nine sounds like something you'd purchase at a discount store. Four hundred sounds so much better. —upon hitting his 400th home run after 10 days mired at 399.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Dave Winfield


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Talk:United States Department of the Treasury

Bureau List
This list of bureaus includes The Community Development Financial Institution (CDFI) Fund. Treasury itself does not list this as a bureau (see here: https://home.treasury.gov/about/bureaus). Given this, this suggests the CDFI fund should probably be removed from the bureau list. — Preceding unsigned comment added by 164.95.16.80 (talk) 20:53, 21 October 2022 (UTC)

 * David A Clason 173.17.253.120 (talk) 14:19, 18 July 2023 (UTC)

Longhorn Mural
Painted in the Ogallala, NE, post office in 1938 by Frank Mechau. Sandy Amos (talk) 22:52, 25 June 2023 (UTC)

Hi
I have a checking account at simmons 1st if I was supposed to receive money. John Harris (Eightball Type Bad Ass) (talk) 05:42, 25 January 2024 (UTC)


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Caledonian Railway (Brechin)

The Caledonian Railway (Brechin) Ltd is a private limited company formed by a group of steam railway enthusiasts, the Brechin Railway Preservation Society, with the object of operating a railway service on the former Caledonian Railway line between Brechin and Montrose, Angus, Scotland. This line was built by the Aberdeen Railway in the 1840s. It closed for passenger traffic during the early 1950s with final closure undertaken by British Rail in 1981.

Brechin to Bridge of Dun
The line has now been re-instated and preserved for 4 mi between Brechin railway station and Bridge of Dun railway station and since 1993 trains have run at weekends during the summer as well as on special occasions at other times of the year. The two railway stations have also been refurbished.

Although the line originally went all the way to Montrose, which is still a station on the main rail network, there are currently no immediate plans to link the Brechin line back into the main rail network, as the section at Dubton through and onto Kinnaber Junction close to Montrose itself has now been redeveloped, making it difficult for the preserved railway to be reconnected to the national network at all.

Proposed extension
However, there is still hope of seeing the "CR Brechin" extended a further 3+1/2 mi to Dubton, bringing it up to a total of 7+1/2 mi in length. This is a long-term aim which would only require the re-instatement of a short length of track.

Steam Locomotives

 * Diesel locomotives
 * BR Bo-Bo Class 25 no. 25072. Stored awaiting overhaul.
 * BR Bo-Bo Class 25 no. 25083, built in 1963. Awaiting repairs.
 * BR Bo-Bo Class 26 no. D5301, built in 1959. Stored awaiting overhaul, painted BR Green.
 * BR Bo-Bo Class 26 no. D5314, built in 1959. Operational, painted BR Green.
 * BR Bo-Bo Class 26 no. 26035, built in 1959. Stored awaiting overhaul, painted BR Blue with full Yellow ends.
 * BR Bo-Bo Class 27 no. D5353, built in 1962. Operational, Painted BR Green with Yellow warning panels.
 * BR Bo-Bo Class 27 no. D5370, built in 1962. Operational, Painted BR Green with Yellow warning panels.

Diesel Multiple Units

 * BR Class 205 no. 1128
 * BR Class 205 no. 1132, Operational

title: Caledonian Railway (Brechin)


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Noumenon

In philosophy, a noumenon (, ; from νοούμενoν; : noumena) is knowledge posited as an object that exists independently of human sense. The term noumenon is generally used in contrast with, or in relation to, the term phenomenon, which refers to any object of the senses. Immanuel Kant first developed the notion of the noumenon as part of his transcendental idealism, suggesting that while we know the noumenal world to exist because human sensibility is merely receptive, it is not itself sensible and must therefore remain otherwise unknowable to us. In Kantian philosophy, the noumenon is often associated with the unknowable "thing-in-itself" (Ding an sich). However, the nature of the relationship between the two is not made explicit in Kant's work, and remains a subject of debate among Kant scholars as a result.

Etymology
The Greek word νοούμενoν (plural νοούμενα) is the neuter middle-passive present participle of νοεῖν, which in turn originates from the word νοῦς, an Attic contracted form of νόος. A rough equivalent in English would be "that which is thought", or "the object of an act of thought".

Historical predecessors
The Indian Vedānta philosophy (specifically Advaita), the roots of which go back to the Vedic period, talks of the ātman (self) in similar terms as the noumenon.

Regarding the equivalent concepts in Plato, Ted Honderich writes: "Platonic Ideas and Forms are noumena, and phenomena are things displaying themselves to the senses... This dichotomy is the most characteristic feature of Plato's dualism; that noumena and the noumenal world are objects of the highest knowledge, truths, and values is Plato's principal legacy to philosophy."

Overview
As expressed in Kant's Critique of Pure Reason, human understanding is structured by "concepts of the understanding" or pure categories of understanding, found prior to experience in the mind and which make outer experiences possible as counterpart to the rational faculties of the mind.

By Kant's account, when one employs a concept to describe or categorize noumena (the objects of inquiry, investigation or analysis of the workings of the world), one is also employing a way of describing or categorizing phenomena (the observable manifestations of those objects of inquiry, investigation or analysis). Kant posited methods by which human understanding makes sense of and thus intuits phenomena that appear to the mind: the concepts of the transcendental aesthetic, as well as that of the transcendental analytic, transcendental logic and transcendental deduction. Taken together, Kant's "categories of understanding" are the principles of the human mind which necessarily are brought to bear in attempting to understand the world in which we exist (that is, to understand, or attempt to understand, "things in themselves"). In each instance the word "transcendental" refers to the process that the human mind must exercise to understand or grasp the form of, and order among, phenomena. Kant asserts that to "transcend" a direct observation or experience is to use reason and classifications to strive to correlate with the phenomena that are observed. Humans can make sense out of phenomena in these various ways, but in doing so can never know the "things-in-themselves", the actual objects and dynamics of the natural world in their noumenal dimension - this being the negative, correlate to phenomena and that which escapes the limits of human understanding. By Kant's Critique, our minds may attempt to correlate in useful ways, perhaps even closely accurate ways, with the structure and order of the various aspects of the universe, but cannot know these "things-in-themselves" (noumena) directly. Rather, we must infer the extent to which the human rational faculties can reach the object of "things-in-themselves" by our observations of the manifestations of those things that can be perceived via the physical senses, that is, of phenomena, and by ordering these perceptions in the mind help infer the validity of our perceptions to the rational categories used to understand them in a rational system. This rational system (transcendental analytic), being the categories of the understanding as free from empirical contingency.

According to Kant, objects of which we are cognizant via the physical senses are merely representations of unknown somethings—what Kant refers to as the transcendental object—as interpreted through the a priori or categories of the understanding. These unknown somethings are manifested within the noumenon—although we can never know how or why as our perceptions of these unknown somethings via our physical senses are bound by the limitations of the categories of the understanding and we are therefore never able to fully know the "thing-in-itself".

