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Curator

A curator (from cura, meaning "to take care") is a manager or overseer. When working with cultural organizations, a curator is typically a "collections curator" or an "exhibitions curator", and has multifaceted tasks dependent on the particular institution and its mission. The term "curator" may designate the head of any given division, not limited to museums. Curator roles include "community curators", "literary curators", "digital curators", and "biocurators".

Collections curator
A "collections curator", a "museum curator", or a "keeper" of a cultural heritage institution (e.g., gallery, museum, library, or archive) is a content specialist charged with an institution's collections and involved with the interpretation of heritage material including historical artifacts. A collections curator's concern necessarily involves tangible objects of some sort—artwork, collectibles, historic items, or scientific collections.

In smaller organizations, a curator may have sole responsibility for acquisitions and even for collections care. A curator makes decisions regarding what objects to select, oversees their potential and documentation, conducts research based on the collection and its history, provides proper packaging of object for transportation, and shares research with the public and community through exhibitions and publications. In very small, volunteer-based museums, such as those of local historical societies, a curator may be the only paid staff-member.

In larger institutions, the curator's primary function is that of a subject specialist, with the expectation that he or she will conduct original research on objects and guide the organization in its collecting. Such institutions can have multiple curators, each assigned to a specific collecting area (e.g., curator of ancient art, curator of prints and drawings, etc.) and often operating under the direction of a head curator. In such organizations, the physical care of the collection may be overseen by museum collections-managers or by museum conservators, with documentation and administrative matters (such as personnel, insurance, and loans) handled by a museum registrar.

In France, the term "collections curator" is translated as conservateur. There are two kinds of conservateurs: heritage curators (conservateurs du patrimoine) with five specialities (archeology, archives, museums, historical monuments, natural science museums), and librarian curators (conservateurs des bibliothèques). These curators are selected by competitive examination and attend the INP (Institut National du Patrimoine). The "conservateurs du patrimoine" are civil servants or work in the public service; the use of the title by private workers is not possible.

In the United Kingdom, the term "curator" also applies to government employees who monitor the quality of contract archaeological work under Planning Policy Guidance 16: Archaeology and Planning (PPG 16) and manage the cultural resource of a region. In a museum setting, a curator in the United Kingdom may also be called a "keeper".

Exhibitions curator
An "exhibitions curator" is a person in charge of conceiving and organising exhibitions.

The title "curator" identifies someone who selects and often interprets works for an exhibit. In addition to selecting works, the curator is often responsible for writing labels, catalog essays, and other content supporting exhibitions. Such curators may be permanent staff members, "guest curators" from an affiliated organization or university, or "freelance curators" working on a consultancy basis.

In France, the term "exhibitions curator" is translated as commissaire d'exposition or curateur.

The late-20th century saw an explosion of artists organizing exhibitions. The artist-curator has a long tradition of influence, notably featuring Sir Joshua Reynolds (1723-1792), inaugural president of the Royal Academy of Arts, London, founded in 1768.

Education and training for collections and exhibitions curators
Curators hold a high academic degree in their subject, typically a Doctor of Philosophy or a master's degree in subjects such as history, art, history of art, archaeology, anthropology, or classics. Curators are also expected to have contributed to their academic field, for example, by delivering public talks, publishing articles, or presenting at specialist academic conferences. It is important that curators have knowledge of the current collecting market for their area of expertise, and are aware of current ethical practices and laws that may impact their organisation's collecting. The increased complexity of many museums and cultural organisations has prompted the emergence of professional programs in fields such as public history, public humanities, museum studies, arts management, and curating/curatorial practice. (See →External links for further information on courses.)

Biocuration
A biocurator is a professional scientist who curates, collects, annotates, and validates information that is disseminated by biological databases and model organism databases.

Engagement and community curation
Education and outreach play an important role in some institutions. It has led to the emergence of titles such as "Curator of Education" and "Curator of Public Practice".

Community curation— also known as "co-curation", "public curation" or "inclusive curation" —is a movement in museums, public humanities organizations, and within the biocuration field to involve community members in various curatorial processes, including exhibit development and programming.

Community members involved in community curation are likely not trained as museum professionals, but have vested interests in the outcomes of curatorial projects. Community curation is a response to the 19th century "information transmission" model of learning, in which museums are sources of expert knowledge and visitors are the recipients of that expertise. Community curation seeks not to abandon expertise, but to broaden definitions of expertise to "include broader domains of experience" that visitors bring to museums.

Community curation practices are varied. Organizations have conducted community outreach at the beginning of exhibition projects, and convenes community advisory committees at various stages in the curatorial process. or have accepted exhibit proposals from community members and trained them in curatorial skills to co-create exhibits. Such efforts to allow communities to participate in curation can require "more not less expertise from museum staff".

Literary curation
The term "literary curator" has been used to describe persons who work in the field of poetry, such as former 92nd Street Y director Karl Kirchwey.

Technology and society
More recently, advances in new technologies have led to a further widening of the role of curator. This has been a focus in major art institutions internationally and has become an object of academic study and research.

In the same way that a museum curator may acquire objects of relevance or an art curator may select or interpret a work of art, the injection of technology and impact of social media into every aspect of society has seen the emergence of technology curators.

Technology curators are people who are able to disentangle the science and logic of a particular technology and apply it to real-world situations and society, whether it is for social change, commercial advantage, or other purposes. The first U.K. Wired Conference had a test lab, where an independent curator selected technology that showcased radical technology advancements and their impact on society, such as the ability to design and "print" physical objects using 3D printers (such as a fully working violin) or the ability to model and represent accurate interactive medical and molecular models in stereoscopic 3D.

As US museums have become increasingly more digitized, curators find themselves constructing narratives in both the material and digital worlds. Historian Elaine Gurian has called for museums in which "visitors could comfortably search for answers to their own questions regardless of the importance placed on such questions by others". This would change the role of curator from teacher to "facilitator and assistor". In this sense, the role of curator in the United States is precarious, as digital and interactive exhibits often allow members of the public to become their own curators, and to choose their own information. Citizens are then able to educate themselves on the specific subject they are interested in, rather than spending time listening to information they have no desire to learn.

Other definitions
In Scotland, the term "curator" is also used to mean the guardian of a child, known as curator ad litem.

In Australia and New Zealand, the term also applies to a person who prepares a sports ground for use (especially a cricket ground). This job is equivalent to that of groundsman in some other cricketing nations.

Obsolete terms referring to a female curator are "curatrix" and "curatress".

title: Curator


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Adanac, Nipissing District, Ontario

Adanac is a family-run tourist cottage business on Lake Temagami in northeastern Ontario. Adanac is in the Town of Temagami, in the District of Nipissing. The name is derived from Canada, spelled backwards.

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

title: Adanac, Nipissing District, Ontario


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Arena Hall (Belo Horizonte)

Arena Hall (originally known as the Marista Hall) is an events centre in Belo Horizonte, Brazil, located on the campus of the Colégio Marista Dom Silvério. The goal was to create an environment with a great diversity of spaces. It includes a multipurpose room, a theater, an arena, courts, and a parking lot; this structure is suitable for a wide variety of cultural, artistic, and sports events, be it of a technical, commercial or recreational nature.

About the centre

Construction began in March 1997, and the original deadline was December 1998. However, this deadline was progressively postponed, and the building did not open until June 25, 2003.

Since a good part of the construction was financed by students of the Colégio Marista Dom Silvério, Marista Hall is a target of jokes and dissatisfaction, because thousands of students paid for it but never benefited from it, having left school before construction was completed. Further dissatisfaction came when Chevrolet began to sponsor the centre in 2005; as a result the place changed its name to "Chevrolet Hall". There is a community in orkut dedicated to "refusing" the new name, mostly former and current students of college who feel their contributions to the site should be recognized in its name. In 2016, GM chose not to renew the contract for naming rights and the venue became known as the "BH Hall" until March 2017, when fuel company Ipiranga secured the naming rights. Beginning 19 March 2017, the centre is known as the "KM de Vantagens Hall". It is considered the biggest house of shows of BH.

Noted performers

 * A-ha
 * Akon
 * Alanis Morissette
 * All Time Low
 * Angra
 * Avril Lavigne
 * Backstreet Boys
 * Bob Dylan
 * Chris Brown
 * Colbie Cailat
 * The Cranberries
 * Deep Purple
 * Demi Lovato
 * Dream Theater
 * Exodus
 * Faith No More
 * Fifth Harmony
 * Hanson
 * Incubus
 * Imagine Dragons
 * Interpol
 * James Blunt
 * Jason Mraz
 * Jethro Tull
 * Jonas Brothers
 * Joss Stone
 * Judas Priest
 * Keane
 * Kreator
 * Lana Del Rey
 * Lauryn Hill
 * McFly
 * Megadeth
 * Motion City Soundtrack
 * Nightwish
 * Norah Jones
 * Now United
 * The Offspring
 * P.O.D.
 * Paramore
 * Pet Shop Boys
 * Queensrÿche
 * Ringo Starr & His All-Starr Band
 * Roxette
 * Scorpions
 * Seal
 * Sepultura
 * Shaman
 * Simple Plan
 * Slayer
 * Snow Patrol
 * Steve Vai
 * Stratovarius
 * Whitesnake

title: Arena Hall (Belo Horizonte)


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Frances Ellen Watkins Harper

Frances Ellen Watkins Harper (September 24, 1825 – February 22, 1911) was an American abolitionist, suffragist, poet, temperance activist, teacher, public speaker, and writer. Beginning in 1845, she was one of the first African American women to be published in the United States.

Born free in Baltimore, Maryland, Harper had a long and prolific career, publishing her first book of poetry at the age of 20. At 67, she published her widely praised novel Iola Leroy (1892), placing her among the first Black women to publish a novel.

