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Niagara campaign

The Niagara campaign occurred in 1814 and was the final campaign launched by the United States to invade Canada during the War of 1812. The campaign was launched to counter the British offensive in the Niagara region which had been initiated with the capture of Fort Niagara in December, 1813. As part of that campaign, and in response to the American burning of the village of Newark on the Canadian side of the river, British forces and their native allies burned the American villages of Buffalo and Black Rock.

Having rejected the option of attacking the British naval base at Kingston in Upper Canada (as it was considered too logistically difficult and well defended), the American objective in the 1814 campaign was to deal the British a decisive blow on the Niagara peninsula. The American forces, commanded by General Jacob Brown and General Winfield Scott, began their counter campaign with the Capture of Fort Erie on the Niagara Peninsula early in July. Next, they defeated the British at the Battle of Chippawa.

At the Battle of Lundy's Lane three weeks later, both sides claimed victory, but because U.S. forces had suffered so many casualties, they pulled back to Fort Erie. Following their return to the fort, the British, under Gordon Drummond, attempted to capture the fort and the Siege of Fort Erie followed. The Americans were able to hold out, and the British eventually lifted the siege after suffering severe losses. After a small engagement at Cook's Mills, American forces, commanded by General George Izard, abandoned Fort Erie and returned to the U.S. territory for winter quarters. In February 1815 the U.S. Senate approved the Treaty of Ghent ending the war.

title: Niagara campaign


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Lalibela

Lalibela (ላሊበላ) is a town in the Amhara Region of Ethiopia. Located in the Lasta district and North Wollo Zone, it is a tourist site for its famous rock-cut monolithic churches designed in contrast to the earlier monolithic churches in Ethiopia. The whole of Lalibela is a large and important site for the antiquity, medieval, and post-medieval civilization of Ethiopia. To Christians, Lalibela is one of Ethiopia's holiest cities, and a center of pilgrimage.

Ethiopia was one of the earliest nations to adopt Christianity in the first half of the 4th century, and its historical roots date to the time of the Apostles. The churches themselves date from the 7th to 13th centuries, and are traditionally dated to the reign of the Zagwe (Agaw) king Gebre Meskel Lalibela (r. c. 1181–1221).

The layout and names of the major buildings in Lalibela are widely accepted, especially by local clergy, to be a symbolic representation of Jerusalem. This has led some experts to date the current church construction to the years following the capture of Jerusalem in 1187 by the Muslim leader Saladin.

Lalibela is roughly 2500 m above sea level. It is the main town in Lasta, which was formerly part of the Bugna district. The rock-hewn churches were declared a World Heritage Site in 1978.

Origins
There is some controversy as to when some of the churches were constructed. According to local tradition, Lalibela (traditionally known as Roha) was founded during the Zagwe dynasty, under the rule of King Gebre Meskel Lalibela (r. ca. 1181–1221 AD), although it is more likely that the churches evolved into their current form over the course of several phases of construction and alteration of preexisting structures. David Buxton established the generally accepted chronology, noting that "two of them follow, with great fidelity of detail, the tradition represented by Debra Damo as modified at Yemrahana Kristos." Since the time spent to carve these structures from the living rock must have taken longer than the few decades of reign of Gebre Meskel Lalibela, Buxton assumes that the work extended into the 14th century. However, David Phillipson, professor of African archeology at University of Cambridge, has proposed that the churches of Merkorios, Gabriel-Rufael, and Danagel were initially carved out of the rock half a millennium earlier, as fortifications or other palace structures between 600 and 800 A.D, during the days of the Kingdom of Aksum, and that Lalibela's name simply came to be associated with them after his death. On the other hand, local historian Getachew Mekonnen credits Meskel Kibra, Lalibela's wife, with having one of the rock-hewn churches, Biete Abba Libanos, built as a memorial for her husband after his death.

Recent archeological excavations of Lalibela finds abundant pottery and faunal remains dating between 900 A.D and 1100 A.D, which indicates that the site was largely a secular settlement before being transformed into a religious center by King Lalibela. Pre-Christian carved animal friezes were also found on the lower walls of the nearby Washa Mika'el cave and Christian paintings were subsequently added on to the upper walls, suggesting that this region was still going through a process of Christianization during this time.

14th century
Abuna Bartolomeo from Egypt visited the churches sometime during the reign of Dawit I (1382–1413).

15th century
Its name was first used in a European publication in Fra Mauro map made in Venice 1457-59, written as Lalabeda.

16th century
A Portuguese priest, Francisco Álvares (1465–1540), accompanied the Portuguese Ambassador on a visit to Dawit II in the 1520s. After Alvares described the unique church structures he wrote: "I weary of writing more about these buildings, because it seems to me that I shall not be believed if I write more because as to what I have already written they may accuse me of untruth, therefore I swear by God, in whose power I am, that all that is written is the truth, and there is much more than what I have written, and I have left it that they may not tax me with its being falsehood. And because no other Portuguese went to these works except myself, and I went twice to see them from what I had heard of them. I swear by God, in Whose power I am, that all I have written is the truth". Although Ramuso included the plans of several of these churches in his 1550 printing of Álvares' book, it is unknown who provided him with the drawings.

According to the Futuh al-Habaša of Sihab ad-Din Ahmad, Ahmad ibn Ibrahim al-Ghazi burned one of the churches of Lalibela during his invasion of Ethiopia. Sihab ad-Din Ahmad (Arab Faqih) provided a detailed description of a rock-hewn church "It was carved out of the mountain. Its pillars were likewise cut from the mountain." Ahmed then gathered the monks of Lalibela and had a fire lit in the church, saying to them "let one of yours and one of ours enter there". A nun then threw herself onto the fire before being pulled out by Ahmad's soldiers. However, Richard Pankhurst has expressed skepticism about this, pointing out that the Royal Chronicles, which mention Ahmad al-Ghazi's laying waste to the district between July and September 1531, are silent about him ravaging the churches. He concludes by stating that had Ahmad al-Ghazi burned a church at Lalibela, it was most likely Biete Medhane Alem; and if the Adalites was either mistaken or misled by the locals, then the church he set fire to was Gannata Maryam, "10 miles [16 km] east of Lalibela which likewise has a colonnade of pillars cut from the mountain."

The next reported visitor to Lalibela was Miguel de Castanhoso, who was a soldier under Cristóvão da Gama and left Ethiopia in 1544. Castanhoso states: "There are here certain churches cut out of the living rock, which are attributed to angels. Indeed, the work appears superhuman, because, though they are of the size of the large ones in this country, they are each excavated with its pillars, its altars, and its vaults, out of a single rock, with no mixture of any outside stone. When the Moors overran this country they wished to destroy these churches, but could not either with crowbars, or with the gunpowder which they exploded in them, doing no damage at all."

19th century
In 1882, French explorer Achille Raffray was given an Ethiopian manuscript at Lalibela, which adds that the King Lalibela and his wife Meskal-Kebra brought from Alexandria (Egypt) and Jerusalem about five hundred workers whom we still refer to them as Europeans, headed by someone named Sidi-Meskal. However, according to Monti della Corte (1940) Raffray's translation of the three-language manuscript was almost completely incorrect. Utilizing the expertise of A. Van Lantschoot at the Biblioteca Vaticana, the discrepancies were clarified. The first text, written in Coptic (contrary to Raffray's assertion of Greek), is a brief statement attributed to Abuna Bartolomeo, dated during the reign of Dawit (1380-1409). The second text, in Arabic, is serves as a land charter confirming specific rights of the church. The third text, in Ge'ez, appears to have been written during the reign of Lebna Dengel (1508-1540). Contrary to Raffray's claims, there is no mention of Sidi-Maskal or foreign builders in the texts.

20th century
During the Second Italo-Ethiopian War, Haile Selassie made a pilgrimage to the churches at Lalibela, at considerable risk of capture, before returning to his capital in April 1936. Italian forces soon captured the town shortly after.

In 1968, Mohammad Reza Pahlavi accompanied by Emperor Haile Selassie visited the churches, the next year Queen Juliana and Prince Bernhard would also visit Lalibela. During the Ethiopian Civil War, the town was the target of frequent attacks by the Ethiopian People's Democratic Movement (EPDM), in 1984 they briefly held ten foreigners captive. On March 3 1985 they briefly captured the crew of a French transport aircraft carrying supplies before releasing them a couple days later. These attacks significantly reduced foreign tourism to Lalibela, and by 1990 most of the tourists were Ethiopians.

21st century
In early August 2021, Tigrayan Defense Force fighters captured the town during the Tigray War as a response to the invasion of Amhara forces into the Tigray region. On 1 December 2021, the Ethiopian army recaptured the town. The town was recaptured again by Tigrayan forces on 12 December. On 19 December, Ethiopian state media announced the town was recaptured for a second time, though it was unclear when.

In early November 2023, Lalibela was the site of fierce fighting between the Ethiopian National Defense Force (ENDF) and Fano fighters. The town is currently under Ethiopian control.