Noumenon and the thing-in-itself
Many accounts of Kant's philosophy treat "noumenon" and "thing-in-itself" as synonymous, and there is textual evidence for this relationship. However, Stephen Palmquist holds that "noumenon" and "thing-in-itself" are only loosely synonymous, inasmuch as they represent the same concept viewed from two different perspectives, and other scholars also argue that they are not identical. Schopenhauer criticised Kant for changing the meaning of "noumenon". However, this opinion is far from unanimous. "Other interpreters have introduced an almost unending stream of varying suggestions as to how these terms ought to be used. A handful of examples will be sufficient to make this point clear, without any claim to represent an exhaustive overview. Perhaps the most commonly accepted view is expressed by Paulsen, who equates 'thing-in-itself' and 'noumenon', equates 'appearance' and 'phenomenon', distinguishes 'positive noumenon' and 'negative noumenon', and treats 'negative noumenon' as equivalent to 'transcendental object' [pp. 4:148-50, 154-5, 192]. Al-Azm and Wolff also seem satisfied to equate 'phenomenon' and 'appearance', though they both carefully distinguish 'thing-in-itself' from 'negative noumenon' and 'positive noumenon' [A4:520; W21:165, 313–5; s.a. W9:162]. Gotterbarn similarly equates the former pair, as well as 'thing-in-itself' and 'positive noumenon', but distinguishes between 'transcendental object', 'negative noumenon' and 'thing-in-itself' [G11: 201]. By contrast, Bird and George both distinguish between 'appearance' and 'phenomenon', but not between 'thing-in-itself' and 'noumenon' [B20:18,19, 53–7; G7:513-4n]; and Bird sometimes blurs the distinction between 'thing-in-itself' and 'transcendental object' as well.[2] Gram equates 'thing-in-itself' not with 'noumenon', but with 'phenomenon' [G13:1,5-6]! Allison cites different official meanings for each term, yet he tends to equate 'thing-in-itself' at times with 'negative noumenon' and at times with 'transcendental-object', usually ignoring the role of the 'positive noumenon' [A7:94; A10:58,69]. And Buchdahl responds to the fact that the thing-in-itself seems to be connected with each of the other object-terms by regarding it as 'Kant's umbrella term'.[3]" Stephen Palmquist on Kant's object terms Kant's writings show points of difference between noumena and things-in-themselves. For instance, he regards things-in-themselves as existing:

...though we cannot know these objects as things in themselves, we must yet be in a position at least to think them as things in themselves; otherwise we should be landed in the absurd conclusion that there can be appearance without anything that appears.

He is much more doubtful about noumena: But in that case a noumenon is not for our understanding a special [kind of] object, namely, an intelligible object; the [sort of] understanding to which it might belong is itself a problem. For we cannot in the least represent to ourselves the possibility of an understanding which should know its object, not discursively through categories, but intuitively in a non-sensible intuition.

A crucial difference between the noumenon and the thing-in-itself is that to call something a noumenon is to claim a kind of knowledge, whereas Kant insisted that the thing-in-itself is unknowable. Interpreters have debated whether the latter claim makes sense: it seems to imply that we know at least one thing about the thing-in-itself (i.e., that it is unknowable). But Stephen Palmquist explains that this is part of Kant's definition of the term, to the extent that anyone who claims to have found a way of making the thing-in-itself knowable must be adopting a non-Kantian position.

Positive and negative noumena
Kant also makes a distinction between positive and negative noumena: If by 'noumenon' we mean a thing so far as it is not an object of our sensible intuition, and so abstract from our mode of intuiting it, this is a noumenon in the negative sense of the term.

But if we understand by it an object of a non-sensible intuition, we thereby presuppose a special mode of intuition, namely, the intellectual, which is not that which we possess, and of which we cannot comprehend even the possibility. This would be 'noumenon' in the positive sense of the term.

The positive noumena, if they existed, would be immaterial entities that can only be apprehended by a special, non-sensory faculty: "intellectual intuition" (nicht sinnliche Anschauung). Kant doubts that we have such a faculty, because for him intellectual intuition would mean that thinking of an entity, and its being represented, would be the same. He argues that humans have no way to apprehend positive noumena:

Since, however, such a type of intuition, intellectual intuition, forms no part whatsoever of our faculty of knowledge, it follows that the employment of the categories can never extend further than to the objects of experience. Doubtless, indeed, there are intelligible entities corresponding to the sensible entities; there may also be intelligible entities to which our sensible faculty of intuition has no relation whatsoever; but our concepts of understanding, being mere forms of thought for our sensible intuition, could not in the least apply to them. That, therefore, which we entitle 'noumenon' must be understood as being such only in a negative sense.

The noumenon as a limiting concept
Even if noumena are unknowable, they are still needed as a limiting concept, Kant tells us. Without them, there would be only phenomena, and since potentially we have complete knowledge of our phenomena, we would in a sense know everything. In his own words:

Further, the concept of a noumenon is necessary, to prevent sensible intuition from being extended to things in themselves, and thus to limit the objective validity of sensible knowledge. What our understanding acquires through this concept of a noumenon, is a negative extension; that is to say, understanding is not limited through sensibility; on the contrary, it itself limits sensibility by applying the term noumena to things in themselves (things not regarded as appearances). But in so doing it at the same time sets limits to itself, recognising that it cannot know these noumena through any of the categories, and that it must therefore think them only under the title of an unknown something.

Furthermore, for Kant, the existence of a noumenal world limits reason to what he perceives to be its proper bounds, making many questions of traditional metaphysics, such as the existence of God, the soul, and free will unanswerable by reason. Kant derives this from his definition of knowledge as "the determination of given representations to an object". As there are no appearances of these entities in the phenomenal, Kant is able to make the claim that they cannot be known to a mind that works upon "such knowledge that has to do only with appearances". These questions are ultimately the "proper object of faith, but not of reason".

The dual-object and dual-aspect interpretations
Kantian scholars have long debated two contrasting interpretations of the thing-in-itself. One is the dual object view, according to which the thing-in-itself is an entity distinct from the phenomena to which it gives rise. The other is the dual aspect view, according to which the thing-in-itself and the thing-as-it-appears are two "sides" of the same thing. This view is supported by the textual fact that "Most occurrences of the phrase 'things-in-themselves' are shorthand for the phrase, 'things considered in themselves' (Dinge an sich selbst betrachtet)." Although we cannot see things apart from the way we do in fact perceive them via the physical senses, we can think them apart from our mode of sensibility (physical perception); thus making the thing-in-itself a kind of noumenon or object of thought.

Pre-Kantian critique
Though the term noumenon did not come into common usage until Kant, the idea that undergirds it, that matter has an absolute existence which causes it to emanate certain phenomena, had historically been subjected to criticism. George Berkeley, who pre-dated Kant, asserted that matter, independent of an observant mind, is metaphysically impossible. Qualities associated with matter, such as shape, color, smell, texture, weight, temperature, and sound are all dependent on minds, which allow only for relative perception, not absolute perception. The complete absence of such minds (and more importantly an omnipotent mind) would render those same qualities unobservable and even unimaginable. Berkeley called this philosophy immaterialism. Essentially there could be no such thing as matter without a mind.