As a young woman in 1850, Harper taught domestic science at Union Seminary in Columbus, Ohio, a school affiliated with the African Methodist Episcopal Church (AME). In 1851, while living with the family of William Still, a clerk at the Pennsylvania Abolition Society who helped refugee slaves make their way along the Underground Railroad, Harper started to write anti-slavery literature. After joining the American Anti-Slavery Society in 1853, Harper began her career as a public speaker and political activist.

Harper also had a successful literary career. Her collection Poems on Miscellaneous Subjects (1854) was a commercial success, making her the most popular African American poet before Paul Laurence Dunbar. Her short story "Two Offers" was published in the Anglo-African in 1859, making literary history as the first short story published by a Black woman.

Harper founded, supported, and held high office in several national progressive organizations. In 1886, she became superintendent of the Colored Section of the Philadelphia and Pennsylvania Women's Christian Temperance Union. In 1896 she helped found the National Association of Colored Women and served as its vice president.

Harper died at age 85 on February 22, 1911.

Early life and work
Frances Ellen Watkins was born free on September 24, 1825 in Baltimore, Maryland (then a slave state), the only child of free parents. Her parents, whose names are unknown, both died in 1828, making Watkins an orphan at the age of three. She was raised by her maternal aunt and uncle, Henrietta and Rev. William J. Watkins, Sr., who gave her their last name.

Frances Watkins's uncle was the minister at the Sharp Street African Methodist Episcopal Church. Watkins was educated at the Watkins Academy for Negro Youth, which her uncle had established in 1820. As a civil rights activist and abolitionist, Rev. Watkins was a major influence on his niece's life and work.

At 13, Watkins became employed as a seamstress and nursemaid for a white family that owned a bookshop. She stopped attending school but used her spare time to read from the books in the shop and work on her own writing.

In 1850, at age 26, Watkins moved from Baltimore to teach domestic science at Union Seminary, an AME-affiliated school for Black students near Columbus, Ohio. She worked as the school's first female teacher. Union closed in 1863 when the AME Church diverted its funds to purchase Wilberforce University, the first Black-owned and operated college. The school in Wilberforce was run by the Rev. John Mifflin Brown, later a bishop in the AME Church. The following year Watkins took a position at a school in York, Pennsylvania.

Writing career
Harper's writing career started in 1839 when she published pieces in antislavery journals. Her politics and writing informed each other. Her writing career started 20 years before she was married, so several of her works were published under her maiden name of Watkins.

Harper published her first volume of verse, Forest Leaves, or Autumn Leaves, in 1845 when she was 20 years old. This book marked her as an important abolitionist voice. A single copy of this volume, long lost, was rediscovered in the early 21st century by scholar Johanna Ortner in Baltimore, at the Maryland Historical Society in the 2010s. Her second book, Poems on Miscellaneous Subjects (1854), was extremely popular. Over the next few years, it was reprinted several times.

In 1858, Harper refused to give up her seat or ride in the "colored" section of a segregated trolley car in Philadelphia (97 years before Rosa Parks). In the same year, she published her poem "Bury Me in a Free Land" in The Anti-Slavery Bugle, which became one of her best known works.

In 1859, Harper's story "The Two Offers" was published in The Anglo-African Newspaper, making her the first Black woman to publish a short story. That same year, Anglo-African Magazine published her essay "Our Greatest Want," in which Harper linked the common religious trope of oppression of African Americans to the oppression of the Hebrew people while enslaved in Egypt. Anglo-African Magazine and the weekly Anglo-African newspaper were both Civil War-era periodicals that served as a forum for debate among abolitionists and scholars. Harper published 80 poems. In her poem "The Slave Mother", she writes: "He is not hers, although she bore / For him a mother's pains; / He is not hers, although her blood / Is coursing through his veins! / He is not hers, for cruel hands / May rudely tear apart / The only wreath of household love / That binds her breaking heart." Throughout the two stanzas, Harper demonstrates the restricted relationship between an enslaved mother and her child, while including themes of family, motherhood, humanity and slavery. Another of her poems, "To the Cleveland Union Savers," published in The Anti-Slavery Bugle of Feb. 23, 1861, champions Sara Lucy Bagby, the last person in the United States to be returned to slavery under the Fugitive Slave Law.

Harper published Sketches of Southern Life in 1872. This anthology detailed her experience touring the Southern United States and meeting newly freed Black people. In these poems she described the harsh living conditions faced by a Black woman during both slavery and the Reconstruction era. Harper uses the figure of a former slave, called Aunt Chloe, as a narrator in several of these sketches.

From 1868 to 1888, Harper had three novels serialized in a Christian magazine: Minnie's Sacrifice, Sowing and Reaping, and Trial and Triumph.

Harper is also known for what was long considered her first novel, Iola Leroy, or Shadows Uplifted, published as a book in 1892 when she was 67. This was one of the first books published by a Black woman in the United States. While using the conventions of the time, Harper dealt with serious social issues, including education for women, the social passing as white of mixed-race people, miscegenation, abolition, reconstruction, temperance, and social responsibility.

Harper was also a friend and mentor to many other African American writers and journalists, including Mary Shadd Cary, Ida B. Wells, Victoria Earle Matthews, and Kate D. Chapman.

Gendered stereotypes of black womanhood
When Harper began giving antislavery lectures, the first of which took place in 1854, her gender attracted attention. The challenges she faced were not limited to racial prejudices, for in those days black women who spoke publicly about racial issues were still few in number and scientific racism was deeply intertwined with scientific sexism. It was taken by some as confirmation of gendered stereotypes about the differences between black women and white women, as in the scientific thinking of the day black women were cast as a Jezebel type, "governed almost entirely by her libido," drawing a stark contrast with the 19th century ideal of sexually pure white femininity.

Progressive causes
Frances Ellen Watkins Harper was a strong supporter of abolitionism, prohibition and woman's suffrage, progressive causes that were connected before and after the American Civil War. She was also active in the Unitarian Church, which supported abolitionism. Harper wrote to John Brown after he had been arrested and before his execution: "I thank you that you have been brave enough to reach out your hands to the crushed and blighted of my race; I hope from your sad fate great good may arise to the cause of freedom."

In 1853, Watkins joined the American Anti-Slavery Society and became a traveling lecturer for the group. She delivered many speeches during this time and faced much prejudice and discrimination along the way. In 1854, Watkins delivered her first anti-slavery speech called "The Elevation and Education of Our People." The success of this speech resulted in a lecture tour in Maine for the Anti-Slavery Society. She recalled New England warmly: "Dear old New England! It was there kindness encompassed my path; it was there kind voices made their music in my ear. The home of my childhood, the burial-place of my kindred, is not as dear to me as New England." She continued to travel, lecturing throughout the East, the Midwest, and Canada from 1856 to 1860. Of Pennsylvania's treatment of African American people, Harper stated: "Now let me tell you about Pennsylvania. I have been traveling nearly four years, and have been in every New England State, in New York, Canada, and Ohio; but of all these places, this is about the meanest of all."

After the Civil War ended in 1865, Harper moved South to teach newly freed Black people during the Reconstruction Era. During this time she also gave many large public speeches. In 1870, Harper worked with the Freedmen's Bureau encouraging many freedmen in Mobile, Alabama, to "get land, everyone that can" so they could vote and act independently once Congress passed the Fifteenth Amendment.

Harper was active in the growing number of Black organizations and came to believe that Black reformers had to be able to set their own priorities. From 1883 to 1890, she helped organize events and programs for the National Woman's Christian Temperance Union. She had worked with members of the original WCTU, because "it was the most important women's organization to push for expanding federal power." In her role as superintendent of the Colored Section of the Philadelphia and Pennsylvania WCTU, Harper facilitated both access and independent organizing for Black women, promoting the collective action of all women as a matter of both justice and morality. "Activists like Harper and Frances Willard campaigned not only for racial and sexual equality but also for a new understanding of the federal government's responsibility to protect rights, regulate morality, and promote social welfare". Harper was disappointed, however, when Willard gave priority to white women's concerns, rather than supporting Black women's goals of gaining federal support for an anti-lynching law, defense of Black rights, or abolition of the convict lease system.

Harper's public activism also continued in later years. In 1891, Harper delivered a speech to the National Council of Women of America in Washington D.C., demanding justice and equal protection by the law for the African American people. In her speech, she stated:"'As long as there are such cases as moral irresponsibility, mental imbecility; as long as Potiphar's wife stands in the world's pillory of shame, no man should be deprived of life or liberty without due process of law. A government which has power to tax a man in peace, and draft him in war, should have power to defend his life in the hour of peril. A government which can protect and defend its citizens from wrong and outrage and does not is vicious. A government which would do it and cannot is weak; and where human life is insecure through either weakness or viciousness in the administration of law, there must be a lack of justice, and where this is wanting nothing can make up the deficiency.'"