Architecture
The architecture of the churches contain significant Aksumite influences, as Stuart Munro-Hay notes that the church of Biete Amanuel displays a stone imitation of wooden architectural features, which can still be seen in some of the ancient churches of Tigray and Eritrea. The framed doors and windows appear as a repeated motif, since they seem to mimic the shape of stelae in Aksum, examples can be seen in the arcading of Biete Gabriel-Rufael, the doorway of Biete Maryam and the windows of Biete Amanuel. However, according to David Phillipson the presence of Aksumite style architecture does not necessarily imply that the churches were constructed during the Aksumite era, as Aksumite features could have been incorporated long after the fall of Aksum, but it does indicate a strong continuity with Aksumite cultural tradition. There is also signs of eastern Christian influences, particularly Syrian and Coptic. The pitched roof and linear moldings of Biete Maryam suggests a Syrian influence. Stuart Munro-Hay notes that during the reign of Gebre Meskel Lalibela, many Coptic Egyptians emigrated to Ethiopia and may have assisted in construction of the churches, or at least those that date to his reign. Many foreign travelers such as Manuel de Almeida and Hiob Ludolf credited most of the monuments to Egyptian architects, with Francisco Álvares finding that many locals considered the churches to be mainly the work of foreigners. However, Stuart Munro-Hay argues that since the architecture of the churches were built in the Aksumite style, the foreign influence seems to have largely been limited to "decorative techniques". David Buxton further attests to this by pointing out that "there are clearly signs of Coptic influence in some decorative details", however he is adamant about the native origins of these churches: "But the significant fact is remains that the rock-churches continue to follow the style of the local built-up prototypes, which themselves retain clear evidence of their basically Axumite origin."

In a 1970 report of the historic dwellings of Lalibela, Sandro Angelini evaluated the vernacular earthen architecture on the Lalibela World Heritage Site, including the characteristics of the traditional earth houses and analysis of their state of conservation. His report described two types of vernacular housing found in the area. One type are a group he calls the "tukuls", round huts built of stone and usually having two stories. The second are the single-story "chika" buildings which are round and built of earth and wattle, which he feels reflects more "scarcity". Angel's report also included an inventory of Lalibela's traditional buildings, placing them in categories rating their state of conservation.

Churches

This rural town is known around the world for its churches carved from within the earth from "living rock," which play an important part in the history of rock-cut architecture. Though the dating of the churches is not well established, most are thought to have been built during the reign of Lalibela, namely during the 12th and 13th centuries. Unesco identifies 11 churches, assembled in four groups:

The Northern Group:
 * Biete Medhane Alem (House of the Saviour of the World), home to the Lalibela Cross.
 * Biete Maryam (House of Miriam/House of Mary), possibly the oldest of the churches, and a replica of the Tombs of Adam and Christ.
 * Biete Golgotha Mikael (House of Golgotha Mikael), known for its arts and said to contain the tomb of King Lalibela)
 * Biete Meskel (House of the Cross)
 * Biete Denagel (House of Virgins)

The Western Group:
 * Church of Saint George, thought to be the most finely executed and best preserved church

The Eastern Group:
 * Biete Amanuel (House of Immanuel), possibly the former royal chapel.
 * Biete Qeddus Mercoreus (House of Saint Mercurius/House of Mark the Evangelist), which may be a former prison
 * Biete Abba Libanos (House of Abbot Libanos)
 * Biete Gabriel-Rufael (House of the angels Gabriel, and Raphael) possibly a former royal palace, linked to a holy bakery.
 * Biete Lehem ("Bethlehem", בֵּית לֶחֶם "House of Bread").

Farther afield, lie the monastery of Ashetan Maryam and Yemrehana Krestos Church (possibly eleventh century, built in the Aksumite fashion, but within a cave).

The churches are also a significant engineering feat, given that they are all associated with water (which fills the wells next to many of the churches), exploiting an artesian geological system that brings the water up to the top of the mountain ridge on which the city rests.

Other features
Lalibela is also home to an airport (ICAO code HALL, IATA LLI), a large market, two schools, and a hospital.

Demographics
According to the 2007 Census Data, the population was 17,367, of whom 8,112 were males and 9,255 were females. Based on previous figures from the Central Statistical Agency in 2005, the town had an estimated total population of 14,668 of whom 7,049 were males and 7,619 were females. The 1994 national census recorded its population to be 8,484 of whom 3,709 were males and 4,775 were females.

Gallery
Three-dimensional site scans of the Lalibela churches are also accessible online.

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

title: Lalibela


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Talk:National Archives and Records Administration

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 28 January 2019 and 14 May 2019. Further details are available on the course page. Student editor(s): Mcaruso42.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 04:53, 17 January 2022 (UTC)

Prologue Magazine
Over on Talk:Panay incident, we had a little confusion over whether the contents of the NARA publication Prologue Magazine are in the public domain. I asked, they responded:

 * Features written by NARA staff are in the public domain. Prologue does not hold any copyright, but individual authors may choose to copyright. Trevor Plante is a NARA archivist, and therefore his article is in the public domain. Copyrighted articles are indicated by the (c) symbol after the author's name.

 * Even though there is no copyright, we are interested to know where Prologue features are reprinted and ask that, as a courtesy, Prologue is given as the source.

 * Thank you for inquiring.

 * Mary C. Ryan
 * Policy & Communications Staff - NPOL

The contents in question were by a specific author. However, the response applies to all contents of the magazine. Hopefully this won't come up again.

-- Cyrius 20:14, 10 Mar 2004 (UTC)

open to public?
does any one know if the National Archives is open to public? (not the exhibit) Today i went in (the front door facing north) and the security at the door bared me, saying somethig about i need to be a researcher. Xah Lee 02:33, 2004 Oct 17 (UTC)

yes, it's open to the public. certain areas are restricted to researchers, but the Declaration of Independence, Constitution, etc. are all in public exhibits. I went today, actually.

I agree.... some areas are bared off for certian reasons... I should know —Preceding unsigned comment added by 208.106.56.101 (talk) 03:45, 12 November 2008 (UTC)

Just added a couple sentences on new restrictions regarding photography in the rotunda - they are banning all of it.(Phimu222 (talk) 19:30, 1 February 2010 (UTC))

UK National Archives
I removed the "See Also" section, since it contained nothing but a link to the National Archives of the United Kingdom, which has no direct affiliation with NARA. The British counterpart for the United States National Archives is irrelevant.

I'm not so sure about that, the NARA has a copy of the English Magna Carta in it's vaults does it not? a document that lays the foundations for the documents of the charters of freedom...so in that sense, it should be linked. —Preceding unsigned comment added by 81.154.101.203 (talk) 17:55, 17 September 2008 (UTC)

Additional citations needed
Fellow contributors, I removed the "citations missing" tag and replaced it with the "refimprove" tag, as noted in my edit summary. At the time of my edit, there are three inline citations, but this article could benefit from a few more sources. I placed the tag above the==References==section. The template suggests placing this tag at either the top or the bottom of an article, so I apologize if I have over-extended my interpretation of the template guidelines. I felt that three citations was at least strong enough to remove the banner from the top of the page. Ukulele 04:22, 26 July 2007 (UTC)

National Treasure
Should there be a notice somewhere saying that the building was a key landmark in the film National Treasure? Just wondering...

WikiProject class rating
This article was automatically assessed because at least one WikiProject had rated the article as stub, and the rating on other projects was brought up to Stub class. BetacommandBot 15:57, 9 November 2007 (UTC)

Fact check!
The article currently states:
 * It holds the original copies of the three main formative documents of the United States and its government: the Declaration of Independence, the Constitution, and the Bill of Rights.