Schopenhauer's critique
Schopenhauer claimed that Kant used the word noumenon incorrectly. He explained in his "Critique of the Kantian philosophy", which first appeared as an appendix to The World as Will and Representation: The difference between abstract and intuitive cognition, which Kant entirely overlooks, was the very one that ancient philosophers indicated as φαινόμενα [phainomena] and νοούμενα [nooumena]; the opposition and incommensurability between these terms proved very productive in the philosophemes of the Eleatics, in Plato's doctrine of Ideas, in the dialectic of the Megarics, and later in the scholastics, in the conflict between nominalism and realism. This latter conflict was the late development of a seed already present in the opposed tendencies of Plato and Aristotle. But Kant, who completely and irresponsibly neglected the issue for which the terms φαινομένα and νοούμενα were already in use, then took possession of the terms as if they were stray and ownerless, and used them as designations of things in themselves and their appearances.

The noumenon's original meaning of "that which is thought" is not compatible with the "thing-in-itself," the latter being Kant's term for things as they exist apart from their existence as images in the mind of an observer. In a footnote to this passage, Schopenhauer provides the following passage from the Outlines of Pyrrhonism (Bk. I, ch. 13) of Sextus Empiricus to demonstrate the original distinction between phenomenon and noumenon according to ancient philosophers: νοούμενα φαινομένοις ἀντετίθη Ἀναξαγόρας ('Anaxagoras opposed what is thought to what appears.')

title: Noumenon


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Filmation

Filmation Associates was an American production company that produced animation and live-action programming for television from 1963 until 1989. Located in Reseda, California, the animation studio was founded in 1962. Filmation's founders and principal producers were Lou Scheimer, Hal Sutherland and Norm Prescott.

Background
Lou Scheimer and Filmation's main director Hal Sutherland met in 1957 while working at Larry Harmon Pictures on the made-for-TV Bozo and Popeye cartoons. Eventually Larry Harmon closed the studio by 1961. Scheimer and Sutherland went to work at a small company called True Line, one of whose owners was Marcus Lipsky, who then owned Reddi-wip whipped cream. SIB Productions, a Japanese firm with U.S. offices in Chicago, approached them about producing a cartoon called Rod Rocket. The two agreed to take on the work and also took on a project for Family Films, owned by the Lutheran Church–Missouri Synod, for ten short animated films based on the life of Christ. Paramount Pictures soon purchased SIB Productions, and True Line's staff increased, including the arrival of former radio disc jockey Norm Prescott, who became a partner in the firm. He had already been working on the animated feature Pinocchio in Outer Space which was primarily produced by Belvision Studios.

History
They eventually left True Line, and Scheimer began working on commercials, including for Gillette and others, which began what became Filmation. He met lawyer Ira Epstein, who had worked for Harmon but had left the firm, and now put together the new corporation with Scheimer and Sutherland. It officially became Filmation Associates as of September 1962, so named because "We were working on film, but doing animation"; so putting them together yielded the portmanteau "Filmation".

Both Rod Rocket and the Life of Christ series credited "Filmation Associates" with "Production Design" in addition to Scheimer and Sutherland as directors. (SIB Productions, whose logo bore a resemblance to the original Filmation logo designed by Ted Littlefield, would soon go on to become "Sib-Tower 12 Productions" and produce the first few of Chuck Jones' Tom and Jerry films for MGM, until becoming MGM Animation/Visual Arts for the remainder of the films).

Norm Prescott brought in Filmation's first major project, Journey Back to Oz, an animated sequel to the MGM film The Wizard of Oz (1939). Begun in 1962, storyboarding, voice recording, and most of the music scoring and animation had been completed when financial challenges caused the project to be put on hold for nearly eight years.

In the meantime, the new Filmation studio turned their attention to a more successful medium, network television. For the next few years they made television commercials and some other projects for other companies and made an unsuccessful pilot film for a Marx Brothers cartoon series. They also tried to develop an original series named The Adventures of Stanley Stoutheart (later renamed Yank and Doodle) about a boy and a dog, but they were never able to sell it and almost closed down; until approached by DC Comics editor Mort Weisinger to do a Superman cartoon. This premiered on September 10, 1966, and was followed by several of the other DC superheroes, and then, in 1968, the first Archie Show. Both series greatly helped Filmation's popularity to increase into the 1970s, when it scored big with several of its series.

The Filmation studio was purchased by the TelePrompTer Corporation in 1969. Westinghouse Electric Corporation, through its Group W Productions division, acquired Filmation along with its purchase of TelePrompTer's cable and entertainment properties in 1981. In 1971, Filmation and Warner Bros. signed an agreement to distribute cartoons for film and television.

Filmation's last production was the feature film Happily Ever After (a sequel to the story of Snow White), produced from 1986 to 1988, and released to theaters five years later in 1993. Also, at the time of the closing, two new animated series, Bugzburg (a spin-off of Pinocchio and the Emperor of the Night, concerning insect characters who had shown up in that movie) and Bravo (a spin-off of BraveStarr), were beginning production.

In 1989, Westinghouse sold Filmation to Paravision International, an investment consortium led by the French cosmetics company L'Oréal. Before that sale was complete, Westinghouse shuttered the film studio on February 3, 1989, which left L'Oréal with only the Filmation library. This happened a day before the WARN Act went into effect requiring companies to give employees 60 days' notice before a mass layoff.

Film library ownership
The studio's intellectual property assets have changed hands on a number of occasions. The in-house productions (The Archie Show, Fat Albert and the Cosby Kids, etc.), which form a majority of the Filmation back catalog, were sold to Hallmark Cards in 1995, and were managed by its Hallmark Entertainment subsidiary. However, since the rest of Filmation's output was based on characters licensed from other companies, such titles are under the control of other studios (such as CBS Media Ventures and Warner Bros. via Turner Entertainment Co. and DC Entertainment).

In March 2004, ownership of the Filmation in-house library, which was under the ownership of Hallmark, was sold to UK-based Entertainment Rights. Entertainment Rights has since made the revelation that when Hallmark converted all of its Filmation series to digital format in the 1990s, only PAL-format copies were made, with the original film negatives and print rolls apparently discarded, as well as the original sound masters and other archival material belonging to Filmation. This was due to Hallmark's previously unstated (but long-suspected) short-sighted policy of only distributing Filmation's in-house shows outside of the United States. As a result, many of Entertainment Rights' DVD releases (distributed by BCI Eclipse LLC in the United States prior to the latter company's folding) were based on the international versions (which have PAL prints).

Because they were taken from PAL-based transfers, without correction, these releases exhibit the so-called 576i speedup effect in which the soundtrack plays 4% too fast, which results in the pitch being a half-step higher than it was originally (see PAL and Telecine for more information). PAL-NTSC conversion artifacts also include softness and ghosting. The exception appears to be at least three titles from ER's library: Groovie Goolies, Ark II and the animated Ghostbusters series. These series appear to have been sourced from original NTSC transfers for their U.S. release by BCI. The live-action series was, unlike most Filmation shows, shot on NTSC format tape (rather than film), so even if those did come from PAL masters, they would not have exhibited 576i speedup, as that only applies to material sourced from film masters. Other exceptions included the shows which were licensed properties, such as Star Trek: The Animated Series, which was owned by Paramount Television (now CBS Studios, which is now part of Paramount Global since 2019), and Shazam! (owned by Warner Bros./DC Comics), because the master elements for those shows were turned over to the owners of those licensed properties years before the sale to Hallmark.