Activism techniques
Frances Harper's activism took an intersectional approach, which combined her campaign for African American civil rights with her advocacy for women's rights. One of Harper's major concerns regarded the brutal treatment Black women—including Harper herself—encountered on public transportation, and this matter foregrounded her advocacy for women's suffrage. In the 1860s and beyond, Harper delivered various speeches pertaining to women's issues and more specifically, Black women's issues. One of her speeches, "We Are All Bound Up Together," delivered in 1866 at the National Woman's Rights Convention in New York City, demanded equal rights for all, emphasizing the need to raise awareness for African American suffrage while also advocating for women's suffrage. In her speech, she stated:"'We are all bound up together in one great bundle of humanity, and society cannot trample on the weakest and feeblest of its members without receiving the curse in its own soul. You tried that in the case of the Negro...You white women speak here of rights. I speak of wrongs. I, as a colored woman, have had in this country an education which has made me feel as if I were in the situation of Ishmael, my hand against every man, and every man's hand against me...While there exists this brutal element in society which tramples upon the feeble and treads down the weak, I tell you that if there is any class of people who need to be lifted out of their airy nothings and selfishness, it is the white women of America.'"After Harper delivered this speech, the National Woman's Rights Convention agreed to form the American Equal Rights Association (AERA), which incorporated African American suffrage into the Women's Suffrage Movement. Harper served as a member of AERA's Finance Committee, though Black women comprised only five of the organization's fifty-plus officers and speakers. AERA was short-lived, ending when Congress proposed the Fifteenth Amendment, which would grant African American men the right to vote. Some of AERA's suffragists, such as Susan B. Anthony and Elizabeth Cady Stanton, did not support the Amendment's aim to enfranchise Black men without extending suffrage rights to women. Harper, on the other hand, supported the Fifteenth Amendment, and endorsed the Amendment at AERA's final meeting. Shortly afterward, AERA divided into two separate movements: the National Woman Suffrage Association (NWSA), which did not support the Amendment, and the American Woman Suffrage Association (AWSA), which supported the Amendment. Neither organization fully promoted the rights of Black women. As a proponent of the Fifteenth Amendment, Harper helped found the AWSA. After all, Harper did not want to undermine the progress of Black men by choosing to fight for women's suffrage over African American suffrage. Harper did, however, support the proposed Sixteenth Amendment, which would have granted women the right to vote. After the passage of the Fifteenth Amendment in 1870, Harper also encouraged formerly enslaved people to vote.

In addition to delivering speeches, Harper also promoted her intersectional suffrage advocacy in later years by helping found the National Association for Colored Women (NACW) in 1896. Harper was often the only Black woman at the progressive conferences she attended, which isolated her from the predominantly white reformers. Harper therefore helped organize the NACW to avoid the racism of white progressives. In 1897, Harper became the NACW's vice president and used her platform to advocate for Black women's civil rights.

Suffragism in literature
Various examples of Harper's writing contain themes of suffrage. Her poem, "The Deliverance," published in her 1872 anthology, Sketches of Southern Life, discusses the vote through the lens of fictional Black female narratives during the Reconstruction era. As scholar Elizabeth A. Petrino argues, in "The Deliverance," Harper communicates how "women within the home are the catalysts for political rebellion" and likewise "posits women as moral exemplars and centers of political power within the home." Indeed, during her years of activism, Harper expressed concern regarding how individuals would cast their ballots once granted the right to vote. Harper's "The Deliverance" conveys these sentiments through several vignettes telling how different fictional men exercised their right to vote. Harper writes:"'But when John Thomas Reeder brought

His wife some flour and meat,

And told he had sold his vote

For something good to eat,

You ought to seen Aunt Kitty raise,

And heard her blaze away;

She gave the meat and flour a toss,

And said they should not stay.

And I should think he felt quite cheap

For voting the wrong side;

And when Aunt Kitty scolded him,

He just stood up and cried.'"In these particular stanzas, the speaker questions how the voting population will exercise their right to vote. As the character John Thomas Reeder "sold his vote" for food, Aunt Kitty expresses her frustration that not all people—and particularly men, in this instance—fully understand the importance of the vote. Not only does Aunt Kitty, the sole female figure in the text, "toss" the meat and flour, but she also scolds Reeder and makes him cry. While Aunt Kitty has agency in her encounter with Reeder, Reeder has a power of his own in possessing the right to vote. Within "The Deliverance," Harper expresses a desire for Black women to obtain suffrage rights alongside their male counterparts.

In addition to "The Deliverance," Harper's poem, "The Fifteenth Amendment," describes in positive terms the Fifteenth Amendment, which granted African-American men the right to vote:"'Ring out! ring out! your sweetest chimes,

Ye bells, that call to praise;

Let every heart with gladness thrill,

And songs of joyful triumph raise.

Shake off the dust, O rising race!

Crowned as a brother and a man;

Justice to-day asserts her claim,

And from thy brow fades out the ban.

With freedom's chrism upon thy head,

Her precious ensign in thy hand,

Go place thy once despised name

Amid the noblest of the land'"In these stanzas, Harper includes exclamation points, alongside imagery such as "chimes" of the bells, and a command for the African American people to "shake off the dust." Harper additionally incorporates positive diction, such as the phrases "gladness thrill" and "joyful triumph." Harper also uses regal language to describe the newly enfranchised population. Upon receiving voting rights, Black men are "crowned" and become "amid the noblest of the land," posing a contrast with their "once despised name" that Harper references. In general, the language in "The Fifteenth Amendment" casts the Fifteenth Amendment in a positive light, which aligns with Harper's previous support for the Amendment that led her to help found the American Woman Suffrage Association. Unlike "The Deliverance," however, Harper's "The Fifteenth Amendment" poem does not express a particular yearning for Black women's suffrage.

Alongside her poetry, Harper's prose also presents suffrage activism. Her novel Minnie's Sacrifice, published in 1869—in the same year as the Fifteenth Amendment debates—describes the vote as a defense mechanism for Black women as victims of racial violence in the Reconstruction South. Minnie's Sacrifice also highlights the intersectional struggles faced by Black women. For example, scholar Jen McDaneld argues in her analysis of the novel that the need for protection of the law, which the vote could help Black women obtain, is "rooted in both radicalized and gendered injustices that cannot be extricated from one another." Near the end of the novel, Minnie expresses a desire for Black women's suffrage, contending the right of suffrage should not be based upon "service or sex, but on the common base of humanity." Responding to the male character Louis, who believes the nation is "not prepared for" Black women's suffrage, Minnie states:"'I cannot recognize that the negro man is the only one who has pressing claims at this hour. To-day our government needs woman's conscience as well as man's judgment. And while I would not throw a straw in the way of the colored man, even though I know that he would vote against me as soon as he gets his vote, yet I do think that woman should have some power to defend herself from oppression, and equal laws as if she were a man.'"Through Minnie's statement, Harper conveys a desire for Black women to achieve suffrage rights in order to defend themselves from oppression. Shortly after making this claim, Minnie is killed—the result of racial violence. Minnie is not protected by the law, and she is a victim of the oppression she protests against in her pro-suffrage rhetoric. In this excerpt, Minnie also shows support for the Black man's vote, stating how she "would not throw a straw in the way of the colored man." At the same time, though, similar to the speaker in "The Deliverance," Minnie additionally expresses uncertainty regarding how these men might cast their ballots. Within Minnie's Sacrifice, Harper communicates a determination for Black women to obtain the right to suffrage.

Scholarship of suffrage
There is little scholarship detailing Frances Harper's involvement in the Women's Suffrage Movement. Indeed, Harper does not appear in the History of Woman Suffrage anthology written by Susan B. Anthony and Elizabeth Cady Stanton, who were original members of the NWSA. As scholar Jennifer McDaneld argues, the "suffrage split" that created NWSA and AWSA alienated Harper—who appeared to refuse white feminism—from the Women's Suffrage Movement.

Personal life
In 1860, Frances Watkins married a widower named Fenton Harper. The couple had a daughter together, named Mary Frances Harper, and three other children from Fenton Harper's previous marriage. When Fenton Harper died four years later, Frances Harper kept custody of Mary and moved to the East Coast. The two would continue to live there for the rest of their lives. While on the East Coast, Harper continued to give lectures to support herself.

Frances Ellen Watkins Harper died of heart failure on February 22, 1911, at the age of 85. Her funeral service was held at First Unitarian Church on Chestnut Street in Philadelphia. She was buried in Eden Cemetery in Collingdale, Pennsylvania, next to her daughter, Mary.

Selected works

 * Forest Leaves, verse, 1845
 * Poems on Miscellaneous Subjects, 1854
 * Free Labor, 1857
 * The Two Offers, 1859
 * Moses: A Story of the Nile, 1869
 * Sketches of Southern Life, 1872
 * Light Beyond the Darkness, 1890
 * The Martyr of Alabama and Other Poems, 1894
 * Iola Leroy, or Shadows Uplifted, novel, 1892
 * Idylls of the Bible, 1901
 * In Memoriam, Wm. McKinley, 1901

In addition, the following three novels were originally published in serial form in the Christian Recorder between 1868 and 1888:
 * Minnie's Sacrifice
 * Sowing and Reaping
 * Trial and Triumph

Legacy and honors

 * Numerous African-American women's service clubs are named in her honor. Across the nation, in cities such as St. Louis, St. Paul, and Pittsburgh, F. E. W. Harper Leagues and Frances E. Harper Women's Christian Temperance Unions thrived well into the twentieth century.
 * A historical marker was installed to commemorate her by her home at 1006 Bainbridge Street, Philadelphia. (See marker at left side of photo above.)
 * A honors dormitory was named for her and Harriet Tubman at Morgan State University in Baltimore, Maryland; it is commonly referred to as Harper-Tubman, or simply Harper.
 * An excerpt from her poem "Bury Me in a Free Land" is inscribed on a wall of the Contemplative Court, a space for reflection in the Smithsonian's National Museum of African American History and Culture. The excerpt reads: "I ask no monument, proud and high to arrest the gaze of the passers-by; all that my yearning spirit craves is bury me not in a land of slaves."
 * Her poem "Bury Me in a Free Land" was recited in Ava DuVernay's film August 28: A Day in the Life of a People, which debuted at the 2016 opening of the Smithsonian's National Museum of African American History and Culture.
 * In 2018 Harper was inducted to the National Abolition Hall of Fame in Peterboro, New York.

title: Frances Ellen Watkins Harper


text: Talk:Ospedale della Pietà

title: Talk:Ospedale della Pietà


text:
Unterhaching

Unterhaching (Central Bavarian: Haching) is the second largest municipality in the district of Munich in Bavaria, Germany, located to the south of Munich city centre and easily accessible via two federal motorways, Bundesautobahn 8 and Bundesautobahn 995, and also on the Munich S-Bahn, connecting Unterhaching to Marienplatz in less than 20 minutes. The municipality is best known for its football club SpVgg Unterhaching, who played in the Bundesliga in 1999–2001 and is also home to a CO2 neutral district heating network.