Since nobody knows what King George did with the original of the Declaration of Independence, it seems somewhat unlikely that it's located in the National Archives... Tomertalk 04:38, 9 May 2008 (UTC)

What are you talking about?! Of course it's stored in the National Archives! Many websites state so! And also, what do you mean, "original" Declaration of Independence? There's only one copy, or has the entire population of America including historic document officials been wrong the past few hundred years? 74.0.209.171 (talk) 22:15, 20 April 2009 (UTC)

 * I guess it depends on what we mean by "original." From United States Declaration of Independence:  "After finalizing the text on July 4, Congress issued the Declaration of Independence in several forms. It was initially published as a printed broadside that was widely distributed and read to the public. The most famous version of the Declaration, a signed copy that is usually regarded as the Declaration of Independence, is on display at the National Archives in Washington, D.C. According to most historians, Congress signed this document on August 2, 1776, and not on July 4, as is often believed."  So what is on display is not the first signed copy, but it is a contemporary version with original signatures, so to simply call it a copy would be inaccurate.  "An original" rather than "the original"?  Postdlf (talk) 22:20, 20 April 2009 (UTC)

Article of interest, perhaps?
Is this of relevance here ... http://www.thejakartaglobe.com/arts/nazi-art-theft-material-to-be-unveiled-by-us-national-archives/507619

Benyoch ...Don't panic! Don't panic!... (talk) 06:55, 4 July 2012 (UTC)

Collaboration with Wikimedia
I know NARA has a relationship to Wikimedia in that they see WM/WP as gateways to their collections. Why isn't something about that in this article? --kosboot (talk) 03:07, 10 July 2014 (UTC)
 * Because you haven't added it yet? Int21h (talk) 02:09, 15 July 2014 (UTC)
 * - ...when I have time to assemble the sources. -- kosboot (talk) 18:21, 15 July 2014 (UTC)

Are the documents archived in NARA referable source in Wikipedia?
I doubt that because some Wikipedians keep deleting the reference to them on a particular article. Is there any (better) way to cite them in any article? I just want to add references to historical records. Though that might not agree with the claims of other guys, those are just the records which used to be (and probably are) officially correct. Wordmasterexpress (talk) 07:54, 5 March 2018 (UTC)

Rephrase the section title "Notable crimes"
The section title "Notable crimes" hilariously sounds like it refers to crimes the National Archives committed, not crimes committed against the National Archives. Anyone have suggestions for renaming it? Can't think of anything. — Preceding unsigned comment added by In vivo veritas (talk • contribs) 02:23, 10 December 2018 (UTC)
 * How does "Notable thefts" sound? Verumregium (talk) 20:27, 11 April 2021 (UTC)

ICE records lawsuit
I'm going to edit and move the sentences about the ICE records lawsuit from History to Controversies. Verumregium (talk) 20:52, 11 April 2021 (UTC)

Annual Budget Update for 2021
Please update the annual budget with the most recent figures.Chantern15 (talk) 16:45, 1 November 2021 (UTC)chantern15
 * And the number of active employees.Chantern15 (talk) 16:47, 1 November 2021 (UTC)chantern15
 * Done! Verumregium (talk) 00:41, 22 February 2022 (UTC)

Notable thefts
Is what Donald Trump took really a "Theft"??? From the "National Archives"??? Not yet having full information, I suggest the contributor is being pejorative. Much more likely to have been a failure to turn over upon demand than a theft from the Archive, like the other entries... 2A02:C7D:566C:BA00:6584:B7A5:F266:9EE9 (talk) 05:14, 11 August 2022 (UTC)

one suggests you lense your question through others different perspective, for the sake of balancing. Saintstephen000 (talk)

Section about Trump administration
I wonder if the section discussing the Trump administration is too large and/or misplaced in the article given its significance relative to everything else? It feels to me like right now it is coming across as more important than the archivists, records, recovery team, founders, etc. Ebrown29 (talk) 02:30, 4 October 2023 (UTC)


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Ken Sakamura

Ken Sakamura (坂村 健), as of April 2017, is a Japanese professor and dean of the Faculty of Information Networking for Innovation and Design at Toyo University, Japan. He is a former professor in information science at the University of Tokyo (through March 2017). He is the creator of the real-time operating system (RTOS) architecture TRON.

In 2001, he shared the Takeda Award for Social/Economic Well-Being with Richard Stallman and Linus Torvalds.

Career
As of 2006, Sakamura leads the ubiquitous networking laboratory (UNL), located in Gotanda, Tokyo, and the T-Engine forum for consumer electronics. The joint goal of Sakamura's ubiquitous networking specification and the T-Engine forum, is to enable any everyday device to broadcast and receive information. It is essentially a TRON variant, paired with a competing standard to radio-frequency identification (RFID).

Since the foundation of the T-Engine forum, Sakamura has been working on opening Japanese technology to the world. His prior brainchild, TRON, the universal RTOS used in Japanese consumer electronics has had limited adoption in other countries. Sakamura has signed deals with Chinese and Korean universities to work together on ubiquitous networking. He has also worked with French software component manufacturer NexWave Solutions, Inc. He is an external board member for Nippon Telegraph and Telephone (NTT), Japan.

Ubiquitous Communicator
The Ubiquitous Communicator (UC) is a mobile computing device designed by Sakamura for use in ubiquitous computing. On 15 September 2004, YRP-UNL announced in Japan that it had begun producing a new model after creating five prototypes over three years. The model was used in trial tests circa late 2004. The new model, weighing about 196 grams, contains new features: RFID reader compatible for ucode, a two megapixel charge-coupled device (CCD) camera, a secondary 300,000 pixel camera for videotelephony, support for wireless network technologies, Bluetooth, Wi-Fi, and IrDA, VoIP phone feature, SD and mini-SD memory card slots, fingerprint authentication, and encryption coprocessor as options. It was expected to be sold for ¥300,000, $2,700.

Honors
In May 2015, Sakamura received the prestigious ITU150 award from the International Telecommunication Union (ITU), along with Bill Gates, Robert E. Kahn, Thomas Wiegand, Mark I. Krivosheyev, and Martin Cooper. The following is the citation given by ITU:

... Today, the real-time operating systems based on the TRON specifications are used for engine control on automobiles, mobile phones, digital cameras, and many other appliances, and are believed to be the among most popular operating systems for embedded computers around world. The R&D results from TRON Project are useful for ubiquitous computing. For example, UNL joined the standardization efforts at ITU-T and helped produce a series of Recommendations, including H.642 “Multimedia information access triggered by tag-based identification”. The idea behind H.642 series is based on de facto “ucode” standard developed by UNL for communication in the age of the Internet of Things ... For his achievements, Sakamura has won many awards: Takeda Award, the Medal with Purple Ribbon from the Japanese government, Okawa Prize, Prime Minister Award, and Japan Academy Prize. He is a fellow and the golden core member of the IEEE Computer Society.

title: Ken Sakamura


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Kaori Mochida

Kaori Mochida (持田 香織) is the lead singer of Japanese pop group Every Little Thing.

Biography
Mochida began her career as a child actress, appearing in magazines and TV commercials. She then became a member of the second generation of idol group The Kuro Buta All-Stars, and entered the entertainment world as "持田かおり" (Kaori Mochida, with Kaori written in hiragana). Shortly after, she released her first single as a solo artist, titled "Mō Ichido" in November 1993. She didn't decide to become a singer professionally until she was in high school.

In 1995, she met Mitsuru Igarashi, and signed to the Avex label. At first she was meant to debut as a solo artist, but as Max Matsuura suggested, she then formed a duo with Igarashi, and then a trio when Ichiro Ito was incorporated as a guitarist. They debuted in 1996 with "Feel My Heart". Following her debut with Every Little Thing, Mochida became a popular fashion icon in Japan, and started to appear in TV commercials for a wide variety of beauty products. The spots that she starred in usually used the songs of her band as background music. After the departure of Mitsuru Igarashi from Every Little Thing in 2000, Mochida started to take more control in the music making process, and soon started to write her own songs. The first song for Every Little Thing that she wrote lyrics for was "All along" included in the Time to Destination album, and the first song she composed was "Jump", released as a single in 2001.

She did not release any solo music until 2002, when she participated in the Avex charity project Song+Nation, where she recorded the song "In Case of Me", produced by Tetsuya Komuro. In 2004, she released "Itsunomanika Shōjo wa", a cover single of Yosui Inoue which was produced by the musician himself. In 2006, she wrote Haruka Ayase's debut single "Period" along with Takeshi Kobayashi, and in 2007, she wrote "Sarai no Kaze" for May and "Going Back Home" for Mika Nakashima. This year she also provided vocals for Dragon Ash's song "Wipe Your Eyes", song that also had a promotional video despite not being released as a single.

In 2009, Kaori Mochida's solo career officially started, and she started to work on her first solo album. She released her first official solo single, "Ame no Walts", on January 28, 2009. The song was credited as a collaboration between Mochida and Sakerock, a Japanese instrumental band. In March she and Takao Tajima from Original Love formed a special group called Caocao, and recorded a cover of "Kojin Jugyo" by Finger 5. The song was used as theme song for the movie Oppai Volleyball. In July she released a double A-side single entitled "Shizuka na Yoru/Weather", and a month later, on August 12, she released her first solo album, Moka. The album featured collaborations with several artists, such as Lisa Ono, Ikuko Harada, Yuichi Ohata, Bic Runga, ohashiTrio, and Sean Lennon. It debuted at number 9 in the Oricon charts and enjoyed moderated success.

On August 25, 2009, her second album, Niu, was released. The album had no commercial singles, except for a CD single of "Green", that was included in a special edition of fashion magazine Journal Standard. For this album she made her first domestic solo tour between September and October.

On August 1, 2012, her third solo album Manu a Manu was released. The song "Utsukushiki Uruwashiki Hibi", which was released as single from the album in June 2012, was used as theme song for TV Tokyo drama Cleopatra na Onna-tachi, which started airing in April of the same year.