On April 1, 2009, it was announced that Entertainment Rights would be acquired by Boomerang Media and on May 11, 2009, it was announced that the subsidiaries and offices of Entertainment Rights would be absorbed under the name Classic Media.

In 2012, it was announced that Classic Media, owner of the Filmation library, would be acquired by DreamWorks Animation. DreamWorks Animation and its programming library, including those of Filmation (not including shows whose rights are owned by other companies, such as The New Adventures of Gilligan and Star Trek: The Animated Series), would later be acquired on August 22, 2016, by Universal Studios for $3.8 billion.

Animation style
Like other producers of Saturday-morning cartoons, Filmation was more concerned with quantity rather than quality; however, it did make a number of attempts to rise above the standard animated fare and produce reasonably well-written cartoons. The best-known example of this is its animated adaptation Star Trek: The Animated Series, which included scripts contributed by well-known science fiction writers and starred most of the original cast. Other favorably remembered Filmation series included a 16-part animated serial of Flash Gordon, originally intended as a movie for theatrical release, Flash Gordon: The Greatest Adventure of All. The original film edit was only aired three times on NBC, years after the series was cancelled. Fat Albert and the Cosby Kids was another hailed series created by and starring Bill Cosby with an explicit educational focus. He-Man and the Masters of the Universe, based on the popular line of Mattel toys, opened up a new North American market for first-run television syndication for animation in the 1980s. The animated adaptations of the Archie Comics characters were also noteworthy for the original pop music produced for it, particularly the song "Sugar, Sugar", which was a No. 1 hit single.

In addition, certain episodes of He-Man and BraveStarr, in substance, and often animation, were pioneers in children's animated series of their time and paved the way for broader storytelling. Examples include He-Man's "The Problem with Power" which dealt with He-Man believing he had killed an innocent bystander. Another is "Teela's Quest" which introduced a now-famous mythology on the Sorceress being Teela's mother, who is thus the heir to the mantle of safeguarding Grayskull, the versed continuity shared between He-Man and She-Ra, among others. Other notable examples include the BraveStarr episode "The Price", which includes the death of a character due to drug addiction. The 1985 Fat Albert episode "Busted" was a direct homage to the primetime Scared Straight! specials. A first for American children's cartoons, the original airing of this episode included mild profanity that has, however, been edited out of re-airings and home video versions. Likewise, the scripts for Star Trek, which were often written by the same people who had written for the live-action version of the series, tended to be quite sophisticated, and garnered the first Emmy Award for the franchise.

Quality
Filmation had a reputation for exploiting the technique of limited animation to produce a number of animated series with a distinct look. This technique involved limiting of the number of frames per second (fps) to fewer than the standard 24 fps seen on film or 25/30 fps seen on video. Frames would be repeated to compensate for the deficiency, resulting in a "jerky" motion. Filmation also made heavy use of rotoscoping in later years (beginning with its Tarzan and Flash Gordon series). It also re-used the same animated sequences over and over, many times, to the point where the Filmation style was instantly recognizable. One example of this can be seen in She-Ra's and He-Man's transformation sequences.

This frequent use of stock footage saved production money, but often resulted in sacrifice of continuity. This was countered by cutting from one stock shot to another after only a second or two, long enough to set the scene but before the eye could notice all of the unexplained errors. This became part of the Filmation style during a period when most television and motion picture productions tended to run minimum shots of 4–5 seconds.

In contrast to the rapid jump cuts during action sequences, another Filmation trademark was the recurring use of long establishing shots in which the camera would pan slowly across a very wide background painting, thus filling up screen time with sequences requiring little or no animation. Filmation also pioneered other animation technologies, particularly in Flash Gordon, which included backlighting effects for the first time in American animation (they were already in use in Japan), including moire effects to represent energy fields (a technique that was later used in He-Man and in She-Ra). It also pioneered a unique method of generating 3-D vehicle animation by filming white-outlined black miniatures against black backgrounds using a computerized motion-control camera and high-contrast film, then printing the negatives onto acetate frame-by-frame, to create animation cels which were then hand-painted. This produced a three-dimensional effect that had been used by Disney in films such as One Hundred and One Dalmatians previously. It predated the modern use of 3-D computer animation for vehicles in 2-D animated productions. However, it had a distinctive "flicker" to it, because some of the painted lines went in and out of visibility as the miniatures moved.

Unlike many American studios, Filmation never relied on animation studios outside the United States for the bulk of its production; Ghostbusters and BraveStarr both state in the ending credits that they were "made entirely in the U.S.A." This occurred during a time when rival studio Hanna-Barbera shifted from saying in the final production credits (immediately before the production logo appearances) "A Hanna-Barbera Production" to "Produced in Association with: Wang Film Productions / Cuckoo's Nest Studios" which is located in Taiwan (along with H-B's own Philippines-based Fil-Cartoons). The quality of Filmation's "Made Entirely in the U.S.A." strategy was comparable to the outsourced animation. Filmation did, however, rely on outsourcing once, when the company created its animated Zorro series. It was animated by Tokyo Movie Shinsha of Japan; however, the storyboards and graphics were made by Filmation itself.

Filmation is also noteworthy for its background paintings under the direction of long-time department head Erv Kaplan, such as the purple-colored "night sky" backgrounds used in He-Man and She-Ra.

Characters, as well as plots, were typically run-of-the-mill for the time. For example, most episodes of Ghostbusters had the same scheme (bad guys develop an evil plan, the heroes are needed but always absent, Ghost Buggy the talking car complains about their dangerous position, Tracy the Gorilla pulls out of his back pack exactly the miscellaneous item the Ghostbuster needs in a moment of despair, Eddie doing a number of clumsy/stupid things, etc.); although as previously mentioned, Filmation made various attempts to rise above the norm. Many of the sound effects used in its cartoons are also very familiar, the majority of them being recycled from Hanna-Barbera (this was, and still is, a common trait among animation companies, though Filmation's copies of the Hanna-Barbera sound effects were of a distinctively lower quality), though the company's DC Comics cartoons of 1966–67 used more realistic sound effects.

Filmation received particular criticism for Lassie's Rescue Rangers, an animated continuation of the long-running live-action series Lassie. Lassie's co-creator and trainer, Rudd Weatherwax, said of the show: "That's not Lassie. That's trash." It drew a rare denunciation from the National Association of Broadcasters, which accused Filmation of corrupting the Lassie franchise with "violence, crime and stupidity."

Trademarks
A trademark of the company's productions, beginning in 1969, was a rotating, circular "Produced by" (and on some series, "Executive Producers") credit seen in the ending credits (and in later productions, the opening sequences) of Filmation programs, as a device that was supposedly created to allow Prescott and Scheimer to share equal billing. Previously, Scheimer's name had been placed above Prescott's. However, the later Filmation productions credited only Scheimer, in the form of his signature ("Lou Scheimer, (Executive) Producer"), starting with Gilligan's Planet (1982).

Many of its series—particularly the productions of the late 1970s and 1980s—are notable for imparting a simple moral or life-lesson (explained by a key character, in a child-friendly manner) in the epilogue.