History

Based upon the discovery of graves, the settlement of the Haching Valley can be traced back as far as 1100 B.C. The settlement of the Bavarian tribes is believed to have occurred between the fifth and eighth centuries.

The name "Haching" comes from the family name "Hacho" and the aristocracy of the Hahilinga. The name Haching is first recorded in a document from the Schäftlarn monastery in the year 806, left by the abbot Petto. Therefore, Haching is hundreds of years older than Munich.

The name "Unterhaching" (lat. inferiori hachingin) emerges for the first time in the year 1180 in a possession listing of the bishop of Freising (Freesing).

Up until the 1803 secularization the surrounding monasteries were the primary landowners in the area. Also derived from this is the municipal coat of arms, which today shows the abbot staff of the Schäftlarn monastery and the sea-rose sheet from the coat of arms of the monastery Tegernsee. Unterhaching began the 20th century as purely a farming village. The number of inhabitants exploded from 616 inhabitants in 1900 to 20,545 in 2000.

In 1955 Unterhaching split from Ottobrunn and became an independent municipality.

In 1968 the building of two new large housing estates began, "Grünau" and Fasanenpark, which began the development of the City into a modern housing development.

Sports
Unterhaching is well known in Germany for its football team SpVgg Unterhaching, which played in the Bundesliga during the 1999–2000 and 2000–01 seasons. The club now oscillates between the regional state league (the fourth tier) and the third division and share local rivalries with 1860 Munich and Bayern Munich's reserve team. In 2001, SpVgg Unterhaching won the national five-a-side indoor football cup.

The SpVgg Unterhaching also has a very successful bob-sledding team, with multiple world and European titles. The Olympic gold-medalist Christoph Langen is a member.

The volleyball department is just as successful TSV Unterhaching and played for six years in Bundesliga.

Economics
Unterhaching is undergoing dynamic development in recent years. Unterhaching is the base for Develey, a manufacturer of mustards and other fine foods, and the headquarters for the chewing gum manufacturer Wm. Wrigley Jr. Company. The company Anton Schrobenhauser has become one of the largest building contractors in Munich and the surrounding areas. The headquarters campus (Campeon) of Infineon Technologies, a global leader in semiconductors, is accessible on foot despite being officially part of the neighboring city of Neubiberg. Several other large service companies are also headquartered in Unterhaching, such as Sportscheck formerly part of Otto Group and now part of Signa Holding as well as software firms, e.g. InterFace AG

Geothermal plant
Unterhaching began construction on a geothermal power plant called Geothermie Unterhaching in 2004. The plant was the first industrial-scaled project in Germany to use the Kalina cycle. The drilling works lasted about six month for each of the two boreholes. While the first drill hole was finished in fall 2004, the second was completed in winter 2007. The plant became operational in the winter of 2007/2008. The plant was shut down in 2017, as temperature fluctuations meant it could only generate power effectively in the summer.

Twin towns – sister cities
Unterhaching is twinned with:
 * 🇪🇸 Adeje, Spain
 * 🇦🇹 Bischofshofen, Austria
 * 🇫🇷 Le Vésinet, France
 * 🏴 Witney, England, United Kingdom
 * 🇵🇱 Żywiec, Poland

title: Unterhaching


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Right of conquest

The right of conquest was historically a right of ownership to land after immediate possession via force of arms. It was recognized as a principle of international law that gradually deteriorated in significance until its proscription in the aftermath of World War II following the concept of crimes against peace introduced in the Nuremberg Principles. The interdiction of territorial conquests was confirmed and broadened by the UN Charter, which provides in article 2, paragraph 4, that "All Members shall refrain in their international relations from the threat or use of force against the territorial integrity or political independence of any state, or in any other manner inconsistent with the purposes of the United Nations." Although civil wars continued, wars between established states have been rare since 1945. Nations that have resorted to the use of force since the Charter came into effect have typically invoked self-defense or the right of collective defense.

History and arguments
Proponents state that the right of conquest acknowledges the status quo, and that denial of the right is meaningless unless one is able and willing to use military force to deny it. Further, the right was traditionally accepted because the conquering force, being by definition stronger than any lawfully entitled governance which it may have replaced, was, therefore, more likely to secure peace and stability for the people, and so the right of conquest legitimizes the conqueror towards that end.

The completion of colonial conquest of much of the world (see the Scramble for Africa), the devastation of World War I and World War II, and the alignment of both the United States and the Soviet Union with the principle of self-determination led to the abandonment of the right of conquest in formal international law. The 1928 Kellogg–Briand Pact, the post-1945 Nuremberg and Tokyo Trials, the UN Charter, and the UN role in decolonization saw the progressive dismantling of this principle. The UN Charter's guarantees the "territorial integrity" of member states, but enforcement difficulties in the 21st century lead to a contentious debate on possible re-emergence of the right of conquest as international law.

Conquest and military occupation
Until 1945, the disposition of territory acquired under the principle of conquest had to be conducted according to the existing laws of war. This meant that there had to be military occupation followed by a peace settlement, and there was no reasonable chance of the defeated sovereign regaining the land. While a formal peace treaty "makes good any defects in title", it was not required. Recognition by the losing party was not a requirement: "the right of acquisition vested by conquest did not depend on the consent of the dispossessed state". However, the alternative was annexation (part or in whole) which if protested as unlawful, a peace treaty was the only means to legitimize conquest in a time of war. Essentially, conquest itself was a legal act of extinguishing the legal rights of other states without their consent. Under this new framework, it is notable that conquest and subsequent occupation outside of war were illegal.

In the post-World War II era, not all wars involving territorial acquisitions ended in a peace treaty. For example, the fighting in the Korean War paused with an armistice, without any peace treaty covering it. North Korea is still technically at war with South Korea and the United States as of 2024.

title: Right of conquest


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User:Wikibot

Wikibot is a bot which uses the code from Rob Hooft's Robbot. It adds, modifies, and standardizes interlanguage links. Operator is Alex Plank.

In addition, Wikibot helps out in the #wikipedia IRC channel. It was created by Alex Plank in November 2003. It has a database made by a PHP script designed by Tim Starling which took the facts from the Wikipedia database. It already has a very large amount of information and will continue to be updated. You can visit Wikibot in the #Wikibot channel of irc.freenode.net. At the last count, Wikibot had 197_636 factoids in his database.

See also: Bots, Wikipedia IRC channel

title: User:Wikibot


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Talk:List of former counties of Quebec

Untitled
Why did you make Antoine-Labelle into Labelle? My map, and Stats-Canada both say Antoine-Labelle. User:Earl Andrew Dec 6 23:41 UTC

This entire section might be better served as part of the historical discussion of the CURRENT municipalities, since many of these retain the same historical divisions.Caspiankilkelly 20:17, 12 September 2006 (UTC)

title: Talk:List of former counties of Quebec


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Kettler

Kettler (Kettler GmbH) is a German company based in Ense-Parsit, with locations all around the world. The company produces riding toys, leisure gear, patio furniture and exercise equipment.

History
The company was founded in 1949 in Parsit by Heinz Kettler. Originally starting in the attic of a sawmill, Kettler grew into a worldwide manufacturing and distribution organization, selling products in over 60 countries. In 2005, Heinz Kettler died and his daughter Dr. Karin Kettler, a biologist by training, took over the company. The CEO is Ludger Busche.

The company filed for bankruptcy under own management (similar to Chapter 11 bankruptcy) to avoid an uncontrolled takeover by an investor. The bicycle unit was subsequently sold to ZEG (Zweirad Einkaufs Genossenschaft) in December 2015, and the company exited the bankruptcy proceedings in March 2016. Karin Kettler, who had mostly retired from the day to day business, died in a traffic accident in March 2017, aged 57.

The company filed for bankruptcy again in July 2018, and the court opened the bankruptcy proceedings again in October 2018. On October 11, 2019, the end of the company was decided, and the employees were informed about this on October 14. Production officially ended at the end of January 2020.

Products
In 1949, Kettler started producing patio furniture and added the Kettcar toy car to their inventory in 1962.

In 1977, Kettler added aluminium bicycles to their product line and started producing fitness equipment and table tennis tops soon after. Kettler now sells a full line of kids' toys, from push trikes for toddlers to licensed pedal tractors for children.

Kettcar
The Kettcar was first introduced to the world in 1962 as Kettler's first pedal vehicle. Similar to a bicycle, the pedals turn the wheels over a chain. The Kettcar, however, has four wheels and requires no balancing to ride. Since its debut, Kettler has made many different varieties of the Kettcar and has sold more than 15 million of them worldwide.

The popularity of the Kettcar in Germany is so immense that the word "Kettcar" has become a synonym for four wheeled pedal cars and was entered into the Duden, the official German dictionary, describing it as a "pedal powered chain vehicle for children" The first four letters of the word Kettcar are derived from the company "Kettler" and the German word for chain, "Kette". The last three letters are derived from the word "car".

Licensed pedal vehicles
Next to their own brand name, Kettler produces and sells pedal vehicles under the license of multiple other companies. Kettler is the sole producer of CAT, Case, Massey Ferguson and New Holland pedal tractors.

Table tennis tables
Kettler produces a number of table tennis tables, that are tournament bounce certified. In January 1996, the committee of the Olympics in Atlanta chose Kettler as the official provider for table tennis gear for the summer games. Kettler still manufactures and sells the same table that was used in the Olympics under the name "Atlanta".

Bicycles
Kettler started manufacturing aluminium bicycles in 1977. The bicycle unit was sold in 2015; ZEG as the new owners continue to manufacture the bicycles under the "Kettler Alurad" brand.

Fitness
Kettler has an extensive fitness equipment line, ranging from exercise bikes and crosstrainers to treadmills and rowers.