Albums

 * Moka (2009)
 * Niu (2010)
 * Manu a Manu (2012)
 * 10 to 10 (2019)

Other works

 * Mochida provided vocals for the song "In Case of Me" on the 2002 charity album Song Nation. "In Case of Me" was written by Tetsuya Komuro and produced by Komuro and Max Matsuura.
 * In 2006, Mochida along with Takeshi Kobayashi wrote the lyrics for the single "Period" (ピリオド) by Haruka Ayase.

title: Kaori Mochida


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Ying Chen

Ying Chen (born February 20, 1961) is a Chinese Canadian author. She writes mostly in French and also translates her own works into Chinese and English.

Biography
Born in 1961 in Shanghai, she now lives in Vancouver and is the mother of two children. She obtained a degree in French language and literature from Fudan University (复旦大学) in 1983 and worked as a translator and interpreter before moving to Montreal in 1989. She later lived in Magog, Quebec before moving to Vancouver in 2003.

Ying Chen's novels include La mémoire de l'eau, Les lettres chinoises, L'ingratitude (which won the Prix Québec-Paris, and was published in the U.S. as "Ingratitude," translated by Carol Volk, and published in China as "再见妈妈", self-translated), Immobile (which won the Prix Alfred-DesRochers), Le champ dans la mer (published in China as "V家花园", self-translated), Querelle d'un squelette avec son double (self-translated and published on Amazon as "Skeleton and its double"), "Le Mangeur", "Un Enfant à ma porte", "Espèces", "La Rive est loin". She wrote two books of essays: "Quatre mille marches" and "La Lenteur des montagnes". She practices a lean, polished and deceptively simple writing style, free of flourishes and excess verbiage. As a child, one of her schoolteachers once told her "the most simple is the most beautiful", and she has retained this idea.

title: Ying Chen


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D'oh!

"D'oh!" is the most famous catchphrase used by the fictional character Homer Simpson, from  The Simpsons, an animated sitcom. It is an exclamation typically used after Homer injures himself, realizes that he has done something foolish, or when something bad has happened or is about to happen to him. All his prominent blood relations—son Bart, daughters Lisa and Maggie, his father, his mother and half-brother—have also been heard to use it themselves in similar circumstances. On a few occasions, Homer's wife Marge and characters outside the family such as Mr. Burns and Sideshow Bob have also used this phrase.

In 2006, "d'oh!" was listed as number six on TV Land's list of the 100 greatest television catchphrases. The spoken word "d'oh" is a sound trademark of 20th Century Fox (now known as 20th Century Studios). Since 2001, the word "doh" has appeared in the Oxford English Dictionary, without the apostrophe. Early recorded usages of the sound "d'oh" are in numerous episodes of the BBC Radio series It's That Man Again between 1945 and 1949, but the OxfordWords blog notes "Homer was responsible for popularizing it as an exclamation of frustration." The term also appeared in an early issue of Mad comics, with a different spelling but the same meaning, in issue 8 (December 1953 – January 1954); in a one-page story by Harvey Kurtzman entitled "Hey Look!", a man seeking peace and quiet suddenly hears a loud radio and, grimacing, says, "D-oooh – the neighbors [sic] radio!!"

Origin
Several decades before The Simpsons was aired, the exclamation "D'oh!" was used in the BBC radio comedy program, It's That Man Again, which ran from 1939 to 1949. It was the catchphrase of the formidable, but soft-hearted, character, "Miss Hotchkiss". During the voice recording session for a Tracey Ullman Show short, Homer was required to utter what was written in the script as an "annoyed grunt". Dan Castellaneta rendered it as a drawn out "d'ooooooh". This was inspired by Jimmy Finlayson, who had used the term in his first sound film role, in 1929's Men O' War, as a minced oath for suggesting the word "damn!" without actually saying it. The mustachioed Scottish actor (acknowledged by Dan Castellaneta as the progenitor for Homer Simpson's similar expression of disbelief or outrage) would go on to appear in 33 Laurel and Hardy films, from the pre-sound era up to 1940. Matt Groening felt that it would better suit the timing of animation if it were spoken faster. Castellaneta then shortened it to a quickly uttered "d'oh!" The first intentional use of "d'oh!" occurred in the Ullman short "Punching Bag" (1988), and its first usage in the series was in the series premiere, "Simpsons Roasting on an Open Fire". It is typically represented in the show's script as "(annoyed grunt)", and is so spelled out in the official titles of several episodes. Some episodes feature variations of the word such as "Bart of Darkness" (season six, 1994), where Homer says "D'oheth" after an Amish farmer points out to him that he has built a barn instead of the swimming pool he was intending; "Thirty Minutes over Tokyo" (season ten, 1999), where Homer says "d'oh" in Japanese (with English subtitles, the spoken phrase being "shimatta baka ni", meaning roughly "damn folly"); or The Simpsons Movie (2007) where Homer bellows "d'oh-ome!" after the EPA seals the Simpsons' hometown, Springfield, in a giant dome. The spelling is made official in "El Viaje Misterioso de Nuestro Jomer (The Mysterious Voyage of Homer)" (season eight, 1997), in which Homer, after having eaten a very spicy chili, hallucinates about a tortoise and exclaims a loud "d'oh!" as he realizes that he needs to follow the slow animal in order to find out about his soul mate.

Episode names
As the word arose out of Castellaneta's interpretation of a non-specific direction, it did not have an official spelling for several years. Instead, it was always written in Simpsons scripts as "(Annoyed Grunt)", and then later on being spelled "d'oh", as it remains today.

 * "Simpsoncalifragilisticexpiala(Annoyed Grunt)cious" (Season 8, 1997)
 * "D'oh-in' in the Wind" (Season 10, 1998)
 * "E-I-E-I-(Annoyed Grunt)" (Season 11, 1999)
 * "Days of Wine and D'oh'ses" (Season 11, 2000)
 * "C.E. D'oh" (Season 14, 2003)
 * "I, (Annoyed Grunt)-Bot" (Season 15, 2004)
 * "We're on the Road to D'ohwhere" (Season 17, 2006)
 * "G.I. (Annoyed Grunt)" (Season 18, 2006)
 * "He Loves to Fly and He D'ohs" (Season 19, 2007)
 * "Waverly Hills 9-0-2-1-D'oh" (Season 20, 2009)
 * "The Greatest Story Ever D'ohed" (Season 21, 2010)
 * "The Falcon and the D'ohman" (Season 23, 2011)
 * "The D'oh-cial Network" (Season 23, 2012)
 * "I'm Just a Girl Who Can't Say D'oh" (Season 30, 2019)
 * "D'oh Canada" (Season 30, 2019)

Dictionary
The term "d'oh!" has been used or adopted by many Simpsons fans as well as non-fans. The term has become commonplace in modern speech and demonstrates the extent of the show's influence. "D'oh!" was first added to the Oxford Dictionary of English in 1998 as an interjection with the definition "(usually [in a manner] mildly derogatory) used to comment on an action perceived as foolish or stupid."

In 2001, the word "d'oh" was added to the Oxford English Dictionary; The definition given is:
 * "Expressing frustration at the realisation that things have turned out badly or not as planned, or that one has just said or done something foolish. Also (usu. mildly derogatory): implying that another person has said or done something foolish" (cf. DUH int.).

The headword spelling is doh, but d'oh is listed as a variant (as is dooh). The etymology section notes "the word appears (in the form D'oh) in numerous publications based on The Simpsons". Eight quotations featuring the sound "d'oh" are cited: the earliest is from a 1945 episode of the BBC radio series It's That Man Again; two others are Simpsons-related.

title: D'oh!


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Mitsuru Igarashi

Mitsuru Igarashi (五十嵐 充) is the former keyboardist and songwriter of Japanese pop group Every Little Thing. He founded the band in early 1996 with his old friend Ichirō Itō and then 18-year-old singer Kaori Mochida. He left Every Little Thing in April 2000 after releasing the third album, Eternity. Since leaving the band, he started producing music for the band Day After Tomorrow which disbanded in 2005. Currently he plays keyboards and is a songmaker and producer in band Rushmore. He was also involved in composing and writing song lyrics for Every Little Thing's ninth album, Change.

title: Mitsuru Igarashi


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Sally Mann

Sally Mann (born Sally Turner Munger; May 1, 1951) is an American photographer known for making large format black and white photographs of people and places in her immediate surroundings: her children, husband, and rural landscapes, as well as self-portraits.

Early life and education
Born in Lexington, Virginia, Mann was the third of three children. Her father, Robert S. Munger, was a general practitioner, and her mother, Elizabeth Evans Munger, ran the bookstore at Washington and Lee University in Lexington. Mann was introduced to photography by her father, who encouraged her interest in photography; his 5x7 camera became the basis of her use of large format cameras today. Mann began to photograph when she was sixteen.

Most of her photographs and writings are tied to Lexington, Virginia. Mann graduated from The Putney School in 1969, and attended Bennington College and Friends World College. She earned a BA, summa cum laude, from Hollins College (now Hollins University) in 1974 and a MA in creative writing in 1975. She took up photography at Putney where, she has said, her motive was to be alone in the darkroom with her boyfriend. Mann has never had any formal training in photography and she "never read[s] about photography".