Original characters
The studio created very few original animated characters. Two examples were Fraidy Cat, a timid feline who has lost eight of his nine lives, which come back to haunt him; and Wacky and Packy, a caveman and his pet mammoth (Packy refers to the latter character being a "pachyderm") who enter the modern age through a time warp. Both of these originally aired as segments of the Uncle Croc's Block series on ABC (hosted by Charles Nelson Reilly). In a period where comedy in cartoons was heavily scrutinized for violence and many shows duplicated the popular Scooby-Doo format, Filmation's strong point was its adaptations of popular television series, movies and other works, although at least one series, M*U*S*H (the third animated segment on Uncle Croc's Block), while not a direct adaptation, was inspired by the film (and later TV series) M*A*S*H. M*U*S*H is an acronym for Mangy Unwanted Shabby Heroes since all the character were dogs stationed in the arctic area.

Live-action shows
Filmation incorporated live-action into some of its animated series. Series like The Hardy Boys and Archie's Funhouse featured live-action footage of an audience watching the bands perform and Fat Albert had segments featuring series creator Bill Cosby. The Kid Super Power Hour with Shazam!, was more of a hybrid—a live-action variety show with animated segments. Actors appeared as characters from the Hero High portion of the series, singing songs and telling jokes.

Filmation made six fully live-action series, including Space Academy, its spin-off Jason of Star Command, Ark II, Shazam! (based on the DC Comics character Captain Marvel), The Ghost Busters and The Secrets of Isis.

The Ghost Busters
Filmation produced a live-action series called The Ghost Busters (1975) starring former F Troop stars Larry Storch and Forrest Tucker, with noted science-fiction fan and collector Bob Burns as "Tracy the Gorilla". The characters worked as paranormal investigators, working for an unseen "Chief" named "Zero" who delivered their "Ghost Busting Assignments" in whimsical disguised recording devices as in Mission: Impossible.

Nine years later, Columbia Pictures, who produced an unrelated 1984 movie of almost the same name, had to obtain the rights to the title from the company. Filmation capitalized on the popularity of the film by producing a new cartoon based on their earlier series. Like its other shows, it used stock footage heavily; in one episode, character designs and animation sequences were recycled from the Groovie Goolies series of nearly 15 years earlier.

To avoid confusion, the animated series based on the film was called The Real Ghostbusters. As a dig on the Filmation series, an episode was written about a group of fraudulent ghost fighters, trying to steal the "Real" Ghostbusters' business and thunder.

Looney Tunes/Groovie Goolies crossover
Also of note is Daffy Duck and Porky Pig Meet the Groovie Goolies, a special featuring several of Warner Bros.' Looney Tunes stars (except Bugs Bunny) paired with Filmation's own Groovie Goolies, a group of classic monsters. Written by Len Janson and Chuck Menville, it aired on The ABC Saturday Superstar Movie in 1972. While most of the Warner Bros. characters were drawn well (veteran Warners animator Virgil Ross was working there at the time, along with other animators that had worked for Warner Bros. Animation in the late 1960s, such as Laverne Harding and Ed Solomon), and were voiced by veteran voice actor Mel Blanc, the special is not liked by many fans of classic Warner Bros. animation because of its limited animation, as well as a weak storyline.

This was not Filmation's last dalliance with classic cartoon characters; in the late 1970s the company produced new series based on the characters from the Terrytoons archive (Mighty Mouse and Heckle and Jeckle, titled The New Adventures of Mighty Mouse and Heckle & Jeckle) and a new Tom and Jerry series as well.

Feature films
Filmation also ventured into the feature film business. With their success in television firmly established by 1970, the company became profitable enough to return to the shelved Journey Back to Oz project, completing the animation and some minor voiceover work begun in 1962, and finished the film in 1971. It would take another year for Journey to be released theatrically in the United Kingdom, two more years before its 1974 U.S. release, and yet another two (1976) before it finally found its audience in network television, the very medium in which Filmation became successful. There, the film was expanded with live-action segments featuring Bill Cosby, who was in the midst of his success with the studio's Fat Albert and the Cosby Kids.

A deal with Warner Bros. yielded Treasure Island and Oliver Twist, but left several others unproduced.

In its final years, Filmation produced feature films of its He-Man and She-Ra franchises (The Secret of the Sword), as well as continuations to established stories, such as Pinocchio and the Emperor of the Night (1987) and Happily Ever After (1989; unreleased until 1993). In 1986, Omega Entertainment inked a worldwide television pact with Filmation in order to distribute the company's non-animated products, such as theatrical feature films, for worldwide TV distribution. Also that year, on October 22, Filmation is beginning to serve as representative for three animated films at the MIFED, in order to cleaning up unsold territories on various Filmation productions, which accordingly hit by a lawsuit from The Walt Disney Company back in 1985 in order to prevent making films that the company claims to be based on Disney classics.

Voice talent
Like other animation studios, Filmation had its stock company of voiceover actors. Some of the most famous included Larry Storch, Dallas McKennon (best known as the voice of Archie in the Archie cartoon and as Cincinnatus, in the Daniel Boone TV series), Bud Collyer, the original radio voice of Superman, reprised the role for Filmation for their late 1960s version of the Man of Steel; Adam West and Burt Ward (who recreated their roles as "Batman and Robin" from their 1960s live-action series for Filmation's 1977 animated incarnation), Jane Webb, and good friends and colleagues Edward Asner and Linda Gary (Gary voiced a majority of Filmation's work in the 1980s), along with John Erwin (voice of Reggie Mantle, and later the voice of He-Man), Alan Oppenheimer (character actor in TV and film), Ted Knight, George DiCenzo (John Blackstar, Hordak, Bow on She-Ra), Melendy Britt, Howard Morris, Pat Fraley, Charlie Adler, Ed Gilbert, Susan Blu, Peter Cullen, Frank Welker, and Lou Scheimer (either uncredited, or under the pseudonym of "Erik (sometimes "Eric") Gunden").

Background musical talent
For the company's 1960s superhero efforts, composer John Gart (under the stage name John Marion) and music supervisor Gordon Zahler created strong themes and backing cues using a large orchestra, until the Batman entry in 1968, which used sparser production and jazzier themes.

The company's 1960s adventure series Journey to the Center of the Earth (1967) and Fantastic Voyage (1968) likewise used sparser music production. Journey made heavier emphasis on guitar than the company's previous series, while Voyage made use of deliberately haunting woodwinds to create a science fiction flavor.

According to the booklets accompanying some of the DVDs of Filmation's shows, composer Ray Ellis (who was assisted by his son Marc Ellis) had produced the background music for most Filmation series under the pseudonyms "Yvette Blais and Jeff Michael". Yvette Blais was Ellis's wife, while "Jeff" and "Michael" were the names of producer Norm Prescott's two sons (exactly what role Prescott played in the music, other than hiring the composers and musicians, is unclear). The full-length features Treasure Island and Oliver Twist credit "George Blais". Ellis's name does appear in Archie and Sabrina the Teenage Witch credits and both "Ray Ellis", and "Jeff Michaels" appear side by side on Groovie Goolies credits, where "Ellis" is credited for "Sabrina background music", and "Michaels" is credited for "Groovie Goolies background music".