Furniture
Having its roots in building furniture, Kettler continued producing it and expanded its selection to aluminum, wrought iron, resin and teak wood furniture. Kettler produces furniture mainly for outdoor use.

title: Kettler


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Art Ensemble of Chicago

The Art Ensemble of Chicago is an avant-garde jazz group that grew out of the Association for the Advancement of Creative Musicians (AACM) in the late 1960s. The ensemble integrates many jazz styles and plays many instruments, including "little instruments": bells, bicycle horns, birthday party noisemakers, wind chimes, and various forms of percussion. The musicians would wear costumes and face paint while performing. These characteristics combined to make the ensemble's performances both aural and visual. While playing in Europe in 1969, five hundred instruments were used.

History
Members of what was to become the Art Ensemble performed together under various band names in the mid-sixties, as members of the Association for the Advancement of Creative Musicians (AACM). They performed on the 1966 album Sound, as the Roscoe Mitchell Sextet. The Sextet included saxophonist Roscoe Mitchell, trumpeter Lester Bowie, and bassist Malachi Favors. For the next year, they played as the Roscoe Mitchell Art Ensemble. In 1967, they were joined by fellow AACM members Joseph Jarman (saxophone) and Phillip Wilson (drums) and recorded for Nessa Records.

All of the musicians were multi-instrumentalists. Jarman and Mitchell's primary instruments were alto and tenor saxophone, respectively, Additionally, they both played other saxophones ranging from the small sopranino to the large bass saxophone, as well as the flute and clarinet. In addition to trumpet, Bowie played flugelhorn, cornet, shofar, and conch shells. Favors added touches of banjo and bass guitar. Most of them dabbled in piano, synthesizer, and other keyboards, and they all played percussion instruments.

They were known for wearing costumes and makeup on stage. Member Joseph Jarman described part of their style: "So what we were doing with that face painting was representing everyone throughout the universe, and that was expressed in the music as well. That's why the music was so interesting. It wasn't limited to Western instruments, African instruments, or Asian instruments, or South American instruments, or anybody's instruments."

In 1967, Wilson left the group to join Paul Butterfield's band, and for a period the group was a quartet without a full-time drummer. Jarman and Mitchell served as artistic directors at the cooperative summer camp Circle Pines Center in Delton, Michigan, in August of 1968, during the same week that the Democratic Convention was in Chicago. After a farewell concert at the Unitarian Church in Evanston, Illinois, in fall, 1968, the remaining group traveled to Paris. In Paris, the ensemble was based at the Théâtre des Vieux Colombier. In France, they became known as the Art Ensemble of Chicago. The impetus for the name change came from a French promoter who added "of Chicago" to their name for descriptive purposes. The new name stuck because band members felt that it better reflected the cooperative nature of the group. In Paris, the ensemble was based at the Théâtre des Vieux Colombier and they recorded for the Freedom and BYG labels. They also recorded Comme à la radio with Brigitte Fontaine and Areski Belkacem but without a drummer until percussionist Don Moye became a member of the group in 1970. During that year, they recorded the albums Art Ensemble of Chicago with Fontella Bass and Les Stances a Sophie with singer Fontella Bass, who was Lester Bowie's wife. The latter was the soundtrack to the French movie of the same title.

Fifty years on
Lester Bowie died of liver cancer in 1999. Malachi Favors died in 2004 of pancreatic cancer. Joseph Jarman died on January 9, 2019, of respiratory failure.

As of 2017-2019 Mitchell and Moye remained active, with new and previous collaborators as guest under the name Art Ensemble of Chicago - 50th Anniversary Large Ensemble. They released an album in 2019: Guests:
 * Roscoe Mitchell – saxophones;
 * Famoudou Don Moye – drums, congas and percussion.
 * - african drums and djembe
 * - trumpet, flugelhorn
 * – double bass
 * – piano
 * Jean Cook – violin
 * - conductor
 * – voice
 * – African percussion
 * – viola
 * - trombone
 * Nicole Mitchell – flutes
 * Moor Mother – spoken word
 * - soprano vocals
 * – double bass and objects
 * Hugh Ragin – trumpet, flugelhorn and piccolo trumpet
 * Tomeka Reid – cello
 * - conductor
 * Jaribu Shahid – double bass
 * - cello
 * – trombone
 * Baba Sissoko – African percussion
 * - vocals, congas, mbira, bells
 * – voice, array mbira, autoharp, q-chord, theremin, sampler, electronics
 * - congas, djembe and percussion

and another in 2023 with a smaller ensemble of 20 musicians - The Sixth Decade: From Paris to Paris.

Films

 * 1982 - Great Black Music - The Art Ensemble of Chicago Television documentary broadcast by Channel 4 in November 1982.
 * 1982 - Live From the Jazz Showcase: The Art Ensemble of Chicago (directed by William J Mahin, the University of Illinois at Chicago). Filmed at Joe Segal's Jazz Showcase in Chicago, November 1, 1981.

title: Art Ensemble of Chicago


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Anatoli Boukreev

Anatoli Nikolaevich Boukreev (Анато́лий Никола́евич Букре́ев; January 16, 1958 – December 25, 1997) was a Soviet and Kazakh mountaineer who made ascents of 10 of the 14 eight-thousander peaks—those above 8000 m—without supplemental oxygen. From 1989 through 1997, he made 18 successful ascents of peaks above 8,000 m.

Boukreev had a reputation as an elite mountaineer in international climbing circles for summiting K2 in 1993 and Mount Everest via the North Ridge route in 1995, and for his solo speed ascents of some of the world's highest mountains. He became even more widely known for saving the lives of climbers during the 1996 Mount Everest disaster.

In 1997, Boukreev was killed in an avalanche during a winter ascent of Annapurna in Nepal. Boukreev's companion, Linda Wylie, edited his memoirs and published them in 2002 under the title, Above the Clouds: The Diaries of a High-Altitude Mountaineer.

Biography
Boukreev was born in Korkino, within the Soviet Union's Russian SFSR. He came from the narod, the common people, and his parents were both poor. After completing high school in 1975, he attended Chelyabinsk University for Pedagogy, where he majored in physics and earned his Bachelor of Science degree in 1979. At the same time, he also completed a coaching program for cross-country skiing.

After graduation, the 21-year-old dreamed of mountain climbing. Boukreev moved to Alma-Ata, the capital of the neighbouring Kazakh SSR (present-day Kazakhstan) located in the Tian Shan mountain range. From 1985 he was part of a Kazakhstani mountaineering team, and he became a citizen of Kazakhstan in 1991 after the breakup of the Soviet Union.

Boukreev worked as a commercial mountain guide in the 1990s, and was working with Scott Fischer's adventure company Mountain Madness during the 1996 Mount Everest disaster. He managed to survive and was also instrumental in saving the lives of others, including New York socialite Sandy Hill Pittman.

Highlights
1987 1989 1990 1991 1993 1994 1995 1996 1997
 * Lenin Peak (7,134 m) – First solo ascent
 * April 15 Kangchenjunga (8,586 m) – new route with Second Soviet Himalaya Expedition
 * April 30 - May 2 Kangchenjunga – first traverse of the four 8,000 m summits of the massif
 * April Denali – Cassin Ridge route
 * May Denali – West Rib route (solo)
 * May 10 Dhaulagiri – new route on the west wall with First Kazakhstan Himalaya Expedition
 * October 7 Mount Everest – South Col route
 * May 14 Denali (6,193 m)
 * July 30 K2 (8,611 m) Abruzzi route.
 * April 29 Makalu II (8,460 m)
 * May 15 Makalu (8,476 m) — with Neal Beidleman. Fastest speed ascent was planned, but Anatoli gave up that idea after realising his tent in camp III was destroyed by strong wind.
 * May 17 Mount Everest – North Ridge route
 * June 30 Peak Abai (4,010 m) – guide for President of Kazakhstan
 * October 8 Dhaulagiri (8,176 m) – fastest ascent record (17h 15m)
 * December 8 Manaslu (8,156 m) – with Second Kazakhstan Himalaya Expedition
 * May 10 Mount Everest – South Col route
 * May 17 Lhotse – solo ascent, speed record at 21 h 16 min from Base Camp to summit without supplemental oxygen.
 * September 25 Cho Oyu (8,201 m) with Third Kazakhstan Himalaya Expedition
 * October 9 North summit of Shishapangma (8,008 m)
 * April 24 Mount Everest (8,848 m) South Col Route as guide for Indonesian military expedition
 * May 23 Lhotse (8,516 m)
 * July 7 Broad Peak (8,047 m) – solo ascent
 * July 14 Gasherbrum II (8,035 m) – solo ascent

Denali
In May 1990, Boukreev was invited by an American climber to guide several clients to the summit of Denali in Alaska. Denali, previously known as Mount McKinley, has challenges such as hidden crevasses and unpredictably cold weather due to its proximity to the Arctic Circle and the ocean.

The expedition was a success, and the team reached the summit and returned without incident. During the climb, there had been somewhat of a language barrier, and Boukreev felt the sting of needing to borrow equipment due to his economic circumstances. After the team had returned home, Boukreev decided to attempt a solo speed ascent of Denali before returning to the Soviet Union.

Boukreev's solo speed ascent of Denali in 1990 was completed in 10½ hours from the base to the summit. That season acclimatized climbers were normally taking three to four days and five camps to summit — Boukreev's feat was noted by Climbing magazine in a 1990 issue, and commented on by Denali Park rangers who described it as "unreal".

K2
In 1993, Boukreev reached the summit of K2 via the Abruzzi Spur, where he shared the peak with team members Peter Metzger of Germany and Andrew Lock of Australia. The other team members were German climbers Reinmar Joswig (the team leader) and Ernst Eberhardt. With a peak elevation of 8,611 metres (28,251 ft), K2 is the second-highest mountain on Earth after Mount Everest.