Early career
After graduation from Hollins College, Mann worked as a photographer at Washington and Lee University. In the mid-1970s she photographed the construction of its new law school building, the Lewis Hall (now the Sydney Lewis Hall). These photographs were the basis of her first solo exhibition in late 1977 at the Corcoran Gallery of Art in Washington, DC. The Corcoran Gallery of Art published a catalogue of Mann's images titled "The Lewis Law Portfolio". Some of images had a surreal aspect; they were also included as part of her first book, Second Sight, published in 1984.

While Mann explored a variety of genres as she was maturing in the 1970s, she truly found her trade with her book, At Twelve: Portraits of Young Women (Aperture, 1988). In 1995, she was featured in an issue of Aperture: "On Location with: Henri Cartier-Bresson, Graciela Iturbide, Barbara Kruger, Sally Mann, Andres Serrano, Clarissa Sligh" which was illustrated with photographs.

At Twelve: Portraits of Young Women
Her second collection, At Twelve: Portraits of Young Women, published in 1988, stimulated minor controversy. The images "captured the confusing emotions and developing identities of adolescent girls [and the] expressive printing style lent a dramatic and brooding mood to all of her images". In the preface to the book, author Ann Beattie wrote "when a girl is twelve years old, she often wants – or says she wants – less involvement with adults. […] [it is] a time in which the girls yearn for freedom and adults feel their own grip on things becoming a little tenuous, as they realize that they have to let their children go." Beattie says that Mann's photographs don't "glamorize the world, but they don't make it into something more unpleasant than it is, either". The girls photographed in this series are shown "vulnerable in their youthfulness" but Mann focuses on the strength that the girls possess. Referring to "Untitled", an image from the book shown here, Mann says that the young girl was extremely reluctant to stand closer to her mother's boyfriend. Mann said that she thought it was strange because "it was their peculiar familiarity that had provoked this photograph in the first place". Mann didn't want to crop out the girl's elbow but the girl refused to move in closer. According to Mann, several months later, the girl's mother shot her boyfriend in the face with a .22. In court the mother "testified that while she worked nights at a local truck stop he was ‘at home partying and harassing my daughter.'" Mann said "the child put it to me somewhat more directly". Mann says that she now looks at this photograph with "a jaggy chill of realization".

Immediate Family and controversy
Mann became widely known for Immediate Family, her third collection, first exhibited in 1990 by Edwynn Houk Gallery in New York City and published as a monograph in 1992. In a cover story for The New York Times Magazine, Richard B. Woodward wrote that "Probably no photographer in history has enjoyed such a burst of success in the art world".

Immediate Family appeared at a time when politicians were cracking down on even the suspicion of child pornography to appeal to their constituents, forcing artists to justify their work, and leading many to self-censor. According to writer Bruce Handy, the Christian right conflated naturalistic nudes of children by Mann and Jock Sturges with sexualized images by photographers such as David Hamilton.

Mann considered these photographs to be "natural through the eyes of a mother, since she has seen her children in every state: happy, sad, playful, sick, bloodied, angry and even naked". Deborah Chambers, in her work on family photo albums, reflects on their idyllic nature but also argues they rarely convey the actual experience of the family. Mann's work takes these idyllic photos meant for semi-private consumption and brings them to the public sphere. By working collaboratively with her children, Mann uses these idealised family photos to create a narrative from her children's perspectives. Critics agreed, saying her "vision in large measure [is] accurate, and a welcome corrective to familiar notions of youth as a time of unalloyed sweetness and innocence". They said that the book "created a place that looked like Eden, then cast upon it the subdued and shifting light of nostalgia, sexuality and death".

When Time magazine named her "America's Best Photographer" in 2001, it wrote:

"Mann recorded a combination of spontaneous and carefully arranged moments of childhood repose and revealingly — sometimes unnervingly — imaginative play. What the outraged critics of her child nudes failed to grant was the patent devotion involved throughout the project and the delighted complicity of her son and daughters in so many of the solemn or playful events. No other collection of family photographs is remotely like it, in both its naked candor and the fervor of its maternal curiosity and care."

Dr. Aaron Esman, a child psychiatrist at the Payne Whitney Clinic believes that Mann is serious about her work and that she has "no intention to jeopardize her children or use them for pornographic images". He says that the nude photographs don't appear to be erotically stimulating to anyone but a "case-hardened pedophile or a rather dogmatic religious fundamentalist". Mann stated, "I didn't expect the controversy over the pictures of my children. I was just a mother photographing her children as they were growing up. I was exploring different subjects with them."

Later career
Mann's fourth book, Still Time, published in 1994, was based on the catalogue of a traveling exhibition that included more than 20 years of her photography. The 60 images included more photographs of her children, but also earlier landscapes with color and abstract photographs.

In the mid-1990s, Mann began photographing landscapes on wet plate collodion 8x10 inch glass negatives, and used the same 100-year-old 8x10 format bellows view camera that she had used for all the previous bodies of work. These landscapes were first seen in Still Time, and later featured in two shows presented by the Edwynn Houk Gallery in NYC: Sally Mann – Mother Land: Recent Landscapes of Georgia and Virginia in 1997, and then in Deep South: Landscapes of Louisiana and Mississippi in 1999. Many of these large (40"x50") black-and-white and manipulated prints were taken using the 19th century "wet plate" process, or collodion, in which glass plates are coated with collodion, dipped in silver nitrate, and exposed while still wet. This gave the photographs what the New York Times called "a swirling, ethereal image with a center of preternatural clarity", and showed many flaws and artifacts, some from the process and some introduced by Mann. Mann has been the subject of two film documentaries. The first, Blood Ties (1994). Directed by Steve Cantor and Peter Spirer, it debuted at the 1994 Sundance Film Festival. It was nominated for an Academy Award as Best Documentary Short.

The second, What Remains: The Life and Work of Sally Mann (2005) was also directed by Steve Cantor. It premiered at the 2006 Sundance Film Festival and was nominated for an Emmy for Best Documentary in 2008. In her New York Times review of the film, Ginia Bellafante wrote, "It is one of the most exquisitely intimate portraits not only of an artist's process, but also of a marriage and a life, to appear on television in recent memory." Mann uses antique view cameras from the early 1890s. These cameras have wooden frames, accordion-like bellows and long lenses made out of brass, now held together by tape that has mold growing inside. This sort of camera, when used with vintage lenses, softens the light. A self-portrait (which also included her two daughters) was featured on the September 9, 2001 cover of The New York Times Magazine, for a theme issue on "Women Looking at Women". Mann's fifth book, What Remains, published in 2003, is based on the show of the same name at the Corcoran Gallery in Washington, DC. The book is broken up into four sections: Matter Lent, December 8, 2000; Antietam, and What Remains. The first section contains photographs of the remains of Eva, her greyhound, after decomposition, along with photographs of dead and decomposing bodies at a federal forensic anthropology facility (known as the 'body farm'). The 'body farm' was another series (in addition to those about her family) that was controversial.