Much of Ellis's background music in the late 1960s had a distinct, richly orchestrated sound not found on many other made-for-TV cartoon series of that period; though as time went on, it became more contemporary and often synthesized. Ellis's work at the studio lasted from 1968 to 1982. Haim Saban and Shuki Levy composed and produced the studio's music for He-Man and She-Ra (during 1983–1986), along with the other studios for which they produced music scores. Frank W. Becker provided the music for Filmation's final animated series BraveStarr.

In 1977, Dean Andre (Wallschlaeger), a 24-year-old composer/recording artist/producer, began writing theme and featured music for Filmation. His first series Archie's Bang-Shang Lalapalooza Show featured the voice of Daws Butler. He went on to compose themes for The New Adventures of Mighty Mouse and Heckle & Jeckle and Fabulous Funnies (featuring the voices of June Foray and Alan Oppenheimer). Dean also lent his vocal talents to Filmation for thematic and featured music that he composed and produced for A Snow White Christmas, Sport Billy and The Kid Super Power Hour with Shazam! In 1981, Dean also took on the position of musical director for The Kid Super Power Hour with Shazam!.

Filmation routinely included a plug for its music publisher, Shermley Music (ASCAP), in the closing credits of most of its series. This has never been common practice on American television.

title: Filmation


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Bure Valley Railway

The Bure Valley Railway is a minimum gauge visitors' attraction in Norfolk, England. It was created on the original disused full-gauge bed of a defunct passenger service to incorporate a new, adjacent pedestrian footpath.

The railway runs from Wroxham to Aylsham (9 mi) and is Norfolk's second longest heritage railway. It uses both steam and diesel locomotives. There are intermediate halts at Brampton, Buxton and Coltishall. There are 17 bridges, including a 105 ft-long girder bridge over the River Bure in Buxton with Lammas, and the Aylsham Bypass Tunnel under the A140 at Aylsham.

The railway is listed as exempt from the UK Railways (Interoperability) Regulations 2000.

History

The railway is built on part of the trackbed of the East Norfolk Railway (ENR). The ENR started in 1877 when the East Norfolk Railway opened from Norwich to Cromer, with an extension from Wroxham to Aylsham in 1880. The western extension was planned by Edward Wilson & Co. in 1876, with the line being constructed by William Waddell at a cost of £44,000, initially employing 100 men, 10 horses and 43 waggons.

The ENR was taken over by the Great Eastern Railway in 1882, although they had always held a controlling interest in the company, with the GER completing the line's extension to County School on the Norfolk Railway's line. The GER was amalgamated into the London & North Eastern Railway in 1923, and the railway was nationalised in 1948.

On 15 September 1952 the passenger service stopped, and the line between Foulsham and Reepham was closed to all traffic, but the freight service continued on the remainder of the line. Buxton Lamas, as it was then known, closed for goods in 1964, and Aylsham and Coltishall in 1974.

Freight trains continued to run over the line after this for two principal sources of traffic. From September 1960, the line west of Aylsham via Cawston and Reepham, which originally went to the junction at County School Station, instead turned south via a new curve at Themelthorpe to join a fragment of the old Midland and Great Northern system to reach Lenwade and Norwich City.

Coal traffic continued to be carried from Norwich Thorpe via Aylsham to Norwich City There was also regular traffic from Lenwade in the form of concrete building components.

This traffic ended in 1981 and the line through Aylsham formally closed on 6 January 1982. A weed-killing train ran in 1983 and track-lifting trains ran the following year.

Re-opening
The trackbed was purchased by Broadland District Council, initially with plans to develop it as a long-distance footpath. In 1986, however, the idea of using part of the closed line as an operational railway was considered. Equipment and experience of railway operation came from Robert Hudson and John Edwards, who supplied railway equipment to Pleasurewood Hills, with Pleasureworld, under Chairman Joe Larter, providing tourism experience. Graham Fowler, of Broadland District Council, was later appointed the first General Manager. Grants from the English Tourist Board and Department of the Environment helped launch the £2.5 million scheme.

Forty three objections to the restoration of the line were made to the Light Railway Order, for the following reasons:
 * the appearance of the railway in the landscape;
 * the possible effect on property values;
 * possible congestion in Aylsham, including access to/from the station;
 * the width of the footpath adjacent to the railway,
 * the security of the fence separating it from the railway;
 * possible noise from premises at Aylsham Station associated with sheet metal working.

Many of these issues were resolved by conducting a comparative study between the proposed Bure Valley Railway and the established Romney, Hythe and Dymchurch Railway, with various mitigations required of the new company. Consent was given for the rebuilding of the line in 1987, despite local objections and with complaints from residents of Buxton with Lamas initially seeing plans for a restored station in the village dropped.

Track relaying, using 30-foot section flat-bottom steel rail (BS 30 m) secured by Pandrol clips, was well-underway in September 1989, with one-and-a-half miles of the track relaid and claims that the new railway would create about 60 jobs. In 1990, the station buildings at Aylsham, one of the most complete remaining Great Eastern station complexes in Norfolk, were demolished to make way for the new Bure Valley Railway headquarters. Construction of the line created the Aylsham Bypass Tunnel, Norfolk's only operational railway tunnel, which carries the railway under the Aylsham Bypass replacing the original standard gauge level crossing. Cromer Tunnel in Cromer, the only other surviving railway tunnel in the county, is disused.

The Bure Valley Railway opened on 10 July 1990 under the management of RKF Leisure which had purchased the trackbed. The opening ceremony saw a series of issues, including overloading of the first train, causing it to stall at Coltishall for 30 minutes with defective brakes.

Receivership and rescue by Broadland District Council
When the RKF's parent company, RKF Group Plc, went into receivership in January 1991, Broadland District Council moved quickly to acquire the line from the receivers as it feared that property developers might seize the opportunity to take control of the land. Agreement was reached with Ffestiniog Railway director Mike Hart to set up a new company, Bure Valley Railway (1991) Ltd, to lease and operate the line. A long distance footpath (rail trail) opened alongside it in 1991.

In 1993 Mike Hart sold his interest in Bure Valley Railway (1991) Limited to Robert Baker of Sudbury, Suffolk. In 1995 control passed to Westernasset Limited. In 2001 control of Westernasset was acquired by Andrew Barnes. Westernasset was subsequently wound up and shares in Bure Valley Railway (1991) Limited were held directly by Andrew Barnes, who operates the railway on a not for profit basis with the support of many volunteers.

Broadland District Council considered selling the line to the Bure Valley Railway in June 2017, but this was delayed by Brexit, resulting in a partnership approach being made by Norfolk County Council, which it was felt would improve the opportunities for funding and ensure the retention of the permissive footpath alongside the line. The council's managing director stated that it was important that "members should be sure about what they were seeking to achieve by the disposal of the railway". The Council changed its mind before the transaction was completed and the route continues to be owned by Broadland District Council. In 2019 Norfolk County Council received £1.2 million Interreg funding to invest in refurbishments along the Bure Valley route. This was additional to the £10,000 annual maintenance budget the council employs on the line.