As part of the Karakoram range, K2 is located on the border between Pakistan and China. K2 is referred to as the "Savage Mountain" — notable for its steep pyramidal relief, dropping quickly in almost all directions, and the inherent danger in climbing it. The danger facing Boukreev on K2 was that the summit felt like the finish line. Boukreev would later write that he did not feel the emotions of victory in that moment on top of K2's peak because he was physically and emotionally spent. Boukreev found himself in a dangerous position. He had expended too much energy placing fixed lines along a narrow, steep portion earlier that day. But since the team wanted to push on to the summit that same afternoon, rather than return to their tents to sleep and make a summit bid the next morning, Boukreev acquiesced. Boukreev would later write:

"During my years of training as a ski racer, and then as a mountaineer, I had learned how to wring out the last of my energy for a finish. But this is dangerous in mountaineering, because the summit is not the finish of your competition with a great mountain. To survive you must be able to get down from the forbidden zone." Boukreev later described feeling like a "squeezed lemon". When Boukreev and the other two climbers began their descent just after sundown they met Reinmar Joswig ascending and near the peak. Relying heavily on intuition and his previous mountaineering experiences, Boukreev slowly made his way down the steep rock and ice of the mountain. A crampon kept coming off of his boot, and at one point he had to use his ice axe to arrest a fall, keeping himself from sliding into the abyss. Eventually he made his way to the tents at the highest elevation camp. However, teammates Peter Metzger and Reinmar Joswig never returned from the summit, both having fallen to their death during the descent.

Everest
Boukreev became widely known as the lead climbing guide for the Mountain Madness expedition headed by Scott Fischer in May 1996. The expedition was one of several attempting to summit Everest on the same day (May 10). Soon after summiting on May 10, a disastrous blizzard struck, stranding many climbers above the South Col overnight, and by May 11, eight climbers from three different expeditions had perished. Boukreev rescued three climbers stranded in the disaster above 8,000 m, and all six of the climbing clients on the Mountain Madness expedition survived the ordeal.

Galen Rowell described Boukreev's rescue efforts in the Wall Street Journal as: One of the most amazing rescues in mountaineering history performed single-handedly a few hours after climbing Everest without oxygen...

Controversy
Author Jon Krakauer was generally critical of Boukreev in his book, Into Thin Air. Subsequently, Boukreev was contacted by various media for a response, and also wrote his own account of the events on Everest in The Climb, a book co-written with Gary Weston DeWalt.

The core of the controversy was Boukreev's decision to attempt the summit without supplementary oxygen and to descend to the camp ahead of his clients in the face of approaching darkness and blizzard. He was one of the first to reach the summit on the day of the disaster and stayed at or near the summit for nearly 1.5 hours helping others with their summit efforts, before returning to his tent by 5 pm on May 10, well ahead of the later summiters on his team.

Boukreev's supporters point to the fact that his return to camp allowed him enough rest that, when the blizzard had subsided around midnight, he was able to mount a rescue attempt and to lead several climbers still stranded on the mountain back to the safety of the camp. Boukreev's detractors say that had he simply stayed with the clients, he would have been in better position to assist them down the mountain, though every one of Boukreev's clients survived, including the three (Pittman, Fox, Madsen) that he rescued on May 11 after he had rested and overcome hypoxia. The only client deaths that day were suffered by the Adventure Consultants expedition, led by guide Rob Hall, who lost his own life when he chose to stay and help a client summit the mountain past the safe turnaround time of 14:00. Reinhold Messner criticized Boukreev, saying "[n]o one should guide Everest without using bottled oxygen" while David Breashears pointed out that Boukreev, despite climbing down first, was "sitting in his tent unable to assist anyone" until the clients themselves staggered into the camp with the information vital to their rescue.

According to Krakauer, Boukreev's "refusal or inability to play the role of a conventional guide" caused dissension between him and Scott Fischer (who later died while returning from the summit). On the way to the summit, Fischer had directed Boukreev to bring up the rear of the group and keep an eye on everybody, but he instead remained at Base Camp and followed the group some five hours later. When a client named Dale Kruse fell ill, Boukreev was nowhere to be found, forcing Fischer to descend from Camp II to Kruse and help him back to Base Camp. According to Krakauer, Fischer encountered Boukreev at the Khumbu Icefall and "harshly reprimanded the guide for shirking his responsibilities". Back at Base Camp, Fischer called his Seattle business partner Karen Dickinson and publicist Jane Bromet to complain about Boukreev's actions before resuming his ascent.

Before returning to the U.S. after the events on Everest in 1996, Boukreev climbed the 8,516 m Lhotse, which is in proximity to Everest. He decided on a solo ascent because he hoped that in the process of climbing it he might find some inner clarity to what had just transpired on Everest.

In 1997 Anatoli Boukreev was awarded the David A. Sowles Memorial Award by the American Alpine Club. The award recognizes people "who have distinguished themselves, with unselfish devotion at personal risk or sacrifice of a major objective, in going to the assistance of fellow climbers imperiled in the mountains. It is dedicated to the memory of David A. Sowles." It was presented to him by Jim Wickwire, the first American to summit K2. The award is the American Alpine Club's highest award for valor in recognition of his role in rescuing climbers in the 1996 Everest disaster.

Death
Three weeks after receiving the David A. Sowles Memorial Award, Boukreev began his attempt to climb the south face of Annapurna I (8091 m) along with Simone Moro, an accomplished Italian mountaineer. They were accompanied by Dimitri Sobolev, a cinematographer from Kazakhstan who was documenting the attempt. On December 25 around noon, Boukreev and Moro were fixing ropes in a couloir at around the 5700 m level.

Suddenly, an enormous cornice broke loose from the heights of Annapurna's Western Wall and rumbled down the 800 m long couloir. The avalanche knocked Moro down the mountain where he landed just above their tent at Camp I 5200 m. Fortuitously, Moro had somehow stayed near the top of the avalanche debris and managed to dig himself out after a few minutes. Unable to see or hear any signs of Boukreev or Sobolev (whom Moro had witnessed disappearing beneath "car-sized blocks of ice"), Moro descended to Annapurna base camp where he was flown by helicopter back to Kathmandu for surgery on his hands, which had been ripped down to the tendons during the fall. News of the accident reached New Mexico on December 26. Linda Wylie, Boukreev's girlfriend, left for Nepal on December 28. Several attempts were made to reach the avalanche site by helicopter but inclement weather in late December prevented search teams from reaching Camp I. On January 3, 1998, searchers were finally able to reach Camp I and an empty tent. Linda Wylie subsequently issued a somber statement from Kathmandu: "This is the end... there are no hopes of finding him alive."

Boukreev had dreamt in detail of dying in an avalanche nine months before his death. The only thing missing was the name of the mountain. When Boukreev's companion tried to convince him to take a different path in life to avoid a fate that Boukreev was convinced of, he responded, "Mountains are my life...my work. It is too late for me to take up another road."

Memorial
At the site of Annapurna base-camp there is a memorial chorten to Boukreev including one of his favorite quotes:"'Mountains are not stadiums where I satisfy my ambition to achieve, they are the cathedrals where I practice my religion.'"

On January 18, 2023, a sculpture of Boukreev by Nurlan Dalbai was unveiled at the Medeu ice sports rink. The mountaineer is shown at rest with his hand on an ice axe.

In popular culture
Icelandic actor Ingvar Eggert Sigurðsson portrays Boukreev in the Baltasar Kormákur film, Everest, about the 1996 Everest disaster.

title: Anatoli Boukreev


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Patrick McGoohan

Patrick Joseph McGoohan (March 19, 1928 – January 13, 2009) was an American and Irish actor, director, screenwriter, and producer of film, television, and theatre. Born in New York City to Irish parents, he was raised in Ireland and England, began his career in England during the 1950s and became well known for the titular role, secret agent John Drake in the ITC espionage programme Danger Man (1960–1968). He then produced and created The Prisoner (1967–1968), a surrealistic television series in which he featured as Number Six, an unnamed British intelligence agent who is abducted and imprisoned in a mysterious coastal village.

Beginning in the 1970s, McGoohan maintained a long-running association with the television series Columbo, writing, directing, producing and appearing in several episodes. His notable film roles included David Jones in Ice Station Zebra (1968); James Stewart, 1st Earl of Moray in Mary, Queen of Scots (1971); the Warden in Escape from Alcatraz (1979); Dr. Paul Ruth in Scanners (1981); King Edward I in Braveheart (1995); Judge Omar Noose in A Time to Kill (1996); and the voice of Billy Bones in Treasure Planet (2002).

During the height of Danger Man's fame in the 1960s, McGoohan was the highest-paid actor on British television. McGoohan won the 1960 BAFTA Television Award for Best Actor for his work on Danger Man, and twice won the Primetime Emmy Award for Outstanding Guest Actor in a Drama Series (including its inaugural 1975 entry) for Columbo.

Early life
Patrick Joseph McGoohan was born in the Astoria neighbourhood of New York City's Queens borough on March 19, 1928, the son of Irish Catholic, immigrant parents Thomas McGoohan and Rose McGoohan (née Fitzpatrick). Soon after he was born, the family relocated back to Ireland, where they lived in the Mullaghmore area of Carrigallen in the south-east of County Leitrim.

Seven years later, they relocated to England and settled in Sheffield. McGoohan attended St Marie's School, then St Vincent's School, and De La Salle College, all in Sheffield. During World War II, he was evacuated to Loughborough, where he attended Ratcliffe College at the same time as future actor Ian Bannen. McGoohan excelled in mathematics and boxing, and left school at the age of 16 to return to Sheffield, where he worked as a chicken farmer, bank clerk, and lorry driver before getting a job as a stage manager for Sheffield Repertory Theatre. When one of the actors became ill, McGoohan substituted for him, which began his acting career.

Early career
In 1955, McGoohan featured in a West End stage production of Serious Charge, as a Church of England vicar accused of being homosexual.