The second part details the site on her property where an armed escaped convict was killed in a shootout with police. The third part is a study of the grounds of Antietam, the site of the bloodiest single day battle in American history during the Civil War. The fourth part is a study of close-up faces of her children. Mann's sixth book, Deep South, published in 2005, with 65 black-and-white images, includes landscapes taken from 1992 to 2004 using both conventional 8x10 film and wet plate collodion. These photographs have been described as "haunted landscapes of the south, battlefields, decaying mansion, kudzu shrouded landscapes and the site where Emmett Till was murdered". Newsweek picked it as their book choice for the holiday season, saying that Mann "walks right up to every Southern stereotype in the book and subtly demolishes each in its turn by creating indelibly disturbing images that hover somewhere between document and dream". Mann's seventh book, Proud Flesh, published in 2009, is a study taken over six years of the effects of muscular dystrophy on her husband Larry Mann. Mann photographed her husband using the collodion wet plate process As she notes, "The results of this rare reversal of photographic roles are candid, extraordinarily wrenching and touchingly frank portraits of a man at his most vulnerable moment." The project was displayed in Gagosian Gallery in October 2009. Mann's eighth book, The Flesh and The Spirit, published in 2010, was released in conjunction with a comprehensive show at the Virginia Museum of Fine Arts in Richmond, Virginia. Regarding this exhibition, the museum director stated, "She follows her own voice. Her pictures are imbued with an amazing degree of soul." Though not strictly a retrospective, this 200-page book included new and recent work (unpublished self-portraits, landscapes, images of her husband, her children's faces, and of the dead at a forensic institute) as well as early works (unpublished color photographs of her children in the 1990s, color Polaroids, and platinum prints from the 1970s). Its unifying theme is the body, with its vagaries of illnesses and death. It includes essays by John Ravenal, David Levi Strauss, and Anne Wilkes Tucker. In May 2011 Mann delivered the three-day Massey Lecture Series at Harvard, speaking about how her extended family influenced her work. Her memoir Hold Still arose as a companion to the lecture. In June 2011, Mann sat down with one of her contemporaries, Nan Goldin, at Look3 Charlottesville Festival of the Photograph. The two photographers discussed their respective careers, particularly the ways in which photographing personal lives became a source of professional controversy. This was followed by an appearance at the University of Michigan as part of the Penny W. Stamps lecture series. Mann's ninth book, Hold Still: A Memoir with Photographs, released May 12, 2015, is a melding of a memoir of her youth, an examination of some major influences of her life, and reflections on how photography shapes one's view of the world. It is augmented with numerous photographs, letters, and other memorabilia. She singles out her "near-feral" childhood and her subsequent introduction to photography at Putney, her relationship to her husband of 40 years and his parents' mysterious death, and her maternal Welsh relative's nostalgia for land, background to her own love for her land in the Shenandoah Valley, as some of her important influences. She also assesses Gee-Gee, a black woman who was like a parent to her, who opened Mann's eyes to race relations and exploitation; her relationship with local artist Cy Twombly, and her father's genteel southern legacy and his eventual death. She ponders the relationship Robert S. Munger, her great-grandfather and southern industrialist, had with his workers. The New York Times described it as "an instant classic among Southern memoirs of the last 50 years". An article by Mann adapted from this book appeared with photographs in The New York Times Magazine in April 2015. Hold Still was a finalist for the 2015 National Book Award. Mann's tenth book, Remembered Light: Cy Twombly in Lexington was published in 2016. It is an insider's photographic view of Twombly's studio in Lexington. It was published concurrently with an exhibit of color and black-and-white photographs at the Gagosian Gallery. It shows the overflow of Twombly's general modus operandi: the leftovers, smears, and stains, or, as critic Simon Schama said in his essay at the start of the book, "an absence turned into a presence". Mann's eleventh book, Sally Mann: A Thousand Crossings, written by Sarah Greenough and Sarah Kennel, is a large (320 pages) compendium of works spanning 40 years, with 230 photographs by Mann. It served as a catalog for an exhibit at the National Gallery of Art entitled Sally Mann: A Thousand Crossings, which opened March 4, 2018. This was the first major survey of the artist's work to travel internationally. In her recent projects, Mann has started exploring the issues of race and legacy of slavery that were a central theme of her memoir Hold Still. They include a series of portraits of black men, all made during one-hour sessions in the studio with models not previously known to her. Mann was inspired by Bill T. Jones's use of the Walt Whitman 1856 poem "Poem of the Body" in his art. She "borrowed the idea, using the poem as a template for [her] own exploration". Several pictures from this body of work were highlighted in Aperture Foundation magazine in the summer of 2016, and they also appeared in A Thousand Crossings.

The Crossings book and exhibit introduced a series of photographs of African-American historic churches photographed on expired film. Mann also published a series of tintype photographs of a swamp that was known to have served as refuge for escaped slaves. Some critics believe that she is working deeply through of the legacy of white violence in the South, while others have voiced concern that Mann's work at times repeats rather than critiques tropes of white domination and violence in the region.

Personal life
Mann, born and raised in Virginia, is the daughter of Robert Munger and Elizabeth Munger. In Mann's introduction for her book Immediate Family, she "expresses stronger memories for the black woman, Virginia (Gee-Gee) Carter, who oversaw her upbringing than for her own mother". Elizabeth Munger was not a big part of Mann's life, and Elizabeth said "Sally may look like me, but inside she's her father's child."

Virginia Carter, born in 1894, raised Mann and her two brothers and was an admirable woman. "Left with six children and a public education system for which she paid taxes but which forbade classes for black children beyond the seventh grade, Gee-Gee managed somehow to send each of them to out-of-state boarding schools and, ultimately, to college." Virginia Carter died in 1994. In 1969 Sally met Larry Mann, and in 1970 they married. Larry Mann is an attorney. Before practicing law, he was a blacksmith. Around 1996 Larry was diagnosed with muscular dystrophy. The couple live together in their home which they built on Sally's family's farm in Lexington, Virginia. They have three children together: Emmett (born 1979), served for a time in the Peace Corps. He died by suicide in 2016, after battling with schizophrenia following a life-threatening car collision. Jessie (born 1981), became an artist. Virginia (born 1985) became a lawyer. Mann is passionate about endurance horse racing. In 2006, her Arabian horse ruptured an aneurysm while she was riding him. In the horse's death throes, Mann was thrown to the ground, the horse rolled over her, and the impact broke her back. It took her two years to recover from the accident. During this time, she made a series of ambrotype self-portraits. These self-portraits were on view for the first time in November 2010 at the Virginia Museum of Fine Arts as a part of Sally Mann: the Flesh and the Spirit.

Books

 * Second Sight: The Photographs of Sally Mann. David R. Godine, Boston 1983. ISBN 978-0-87923-471-3. Introduction by Jane Livingston.
 * At Twelve: Portraits of Young Women. Aperture, New York 1988. ISBN 978-0-89381-296-6.
 * Immediate Family. Aperture, New York 1992. ISBN 978-0-89381-518-9.
 * Still Time. Aperture, New York 1994. ISBN 978-0-89381-593-6.
 * What Remains. Bulfinch, Boston 2003. ISBN 978-0-8212-2843-2.
 * Deep South. Bulfinch, Boston 2005. ISBN 978-0-8212-2876-0.
 * Sally Mann. 21st Editions, South Dennis, MA, 2005. Portfolio, edition of 110.
 * Southern Landscape. 21st Editions, South Dennis, MA, 2013. Portfolio, edition of 58.
 * Hold Still: A Memoir with Photographs. Little, Brown, New York 2015. ISBN 978-0-316-24776-4.

Exhibition catalogues

 * The Lewis Law Portfolio, Corcoran Gallery of Art, Washington DC, 1977
 * Sweet Silent Thought, North Carolina Center for Creative Photography, Durham, NC, 1987
 * Still Time, Alleghany Highland Arts and Crafts Center, Clifton Forge, VA, 1988
 * Mother Land, Edwynn Houk Gallery, New York, 1997
 * Sally Mann, Gagosian Gallery, New York, 2006
 * Sally Mann: Deep South/Battlefields, Kulturhuset, Stockholm, Sweden, 2007
 * Sally Mann: Proud Flesh. Gagosian Gallery/Aperture, New York 2009. ISBN 978-1-59711-135-5.

Publications with contributions by Mann

 * Touring exhibition, Corcoran Gallery of Art et. al.
 * Touring exhibition, Corcoran Gallery of Art et. al.
 * Ferdinand Protzman, Landscape: Photographs of Time and Place. National Geographic, 2003. ISBN 978-0-7922-6166-7.
 * Touring exhibition, Corcoran Gallery of Art et. al.
 * Touring exhibition, Corcoran Gallery of Art et. al.
 * Ferdinand Protzman, Landscape: Photographs of Time and Place. National Geographic, 2003. ISBN 978-0-7922-6166-7.
 * Ferdinand Protzman, Landscape: Photographs of Time and Place. National Geographic, 2003. ISBN 978-0-7922-6166-7.

Film and television

 * Blood Ties: The Life and Work of Sally Mann. Directed by Steven Cantor and Peter Spirer. Moving Target Productions. 30 minutes, color, DVD. Nomination for an Academy Award for Best Documentary: Short Subject (1992)
 * "Giving Up the Ghost". Egg, The Arts Show. Produced by Mary Recine for Thirteen/WNET, New York. (2002)
 * "Place". Episode One. Art 21- Directed by Catherine Tatge, Art in the Twenty-First Century for PBS Broadcasting, Virginia. 14 minutes. Color. DVD. (2002)
 * What Remains: The Life and Work of Sally Mann. Directed by Steven Cantor. Zeitgeist Films, New York. 80 minutes, color, DVD. (2004). Winner of Best Documentary. Jacksonville Film Festival. Won Grand Jury Prize for Best Documentary Film. Nantucket Film Festival Won Best Storytelling in Documentary Film. Nantucket Film Festival Official Selection. Sundance Film Festival New York Loves Film Documentary Award. Tribeca Film Festival. (2006)
 * "Some Things Are Private". Playwrights Deborah Salem Smith, Laura Kepley. Trinity Repertory Theatre, Dowling Theater. Providence, RI. (2008)
 * "The Genius of Photography: We Are Family". Episode 6. BBC Four Productions, Wall to Wall Media Ltd. (2008)
 * "Thalia Book Club: Sally Mann Hold Still". Ann Patchett, Symphony Space (May 13, 2015)

Awards

 * 2001: Time magazine named Mann "America's Best Photographer"
 * 2006: Honorary Doctor of Fine Arts degree from the Corcoran College of Art + Design.
 * 2012: Honorary Fellowship of the Royal Photographic Society (UK)
 * 2016: Andrew Carnegie Medal for Excellence in Nonfiction for Hold Still: A Memoir in Photographs.
 * 2020: Centenary Medal, Royal Photographic Society, Bristol, UK
 * 2021: Inducted into the International Photography Hall of Fame on October 29, 2021
 * 2021: Prix Pictet's ninth global photography award

Collections
Mann's work is held in the following permanent collections:
 * Metropolitan Museum of Art
 * National Gallery of Art
 * Hirshhorn Museum and Sculpture Garden
 * Museum of Fine Arts, Boston
 * San Francisco Museum of Modern Art
 * Whitney Museum, New York City: 12 prints (as of October 2020)

title: Sally Mann


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Sulejman Tihić

Sulejman Tihić (26 November 1951 – 25 September 2014) was a Bosnian politician who served as the 4th Bosniak member of the Presidency of Bosnia and Herzegovina from 2002 to 2006. He was a member and later president of the Party of Democratic Action (SDA). From 2007 until his death in 2014, Tihić served as member of the national House of Peoples.