In March 2020 the Bure Valley Railway threatened to take the council to the Office of Rail and Road over a claimed contractual failure to adequately maintain fences and structures along the line for which the council has responsibility.

COVID-19 and financial troubles
In April 2020 the railway stated that they were in difficulties due to the impact of the COVID-19 pandemic on their operations.

In June 2020 the local media reported, that the BVR were in "dire straits" and at risk of closure due to the impact of the COVID-19 pandemic and the refusal of an insurance claim relating to loss of income, despite Broadland DC deferring their annual £30,000 rent payments until September 2020 and receiving a £25,000 Covid-19 support grant. Full relief from business rates was granted by national government for 2020/21 fiscal year. The BVR furloughed some of its staff.

The railway's case against insurer MS Amlin, who the railway claimed had refused to pay out cover for loss of income due to “any notifiable disease within a radius of 25 miles of the premises” drew national attention. The railway was able to re-open with volunteers on at weekends from 11 July and 5 days per week from 1 August were all staff came off the Coronavirus Job Retention Scheme. As of January 2021, the insurance claim remained unpaid despite a High Court ruling that insurers had to make payments owed under business interruption policies.

In January 2021 the railway, once again, declared that they were in financial crisis, having lost £765,000 in a year despite having been able to operate for much of their main season. The issues were compounded by the discovery of major faults on two of the railway's steam locomotive boilers, the failures of which might mean that the railway would not have the required locomotives to be able to reopen if said boilers were not repaired/replaced.

The railway opened again in Summer 2021, after the boilers of two locomotives were replaced.

Alternative Fuel
In June and December 2021, the railway performed trials contributing to the development of a sustainable coal replacement for steam locomotives on heritage railways, in collaboration with the Advanced Steam Traction Trust (ASTT), the Heritage Railway Association, and Coal Products Limited.

The first trial compared 3 bio-coals to traditional welsh coal, and the second pitted the best performing of these bio-coals against the welsh coal again, but under harsher conditions. The first trial found that a variant of Ecoal50 could deliver equal engine performance with a 28% increase in coal consumption, and this coal was chosen for use in the second trial.

In May 2022, the railway won the Heritage Railway Association's Award for Environmental Innovation for their work.

Locomotives
A list of the railway's operational locomotives is below:

Passenger coaches
Passenger rolling stock consists of 29 vehicles, which are usually marshalled so as to form three complete carriage sets, thus allowing for the operation of up to three distinct passenger trains. The 29 vehicles may be further subdivided as below:
 * 19 standard passenger saloon bogie coaches
 * 6 standard passenger saloon bogie coaches with wheelchair-accessible compartments
 * 1 brake composite bogie coach with guard's compartment, baggage compartment, and passenger compartments
 * 1 brake composite bogie coach with guard's compartment, baggage compartment, and diesel generator for winter train heating
 * 2 brake short-wheelbase coaches (4-wheel) with guard's compartment and baggage compartment

All except one of the carriages are equipped with electric heating, for winter services. All carriages are equipped with internal lighting. All carriages are connected to a passenger communication system, allowing passengers to stop the train in an emergency.

In addition to the standard coaching stock, two non-standard passenger saloon bogie coaches, formerly used on the Fairbourne Railway, were acquired for use on special event days, purporting to be Thomas the Tank Engine's coaches, Annie and Clarabel. These vehicles were subsequently sold to the Evesham Vale Light Railway and left Aylsham in Spring 2016. They are now painted in standard EVLR colours.

Accidents
On Monday 30 May 2011, a train on the line suffered a derailment at Brampton, during which wheels from one of the coaches were reported to have come up through the floor of the vehicle. The Rail Accident Investigation Branch were called in to conduct a preliminary examination into the incident, and found it to have been caused by the failure due to metal fatigue of an axle journal that had been welded several years previously (when the railway was under different management). It found that the BVR did not have an adequate safety management system. Following this accident all wheels of this design were identified by the railway and scrapped, being replaced by new wheelsets, and a new computerised passenger carriage maintenance database was introduced, providing detailed tracking of the service regime of whole carriages, and of individual bogies and axles.

The Friends of the Bure Valley Railway
The Friends of the Bure Valley Railway (FoBVR) is the volunteer supporting group for the Bure Valley Railway. It owns locomotive number 4 and supports the railway financially and with regular working parties of volunteers. There is a hut at Aylsham which sells donated bric-a-brac, second hand books and magazines during the season to raise money to support the railway. A secondhand book, record and DVD shop is open at Wroxham station.

title: Bure Valley Railway


text:
Effie Gray

Euphemia Chalmers Millais, Lady Millais (née Gray; 7 May 1828 – 23 December 1897) was a Scottish artists' model and writer who was married to Pre-Raphaelite painter John Everett Millais. She had previously married the art critic John Ruskin, but she left him with the marriage never having been consummated; it was subsequently annulled. This famous Victorian "love triangle" has been dramatised in plays, films, and an opera.

Early life
Euphemia Chalmers Gray was born on 7 May 1828 in Perth, Perthshire, Scotland to lawyer and businessman George Gray (1798–1877) and Sophia Margaret (1808–1894), daughter of Andrew Jameson, Sheriff-substitute of Fife. She grew up at Bowerswell, an Italianate-style house near the foot of Kinnoull Hill. Though she was given the pet-name "Phemy" by her parents as a child, she started to be known as "Effie" by the time she was a teenager. Her sisters Sophie and Alice often modelled for John Everett Millais.

Between 1842 and 1844 she attended Avonbank school run by the Misses Byerley near Stratford on Avon, Warwickshire, England, partly as her parents wanted her to lose her Scottish accent. She was an assiduous student at Avonbank winning prizes in every year but was taken out of school to be a support to her mother when her siblings died of scarlet fever.

Relationship with John Ruskin
John Ruskin wrote the fantasy story The King of the Golden River for Gray in 1841, when she was 12 and he was 21. Gray's family knew Ruskin's father and encouraged a match between the two when she had matured. After an initially unsteady courtship, she married Ruskin on 10 April 1848; she was 19 years old. During their honeymoon, they travelled to Venice, where Ruskin was doing research for his book The Stones of Venice. While in Perth, Scotland, they lived at Bowerswell, the Gray family home, and site of their wedding. It had, coincidentally, previously been the home of Ruskin's paternal grandparents. In 1817, Ruskin's mother, Margaret, during her engagement to Ruskin's father, had stayed at Bowerswell and was witness to three tragic deaths within its walls in quick succession (Ruskin's grandmother, grandfather, and newborn cousin). This caused her to develop a severe phobia concerning Bowerswell, keeping her from attending her son's wedding to Gray.

Gray and Ruskin's different personalities were thrown into sharp relief by their contrasting priorities. For Gray, Venice provided an opportunity to socialise while Ruskin was engaged in solitary studies. In particular, he made a point of drawing the Ca' d'Oro and the Palazzo Ducale (Doge's Palace), because he feared they would soon be destroyed by the occupying Austrian troops. One of the troops, Lieutenant Charles Paulizza, made friends with Gray, apparently with no objection from Ruskin. Her brother, among others, later said that Ruskin was deliberately encouraging the friendship in order to compromise her, as an excuse to separate.