Orson Welles was so impressed by McGoohan's stage presence ("intimidated", Welles would later say) that he cast him as Starbuck in his York theatre production of Moby Dick—Rehearsed. Welles said in 1969 that he believed McGoohan "would now be, I think, one of the big actors of our generation if TV hadn't grabbed him. He can still make it. He was tremendous as Starbuck," and "with all the required attributes, looks, intensity, unquestionable acting ability and a twinkle in his eye".

McGoohan's first television appearance was as Charles Stewart Parnell in "The Fall of Parnell" for the series You Are There (1954). He had an uncredited role in the movie The Dam Busters (1955), standing guard outside a briefing room. He delivered the line, "Sorry, old boy, it's secret—you can't go in. Now, c'mon, hop it!," which was cut from some prints of the movie.

He also had small roles in Passage Home (1955), The Dark Avenger (1955) and I Am A Camera (1955). He could also be seen in Zarak (1956) for Warwick Films. For television he was in "Margin for Error" in Terminus (1955), guest featured on The Adventures of Sir Lancelot and Assignment Foreign Legion, and The Adventures of Aggie. He played the lead in "The Makepeace Story" for BBC Sunday Night Theatre (1955). He also appeared in Welles' movie version of Moby Dick—Rehearsed.

He did Ring for Catty on stage in 1956.

Rank Organisation
While working as a stand-in during screen tests, McGoohan was signed to a contract with the Rank Organisation. They gave him mostly villainous parts in various movies: High Tide at Noon (1957), directed by Philip Leacock; Hell Drivers (1957), directed by Cy Endfield, as a violent bully; and the steamy potboiler The Gypsy and the Gentleman (1958), directed by Joseph Losey.

He had good roles in television anthology series such as Television Playwright, Folio, Armchair Theatre, ITV Play of the Week and ITV Television Playhouse. He was given a leading role in Nor the Moon by Night (1958), filmed in South Africa. After some disputes with the management, the contract was dissolved. He then did some TV work, winning a BAFTA in 1960.

His favourite part for stage acting was the lead for Ibsen's play Brand, for which he received an award. He also played the role in a (still extant) BBC television production in August 1959. Michael Meyer, who translated the stage version, thought McGoohan's performance was the best and most powerful he'd ever seen. It was McGoohan's last stage appearance for 28 years.

Danger Man
Production executive Lew Grade soon approached McGoohan about a television series where he would play a spy named John Drake. Having learned from his experience at Rank, McGoohan insisted on several conditions: All the fistfights should be different; the character would always use his brain before using a gun; and—much to the executives' horror—no kissing. The show debuted in 1960 as Danger Man, a half-hour programme intended for American audiences. It did fairly well, but not as well as hoped.

Production lasted a year and 39 episodes. After the first series was over, an interviewer asked McGoohan if he would have liked it to continue. He replied, "Perhaps, but let me tell you this: I would rather do twenty TV series than go through what I went through under that Rank contract I signed a few years ago and for which I blame no one but myself."

Post-Danger Man
McGoohan appeared in the movie Two Living, One Dead (1961), filmed in Sweden. He featured in two movies directed by Basil Dearden: All Night Long, an updating of Othello, and Life for Ruth (both 1962). He also featured in an adaptation of The Quare Fellow (1962) by Brendan Behan.

McGoohan was one of several actors considered for the role of James Bond in Dr. No. While McGoohan, a Catholic, refused the role on moral grounds, the success of the Bond movies is generally cited as the reason for Danger Man being revived. (He was later considered for the same role in Live and Let Die, but refused again.)

McGoohan spent some time working for The Walt Disney Company on The Three Lives of Thomasina (1963) and The Scarecrow of Romney Marsh (1963). A staid English vicar, Dr. Christopher Syn (a reformed pirate captain - played by McGoohan) disguised as a scarecrow and mounted on a magnificent black stallion thwarts King George III's Revenue officers in daring night-time smuggling adventures on the remote Kent coast.

Return of Danger Man
After he had also refused the role of Simon Templar in The Saint, Lew Grade asked McGoohan if he wanted to give John Drake another try. This time, McGoohan had even more say about the series. Danger Man (US: Secret Agent) was resurrected in 1964 as a one-hour programme. The scripts now allowed McGoohan more range in his acting. Because of the popularity of the series, he became the highest-paid actor in the UK, and the show lasted almost three more years.

After shooting the only two episodes of Danger Man to be filmed in colour, McGoohan told Lew Grade he was going to quit for another show.

The Prisoner
Knowing McGoohan's intention to quit Danger Man, Grade asked if he would at least work on "something" for him. McGoohan gave him a run-down of what would later be termed a miniseries, about a secret agent who angrily quits and is abducted hours later. He awakens to find himself imprisoned in a surreal, cheerful holiday resort village. Grade asked for a budget, McGoohan had one ready, and they made a deal over a handshake early on a Saturday morning to produce The Prisoner.

In addition to being the series's protagonist, McGoohan was its executive producer, forming Everyman Films with producer David Tomblin, and also wrote and directed several episodes, in some cases using pseudonyms. The originally commissioned seven episodes became seventeen.

The title character, the otherwise-unnamed "Number Six", spends the entire series trying to escape from a mysterious prison community called "The Village", and to learn the identity of his nemesis, Number One. The Village's administrators try just as much to force or trick him into revealing why he resigned as a spy, which he refuses to divulge. The filming location was the Italianate village of Portmeirion in North Wales, which was featured in some episodes of Danger Man.

MGM
During production of The Prisoner, MGM cast McGoohan in an action movie, Ice Station Zebra (1968), for which his performance as a British spy drew critical praise.

After the end of The Prisoner, he presented a TV show, Journey into Darkness (1968–69). He was meant to follow it with the lead role of Dirk Struan in an expensive adaptation of the James Clavell best-seller Tai-Pan but the project was cancelled before filming. Instead he made the movie The Moonshine War (1970) for MGM.

1970s
McGoohan played James Stewart, 1st Earl of Moray in Mary, Queen of Scots (1971). He directed Richie Havens in a rock-opera version of Othello, titled Catch My Soul (1974), but disliked the experience.

McGoohan received two Emmy Awards for his work for the television series Columbo, with his long-time friend Peter Falk. McGoohan said that his first appearance on Columbo (episode: "By Dawn's Early Light", 1974) was probably his favourite American role. He directed five Columbo episodes (including three of the four in which he appeared), one of which he also wrote and two of which he also produced. McGoohan was involved with the Columbo series in some capacity from 1974 to 2000; his daughter Catherine McGoohan appeared with him in the episode "Ashes to Ashes" (1998). The other two Columbo episodes in which he appeared are "Identity Crisis" (1975) and "Agenda for Murder" (1990).

As he had done early in his career with the Rank Organisation, McGoohan began to specialise in villains, appearing in A Genius, Two Partners and a Dupe (1975), Silver Streak (1976) and The Man in the Iron Mask (1977).

In 1977, he had the main role of the television series Rafferty as a retired army doctor who moves into private practice.

He had the lead in a Canadian movie, Kings and Desperate Men; then had supporting parts in Brass Target (1978) and the Clint Eastwood movie Escape from Alcatraz (1979), portraying the prison's warden.

1980s
In 1980 he appeared in the UK television movie The Hard Way.

In 1981 he appeared in the science fiction/horror movie Scanners, and in Jamaica Inn (1983) and Trespasses (1984).

In 1985 he appeared in his only Broadway production, featuring opposite Rosemary Harris in Hugh Whitemore's Pack of Lies, in which he played another British spy. He was nominated for a Drama Desk Award as Best Actor for his performance.

He could also be seen in the movies Baby: Secret of the Lost Legend (1985), Of Pure Blood (1986) and an episode of Murder, She Wrote.

1990s
McGoohan featured in The Best of Friends (1991) for Channel 4, which told the story of the unlikely friendship between a museum curator, a nun and a playwright. McGoohan played George Bernard Shaw alongside Sir John Gielgud as Sydney Cockerell and Dame Wendy Hiller as Sister Laurentia McLachlan. In the United States, the drama was shown by PBS as part of Masterpiece Theatre.

Also during this period he featured as King Edward I in Braveheart (1995), which won five Academy Awards. It seemed to revitalise McGoohan's career: he was then seen as Judge Omar Noose in A Time to Kill (1996) and in The Phantom (also 1996), a cinema adaptation of the comic strip.

2000s
In 2000, he reprised his role as Number Six in an episode of The Simpsons, "The Computer Wore Menace Shoes". In it, Homer Simpson concocts a news story to make his website more popular, and he wakes up in a prison disguised as a holiday resort. Dubbed Number Five, he meets Number Six, and later betrays him and escapes with his boat; referencing his numerous attempts to escape on a raft in The Prisoner, Number Six splutters "That's the third time that's happened!"

McGoohan's last movie role was as the voice of Billy Bones in the animated movie Treasure Planet, released in 2002. That same year, he received the Prometheus Hall of Fame Award for The Prisoner.

McGoohan's name was associated with several aborted attempts at producing a new movie version of The Prisoner. In 2002, Simon West was signed to direct a version of the story. McGoohan was listed as executive producer for the movie, which never came to fruition. Later, Christopher Nolan was proposed as director for a movie version. However, the source material remained difficult and elusive to adapt into a feature movie. McGoohan was not involved with the project that was ultimately completed. A miniseries was filmed for the AMC network in late 2008, with its broadcast occurring during November 2009.

Personal life
McGoohan married actress Joan Drummond on May 19, 1951. They had three children including Catherine McGoohan.

For most of the 1960s they lived in a secluded detached house on the Ridgeway, Mill Hill, London. They settled in the Pacific Palisades district of Los Angeles during the mid-1970s.

Death
McGoohan died at Saint John's Health Center in Santa Monica, California, on January 13, 2009; he was 80 years old. His family did not make the cause of death public, referring only to a "short illness".

A biography of McGoohan was published in 2007 by Tomahawk Press, and another followed in 2011 by Supernova Books.

Theatre roles
This is an incomplete list. Sources include and.