Born in Bosanski Šamac, he graduated from the Faculty of Law at the University of Sarajevo in 1975. Following his graduation, Tihić worked as a judge, prosecutor and a lawyer. During the Bosnian War of 1992–95, he was captured by Serb soldiers and was tortured in concentration camps in both Bosnia and Serbia. Following the war, Tihić entered into politics. Already being a founding member of the SDA, he was named its president in 2001. At the 2002 general election, Tihić was elected Bosniak member of the Bosnian Presidency, serving as its member until 2006. Following his time in the Presidency, Tihić was appointed as member of the national House of Peoples in 2007. As president of the SDA, he took part in many constitutional reform talks, most notably in those regarding the Prud Agreement between 2008 and 2009.

After years of health issues, including cancer, Tihić died on 25 September 2014 in Sarajevo, at the age of 62. He was buried in his hometown of Bosanski Šamac two days later.

Early life
Tihić was born in the town of Bosanski Šamac in northern Bosnia. He obtained a degree from the Sarajevo Law School in 1975. Tihić returned to Bosanski Šamac where he worked as a judge, prosecutor and a lawyer.

Bosnian War
When the Bosnian War started in April 1992, Tihić was captured by Serb soldiers and was tortured in three concentration camps in Bosnia, in Bosanski Šamac, Brčko and the Batković camp in Bijeljina, before being taken by helicopter to the Batajnica neighborhood of Belgrade in Serbia. He was also later tortured in a prison in Sremska Mitrovica.

Political career

In 1990, Tihić was one of the founding members of the Party of Democratic Action (SDA). On 13 October 2001, Tihić was chosen to succeed Alija Izetbegović as president of the party. At the 2002 general election, he was elected to the Presidency of Bosnia and Herzegovina. At the 2006 general election, Tihić decided to run for a second term in the Presidency, but failed to do so when election day came, winning only 27.5% of the votes, 35.3% less than elected Haris Silajdžić.

After the presidency, he would later go on to be a member of the House of Peoples of the Parliamentary Assembly of Bosnia and Herzegovina from 14 April 2007 until his death on 25 September 2014. During that period, Tihić was also Chairman of the House of Peoples a few times. American human rights lawyer Francis Boyle stated in his correspondence to the public that Tihić and Sakib Softić had ordered the restitution request from his original lawsuit in the Bosnian genocide case to be voided, thereby returning a favor to his coalition partners Alliance of Independent Social Democrats (SNSD) in Republika Srpska.

Prud Agreement

Together with the leaders of the three most important 'nationalist' political parties in Bosnia and Herzegovina, who acted as representatives of the constituent peoples, Milorad Dodik of the SNSD and Dragan Čović of the Croatian Democratic Union of Bosnia and Herzegovina (HDZ BiH), Tihić created the Prud Agreement or Prud Process, an agreement that pertained to state property, census, constitutional changes, reconstructing the Council of Ministers of Bosnia and Herzegovina and solving the legal status of Brčko District. The agreement was created in the village of Prud on 8 November 2008. The reforms promised by the agreement would "build the ability of the State to meet the requirements of the EU integration process".

At a subsequent meeting in Banja Luka on 26 January 2009, the party leaders set out a plan for Bosnia and Herzegovina as a decentralized country with three levels of government. The middle level of government was anticipated to be made up by four territorial units with legislative, executive and judicial branches of government.

Controversy surrounded the creation of a third entity, Republika Srpska’s territorial integrity, and the division of Bosnia and Herzegovina.

A further meeting was held in Mostar on 23 February 2009, hosted by Čović.

On 20 July 2009, the High Representative for Bosnia and Herzegovina, Valentin Inzko suggested that the process between the three 'nationalist' parties had effectively ended. Instead, it had changed into a process involving many more political parties. Inzko believed that minor-level constitutional reform can be delivered through the meetings.

Illness and death
Tihić had a tumor on his colon removed in January 2008 in Ljubljana, Slovenia. On 30 September 2013 it was announced that Tihić had been diagnosed with cancer. He was treated surgically in Germany on 4 October 2013; doctors expressed satisfaction with his recovery. On 22 August 2014, he was hospitalized at the Clinical Center of the University of Sarajevo and died there on 25 September 2014, aged 62. Tihić was buried in the cemetery of the White Mosque in his hometown of Bosanski Šamac two days later, on 27 September.

title: Sulejman Tihić


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Solow

Solow is a surname. Notable people with the surname include:

 * Alan Solow, American lawyer and Jewish leader
 * Herbert Solow (journalist) (1903–1964), American journalist
 * Herbert Franklin Solow (1931–2020), American producer, director, studio executive, talent agent, and writer
 * Jeffrey Solow (born 1949), American cello virtuoso
 * Jennifer Solow, American novelist
 * Robert Solow (1924–2023), American economist, winner of the Nobel Prize in Economics
 * Sheldon Solow (1928–2020), American real estate mogul and billionaire

title: Solow


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Fanfare for St Edmundsbury

The Fanfare for St Edmundsbury is a fanfare for three trumpets written by the British composer Benjamin Britten for a "Pageant of Magna Carta" in the grounds of St Edmundsbury Cathedral, Bury St Edmunds in 1959.

Technical
The fanfare is scored for three trumpets. The parts are notated for modern trumpets in C; however, they are actually written using only the notes of three different harmonic series based on F, C and D and could thus be performed on three natural trumpets in those three keys. The natural trumpets were not specified by the composer; indeed it may have been a bit early in the rediscovery of natural trumpet playing for it to be safe to do so. This technique had been used by the classical composers in horn section writing, to enable lines to be played outside the natural scale (e.g. 2 horns in C and 2 horns in D or E flat). Some of the first experimentation of this technique is demonstrated by F.G.A. Dauvernè from around 1850. Dauvernè was Arban's teacher (the father of modern-day trumpeting) and wrote one of the last methods for the dying art of natural trumpet playing, including some of the first exercises for the cornet and valved trumpet. Nevertheless, the scoring is sometimes taken as signal enough to justify playing it on natural trumpets, on which it works well. This multitonal use of natural instruments is an interesting trick which might have caused some surprise at the height of the natural trumpet's power in the Baroque era, when three playing together would almost always have been in the same key. Performance of the fanfare on modern valved instruments remains the norm and does not lessen the effect: the parts still feel like natural trumpet lines. Britten commented, "The trumpeters should be placed as far apart as possible, even when the Fanfare is played indoors."

Description
Each trumpet plays one solo "verse" in turn. These are not only separated from each other in key but also in style: although they all include some long notes at phrase ends, overall one is a bouncy 6/8, one a martial-sounding, bold statement, and one a series of smooth arpeggios. So when they all come in together at the end and play their verses simultaneously the initial effect seems chaotic. As the last playthrough progresses it gradually dawns on the listener that a unity is emerging from the chaos as the long notes start to settle and overlap: by the last few bars the three trumpets are playing triumphant block chords together.

Recordings
Many recordings are available, but nearly always on compilations of modern brass or fanfare music – the piece is so short that it almost never receives separate billing. Recordings have been made by the Philip Jones Brass Ensemble and similar groups.

title: Fanfare for St Edmundsbury


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Mr. Game & Watch

Mr. Game & Watch (ゲーム＆ウォッチ) is a 2D generic stick figure-styled silhouette character, created by Nintendo as an amalgamation of various characters that appeared in the Game & Watch handheld consoles. He was created by Gunpei Yokoi, with an intention of representing the Game & Watch collection, as the consoles had no main mascot, rather characters designed for the minigames. He debuted in Ball from Game & Watch. Mr. Game & Watch has appeared as a cameo in several other Nintendo games, such as Donkey Kong Country Returns, WarioWare: Touched!, Rhythm Heaven Fever and Super Mario Odyssey.