When she met John Everett Millais five years later, Gray was still a virgin. Ruskin had persistently put off consummating the marriage. Gray and Ruskin had agreed upon abstaining from sex for five years to allow Ruskin to focus on his studies. Another reason involved his apparent disgust with some aspect of her body. As she later wrote to her father:

"He alleged various reasons, hatred to children, religious motives, a desire to preserve my beauty, and, finally this last year he told me his true reason... that he had imagined women were quite different to what he saw I was, and that the reason he did not make me his Wife was because he was disgusted with my person the first evening."

Ruskin confirmed this in his statement to his lawyer during the annulment proceedings: "It may be thought strange that I could abstain from a woman who to most people was so attractive. But though her face was beautiful, her person was not formed to excite passion. On the contrary, there were certain circumstances in her person which completely checked it." The reason for Ruskin's disgust with "circumstances in her person" is unknown. Various suggestions have been made, including revulsion at either her pubic hair, or menstrual blood. Robert Brownell, on the contrary, in his analysis Marriage of Inconvenience, argues that Ruskin's difficulty with the marriage was financial and related to concerns that Gray and her less affluent family were trying to tap into Ruskin's considerable wealth.

Relationship with John Everett Millais
While married to Ruskin, Gray modelled for Millais' painting The Order of Release, in which she was depicted as the loyal wife of a Scottish rebel who has secured his release from prison. She then became close to Millais when he accompanied the couple on a trip to Scotland in order to paint Ruskin's portrait according to the critic's artistic principles. During this time, spent in Brig o' Turk in the Trossachs, they fell in love. While working on the portrait of her husband, Millais made many drawings and sketches of Gray. He also sent humorous cartoons of himself, Gray and Ruskin to friends. She copied some of his works.

After their return to London, Gray left Ruskin, ostensibly to visit her family. She sent back her wedding ring with a note announcing her intention to file for an annulment. With the support of her family and influential friends, she pursued the case, causing a public scandal. Their marriage was annulled on the grounds of "incurable impotency" in 1854.

Marriage to John Everett Millais
In 1855, she married John Millais and they had eight children together: Everett, born in 1856; George, born in 1857; Effie, born in 1858; Mary, born in 1860; Alice, born in 1862; Geoffrey, born in 1863; John in 1865; and Sophie in 1868. Their youngest son, John Guille Millais, became a notable bird artist and gardener. Gray also modelled for a number of her husband's works, notably Peace Concluded (1856), which idealises her as an icon of beauty and fertility. In 1885, her husband was elevated to the baronetage by Queen Victoria, having been created Baronet Millais of Palace Gate, in the parish of St Mary Abbot, Kensington, in the county of Middlesex, and of Saint Ouen, in the Island of Jersey. Upon her husband's elevation, Effie became entitled to use the style Lady Millais.

Ruskin's rapport with Rose La Touche
In 1858, Ruskin met Rose La Touche; at the time she was 10 years old, and he became her teacher in drawing as well as other subjects. Ruskin became attracted to La Touche and when she turned 18 sought to become engaged. Rose's parents were concerned and wrote to Gray, asking for her opinion of Ruskin as a husband. Her reply described him as "oppressive". The engagement was broken off.

Influence on Millais
Gray was an effective manager of Millais' career and often collaborated with him in choosing his subjects. Her journal indicates her high regard for her husband's art, and his works are still recognisably Pre-Raphaelite in style several years after his marriage.

However, Millais eventually abandoned the Pre-Raphaelite obsession with detail and began to paint in a looser style which produced more paintings for the time and effort. Many paintings were inspired by his family life with his wife, often using his children and grandchildren as models. Millais also used his sister-in-law, Sophie Gray, then in her early teens, as the basis of some striking images in the mid to late 1850s, provoking suggestions of a mutual infatuation.

Later life and death
Gray had been officially presented to Queen Victoria on 20 June 1850. This was arranged by Lady Davy, a friend and neighbour of hers from London who was also friends with one of the Queen's ladies-in-waiting. However, the annulment from Ruskin barred her from events at which the Queen was present. Her social status was affected negatively, although many in society were still prepared to receive her and to press her case sympathetically. Eventually, when Millais was dying, the Queen relented through the intervention of her daughter Princess Louise, allowing Gray to attend an official function.

Gray had an interest in local and family history, and corresponded with Perthshire historian Robert Scott Fittis, author of Sketches of the Olden Times in Perthshire (1878), about the Gray family history.

Sixteen months after Millais' death in August 1896, Gray died at Bowerswell on 23 December 1897. She was buried beside her son George, who died aged 21, in Kinnoull Parish churchyard, Perth, which is depicted in Millais's painting The Vale of Rest. Gray's father had donated the Millais window, the West window, to Kinnoull Church in 1870. It is based on designs drawn by Millais.

Her letters have been published posthumously in Effie in Venice: Her Picture of Society Life with John Ruskin, 1849-52 (1965) and The Order of Release: The Story of John Ruskin, Effie Gray and John Everett Millais Told for the First Time in their Unpublished Letters (1948).

In drama and literature
Gray's marriage to Ruskin and subsequent romance with Millais have been dramatised on many occasions:
 * The Love of John Ruskin (1912), a silent movie about Ruskin, Gray and Millais.
 * The Love School (1975), a BBC series about the Pre-Raphaelites, starring Anne Kidd (Gray), David Collings (Ruskin), and Peter Egan (Millais).
 * John Ruskin's Wife (1979), a novel about the relationship by Eva McDonald.
 * Dear Countess (1983), a radio play by Elizabeth Morgan, with Derek Jacobi (Ruskin), Bridget McCann (Gray), Timothy West (Old Mr Ruskin) Michael Fenner (Millais). The author played Ruskin's mother.
 * Effie Gray (Lady Millais) letter to RS Fittis.jpgThe Passion of John Ruskin (1994), a short film directed by Alex Chappel, starring Mark McKinney (Ruskin), Neve Campbell (Gray) and Colette Stevenson (Gray's voice).
 * Modern Painters (1995), an opera about Ruskin, Gray and Millais, music by David Lang, libretto by Manuela Hoelterhoff.
 * Parrots and Owls, (1994) a radio play by John Purser about the O'Shea brothers in which Gray appears as a friend of James O'Shea and her marital problems are discussed.
 * The Countess (1995), a play written by Gregory Murphy concentrating on the breakdown of the marriage between Ruskin and Gray.
 * The Order of Release (1998), a radio play by Robin Brooks about Ruskin (Bob Peck), Gray (Sharon Small) and Millais (David Tennant).
 * The Woman Who Gave Birth to Rabbits (2002), a collection of short stories by Emma Donoghue, contains a story "Come, Gentle Night" about Ruskin and Gray's wedding night.
 * Mrs Ruskin (2003), a play by Kim Morrissey about the breakdown of the marriage and Gray's fraught relationship with Ruskin's domineering mother.
 * Desperate Romantics (2009), a six-part BBC television drama serial about the Pre-Raphaelite Brotherhood. She is played by Zoe Tapper.
 * Effie Gray (2014), a film produced by Emma Thompson with Dakota Fanning as the titular character, Tom Sturridge as Millais and Greg Wise as Ruskin.

title: Effie Gray