Awards

 * 1960: BAFTA TV Award for Best Actor — Won
 * 1975: Primetime Emmy Award for Outstanding Guest Actor in a Drama Series (for Columbo: By Dawn's Early Light) — Won
 * 1990: Primetime Emmy Award for Outstanding Guest Actor in a Drama Series (for Columbo: Agenda for Murder) — Won

title: Patrick McGoohan


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Argenteuil Regional County Municipality

Argenteuil is a regional county municipality located in the Laurentides region of Quebec, Canada. Its seat is Lachute.

History
In 1682, Charles-Joseph d'Ailleboust was granted by Louis de Buade de Frontenac, Governor General of New France, a domain of 186 km2 of land. This fiefdom was bounded by the Ottawa River to the south, a line through the center of the hamlet of Carillon in the west and Clear Lake (Lac Clair) to the north. Since Ailleboust already owned a house in Argenteuil near Paris, he called his domain Argenteuil Seigneury. In 1697, the Lord of Ailleboust and his wife Catherine Le Gardeur sold their seigneury to their son Pierre d'Ailleboust d'Argenteuil. Subsequently over the years, the fiefdom was held by Pierre-Louis Panet, and then by Major Murray.

After the conquest of New France by the British in 1759 during the Seven Years' War, the British implemented their laws, but maintained certain French seigneurial rights. In 1796, Jedediah Lane, from Jericho, Vermont, bought from Major Murray several thousand acres of land on both sides of the North River (Rivière du Nord), where Lachute is today. In 1809, Thomas Barron bought the land of the territory that would become the center of the town of Lachute. Five years later, Sir John Johnson, a Loyalist from New York who had resettled in Canada after the American Revolution, bought the rest of the Argenteuil Seigneury. He built a sawmill and gave land for churches, helping to attract new settlers to Argenteuil.

In 1854, the Parliament of the Province of Canada abolished the seigneurial system, and the County of Argenteuil was created the following year. In January 1983, the Argenteuil Regional County Municipality succeeded the County of Argenteuil.

Subdivisions
There are 9 subdivisions within the RCM:

 * Cities (2)
 * Lachute
 * Brownsburg-Chatham

 * Municipalities (3)
 * Grenville-sur-la-Rouge
 * Mille-Isles
 * Saint-André-d'Argenteuil

 * Townships (3)
 * Gore
 * Harrington
 * Wentworth

 * Villages (1)
 * Grenville

Access Routes
Highways and numbered routes that run through the municipality, including external routes that start or finish at the county border:

 * Autoroutes

 * Principal Highways

 * Secondary Highways

 * External Routes
 * None

Attractions

 * Argenteuil Regional Museum (Saint-André-d'Argenteuil)
 * Carillon Canal
 * Caserne-de-Carillon National Historic site (Carillon Barracks)
 * Lachute Airport (Lachute)

title: Argenteuil Regional County Municipality


text:
Karin Dor

Karin Dor (born Kätherose Derr; 22 February 1938 – 6 November 2017) was a German actress. She was famous to international audiences for her role as Bond girl Helga Brandt in the James Bond film You Only Live Twice (1967) and her appearance in the Alfred Hitchcock thriller Topaz (1969).

Biography
Dor was born in Wiesbaden. She starred in the James Bond movie You Only Live Twice (1967) and the Alfred Hitchcock movie Topaz (1969).

She appeared in German movies adapted from the works of Edgar Wallace (Krimis from Kriminalfilm) and Karl May. These two-film series were mainly directed by Harald Reinl, her first husband.

In 2008, she was in a Munich stage production, Man liebt nur dreimal ("You Only Love Thrice"). In later years, she performed mainly stage roles but still appeared in some films.

She was married three times: her last marriage was to George Robotham, an American stunt director, from 1988 until his death in 2007. The couple lived in Los Angeles and Munich. Her previous marriage was to Harald Reinl (1954–68); the couple had a child. In 1954, the year of their marriage, Dor was 16 years old (born 1938), while Reinl was 46 (born 1908).

Accident and death
In July 2016, while vacationing in South Tyrol, Dor was knocked to the ground after being accidentally rammed by a woman with a stroller. The backwards fall onto concrete resulted in a gashing 4-cm head wound that had to be stitched in hospital. She lost her memory for the duration of an hour.

According to Dor, the doctors detected neither a brain concussion nor an intracranial injury. Only during rehearsals for the theatre play Der Dressierte Mann weeks after her fall did doctors realize her injuries were more serious than previously thought, as she began suffering from headaches and was often tired. Even months past the accident, the aftereffects were still present and Dor was not feeling up to her usual energetic self. Her attitude however remained positive and, despite her doctors advising against it, she continued working as an actress. Between October and November 2016, she appeared on stage every evening performing at the Komödie im Bayerischen Hof in Munich. By that time, she was already experiencing limited motor function in her right leg.

Suddenly, in January 2017, she relapsed. Her condition rapidly worsened in March 2017 and she was confined to a care home, where she ultimately died on 6 November, aged 79.

Selected filmography
• The Last Waltz (1953) as Extra (uncredited)

• Roses from the South (1954)

• Rose-Girl Resli (1954)

• The Great Test (1954)

• The Silent Angel (1954) as Erika

• Ihre große Prüfung (1955) as Elena Clausen

• As Long as You Live (1955) as Pepita

• Santa Lucia (1956) as Manina

• Kleiner Mann – ganz groß (1957) as Meike Brauns

• The Twins from Zillertal (1957) as Daniela Kleemann

• Almenrausch and Edelweiss (1957) as Maresi Meier

• Mit Eva fing die Sünde an (film) (1958) as Dinah

• Worüber man nicht spricht (1958) as Christa Riek

• Thirteen Old Donkeys (1958) as Monika

• Skandal um Dodo (1959) as Helga, die Nichte

• The Blue Sea and You (1959) as Helga Heidebrink

• A Summer You Will Never Forget (1959) as Christine von Auffenberg

• That's No Way to Land a Man (1959) as Tessy

• The Terrible People (1960) as Nora Sanders

• The White Horse Inn (1960) as Brigitte Giesecke

• The Green Archer (1960) as Valerie Howett, geb Bellamy

• Pichler's Books Are Not in Order (1961) as Anneliese

• The Forger of London (1961) as Jane Clifton, geb. Leith

• Am Sonntag will mein Süsser mit mir segeln geh'n (1961) as Georgie Hagen, die Sprachstudentin

• Im schwarzen Rößl (1961) as Eva Lantz

• The Bellboy and the Playgirls (1962)

•  (1962) as Liane Martin

•  (1962) as Ann Learner

• Treasure of the Silver Lake (1962) as Ellen Patterson

• The White Spider (1963) as Muriel Irvine

• The Strangler of Blackmoor Castle (1963) as Claridge Dorsett

• The Secret of the Black Widow (1963) as Clarisse

• Room 13 (1964) as Denise

• Last of the Renegades (1964) as Ribanna

• Hotel der toten Gäste (1965) as Gilly Powell

• The Last Tomahawk (1965) as Cora Munroe

• The Face of Fu Manchu (1965) as Maria Muller

• The Desperado Trail (1965)

• I Knew Her Well (1965) as Barbara, the lady friend of Adriana

• The Sinister Monk (1965) as Gwendolin

• The Spy with Ten Faces (1966) as Helen Farheit

• Killer's Carnival (1966) as Denise (Rio segment)

• Target for Killing (1966) as Sandra Perkins

• Die Nibelungen (1966–1967, TV Series) as Brunhild

• You Only Live Twice (1967) as Helga Brandt / No.11

• The Blood Demon (1967) as Baroness Lilian von Brabant

• Darling Caroline (1968) as Isabelle de Loigny

• The Valley of Death (1968) as Mabel Kingsley

• Topaz (1969) as Juanita de Cordoba

• Los Monstruos del Terror (1970) as Maleva Kerstein

•  (1971) as Andrea Jacobs

• Only the Wind Knows the Answer (1974) as Nicole Monnier

• Warhead (1977) as Liora

• Women in Hospital (1977) as Claudias Mutter

• Dark Echo (1977) as Lisa Bruekner

•  (1987) as Jetty

• I Am the Other Woman (2006) as Frau Winter

• The Misplaced World (2015) as Rosa (final film role)

title: Karin Dor


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Canyon towhee

The canyon towhee (Melozone fusca) is a bird of the family Passerellidae. Until 1989, the Canyon Towhee and the California towhee were considered to be a single species which was called the Brown Towhee.

Taxonomy
The taxonomy of the group of towhees to which this species belongs is debated. At the higher level, some authors place the towhees in the family Fringillidae. Within the genus, there has been dispute about whether the canyon towhee is a distinct species from the California towhee (Melozone crissalis) found in coastal regions from Oregon and California in the United States through Baja California in Mexico. At present, molecular genetics seems to have settled this issue in favour of separation of the species.

Description
It is 19 to 25 cm long, and has a noticeably long tail, at 8.2 to 11 cm. This species weighs from 36.5 to 67 g, though on average weigh only around 45 g. Among standard measurements, the wing chord is 8.2 to 10.1 cm, the bill is 1.4 to 1.7 cm and the tarsus is 2.3 to 2.7 cm. It is earthy brown in color, with somewhat lighter underparts and a somewhat darker head with a rufous cap (except that birds in central Mexico have the cap the same color as the back); there is also a slightly reddish area beneath the tail. There is little sexual dimorphism.

Distribution and habitat

The towhee is native to lower-lying areas from Arizona, southern Colorado, New Mexico and western Texas south to northwestern Oaxaca, Mexico, mostly avoiding the coasts. Its natural habitat is brush or chaparral.

Behavior
The towhee feeds on the ground or in low scrub rather than in the tree canopy. Near human habitation, it is often seen in parking lots, where it feeds on insects on the cars' grilles and takes cover under the cars when disturbed.

title: Canyon towhee