The Game & Watch consoles were conceptualized by Gunpei Yokoi, and Makoto Kano created their visuals. Each visual was carefully conceived, drawn polished, and tested by a small group of designers, consisting of Yokoi and Kano alongside Masao Yamamoto and Takehiro Izushi. His appearance in Super Smash Bros. is based on the various games released, from which his attacks and animations are drawn. His appearance and overall existence have received generally positive reception, being called a classic and iconic character. His role in Super Smash Bros. became more negative, being recognized as an unviable choice in professional play at Melee and 3DS & Wii U. On the other hand, while considered a top tier character in Ultimate, he is seen as an annoying character to fight against, which competitive player Maister is criticized for.

Concept and design
Although the specific character did not exist until 2001, he is an amalgamation of the avatars from the Game & Watch series of handheld consoles released by Nintendo in the 1980s. Video game and electronic toy designer Gunpei Yokoi witnessed a businessman fiddling with an LCD calculator out of boredom while riding a bullet train. Inspired by this, he conceptualized a portable electronic minigame that doubled as a watch for killing time. The visuals and LCD design were conducted by Makoto Kano, although he was also present in the original handheld's hardware production. At the time there were only a handful of designers, so work wasn't equally balanced and multiple people worked on numerous different tasks. According to Kano, he designed the system shell and its color, the packaging, and the stick-figure silhouettes.

The games were designed around everyday tasks, which is why the titles had simple concepts such as cooking. The game and its looks were designed on a blackboard by the development team, and Masao Yamamoto drew up the ideas in a notebook. He gave the visuals to Kano for polishing, where he recalled how he would say, "The rest is up to you". After he would redraw the designs, it then became clear whether or not they would continue with the project. They would then create a model of how the game would function using plastic and wheat bulbs about the size of an A4 sheet of paper to test the smoothness of the visuals. Yokoi was very keen on making character movement natural, which the designers dubbed the "Yokoi standard". Yamamoto and Takehiro Izushi worked on the software afterwards.

The first handheld released was Ball in 1980, the spiritual introduction to Mr. Game & Watch. Kano's enjoyment of visual design for the handhelds were increased with the introduction of a new line of Game & Watch devices, the Wide Screen variants. In a 2010 interview on Iwata Asks, Kano said that he modelled the octopus character for the title Octupus after Hatchan the Octopus, a Japanese manga character who first appeared in 1931. He tried to design the octopus so it would be recognized as such in other countries.

The specific character known as Mr. Game & Watch was introduced into Super Smash Bros. Melee in 2001; as a representation of the series as a whole, his attacks and other abilities are direct references to various Game & Watch titles. His character icon also represents the Game & Watch's alarm feature, where it depicts the character holding a bell. The character comes with seven alternate colors to choose from before a match.

Appearances
Mr. Game & Watch originally appeared as playable characters in the 1980 Game & Watch game Ball, as well as Flagman, Vermin, Fire, Judge, Manhole, Helmet, Lion, Parachute, Octopus, Chef, Turtle Bridge, Fire Attack, Oil Panic, Greenhouse, Rain Shower and Life Boat. The Game & Watch brand is represented in Nintendo's Super Smash Bros. series with the character Mr. Game & Watch, appearing in Melee, Brawl, 3DS and Wii U and Ultimate. As he represents the Game & Watch series, he pre-dates Pac-Man by one month as being the oldest character on the roster.

Beyond the Super Smash Bros. and Game & Watch series, Mr. Game & Watch has also appeared in Game & Watch Gallery 4. He has also made cameo appearances in Donkey Kong Country Returns, WarioWare: Touched!, Rhythm Heaven Fever, Nintendo 3DS Sound, Super Mario Odyssey and The Super Mario Bros. Movie.

Reception

Mr. Game & Watch has been met with a polarizing response from critics, mostly with regard to the character's appearance in the Super Smash Bros. series. David Mello of Screen Rant ranked Mr. Game & Watch second in his list of forgotten Nintendo characters, stating that he is "a classic character from the younger days of Nintendo". Michael Derosa of Screen Rant listed Mr. Game & Watch as a character that should be added in Mario Kart, stating that "a 2D character in the magical 3D Mario Kart world would offer the type of visual contrast that gamers love".

In Super Smash Bros. Masahiro Sakurai described Mr. Game & Watch along with Duck Hunt as fighters that fall "outside of people's typical expectations", and explained further that without such characters the roster might only have typical "hero/heroine" type fighters in the lineup, which would be "probably not very interesting". IGN noted that Mr. Game & Watch became weirder as it maintains his unique 2D nature in an otherwise 3D world. As a result, several magazines have criticized the character for being "annoying" and included at the game, despite being not a realistic character or one of the Nintendo icons. In Super Smash Bros. for Wii U, it was considered as "low-tier", or one of the weakest characters available for selection. In 2020, Enrique "Maister" Hernández Solís became the first professional Super Smash Bros. player to garner successful tournament results while using Mr. Game & Watch; before it, he remained an unranked position in the Panda Global Rankings charts until eventually ranking 6th place globally. In Super Smash Bros. Ultimate, while Mr. Game & Watch was still considered low-tier at the time of Maister's 2019 win, the Smash community eventually realized that the character had become significantly stronger. He began receiving criticism toward the character and himself, with people blaming his success for the character he chose and not his skill, pointing out abilities of his that were too powerful or too fast to react to. Maister commented on the backlash and acknowledged the character's criticism due to his faults, but he struggled with negativity and threats directed towards him personally and it has been chosen to lower how much time he spent on social media.

Controversy

In the 1982 Game & Watch title Fire Attack, the player controls a cowboy defending his fort from an onslaught of Native Americans attempting to burn the fort down. In the game, the Native Americans wear a feather on their head and attack the fort with torches. This has since been deemed as a racist Native American stereotype, and the racial aspects of the characters were removed for the re-release of the game in Game & Watch Gallery 4.

For Super Smash Bros. Ultimate in 2018, Mr. Game & Watch was given new designs to his animations; instead of his overall appearance remaining a stick figure silhouette, whenever he would perform an action represented from a Game & Watch title, he would also assume the cosmetics of the character in question and look like them, then returning to his default look when the action is complete. With this came the return of his Native American counterpart, which is referenced in one of his attacks. After a Nintendo Direct that showcased the character, he was used in gameplay during a Japanese livestream, where the attack was used and visible for about half a second.

Later, claims were made on Twitter and an online message board that the character represented a racist Native American stereotype. These claims were later echoed elsewhere online. Nintendo took action by removing the feather headband on his head and responded with the following statement to Eurogamer:

"'Nintendo has been planning to distribute an update for Super Smash Bros. Ultimate that removes the feather from the silhouette of Mr. Game & Watch. The original game on which this depiction of the character is based was released more than three decades ago and does not represent our company values today. We sincerely apologise that this change was not noticed in our marketing material and are continuing our work to make Super Smash Bros. Ultimate an experience that is both welcoming and fun for everyone'."

Amiibo
In September 2015, the Super Smash Bros. line of Amiibo released Mr. Game & Watch Amiibo collectible. The design also came with 3 additional detachable alternatives of the character in different positions and moves. Additionally, he is sold as well in the Amiibo Retro Pack, a 3-part Amiibo set including, Mr. Game & Watch, R.O.B., and Duck Hunt.

The character can be scanned into the 3DS/Wii U and Ultimate titles, which a player can use to create a personal CPU, which can train and fight using artificial intelligence. The Amiibo can also be used to unlock a cosmetic option for Super Mario Maker and Yoshi's Woolly World, as well as the 3DS port of the latter.

title: Mr. Game & Watch


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Justice Prisoner and Alien Transportation System

The Justice Prisoner and Alien Transportation System (JPATS), nicknamed "Con Air", is a United States Marshals Service airline charged with the transportation of persons in legal custody between prisons, detention centers, courthouses, and other locations. It is the largest prison transport network in the world. Though primarily used by the Federal Bureau of Prisons or U.S. Immigration and Customs Enforcement, JPATS also assists military and state law enforcement.

The agency is managed by the USMS out of the JPATS headquarters in Kansas City, Missouri. JPATS was formed in 1995 from the merger of the Marshals Service air fleet with that of the Immigration and Naturalization Service. JPATS completes more than 260,000 prisoner/alien movements per year. Air fleet operations are located in Oklahoma City, Oklahoma, with hubs in Las Vegas, Nevada; Puerto Rico and the Virgin Islands. Additionally, the Federal Transfer Center at Oklahoma City's Will Rogers World Airport was built especially to facilitate prisoner transport on JPATS.

Usually, the airline employs Boeing 737 aircraft to transport convicts and illegal residents of the United States for extradition. Smaller jets and turboprops may also be used to transport individual prisoners who are considered particularly dangerous or notorious, as well as individuals in the witness protection program.

According to the Marshals Service, JPATS owns and operates four Boeing 737s.

JPATS aircraft use the ICAO designator DOJ with the callsign JUSTICE.

History and evolution
On November 1, 1919, San Francisco Police officer (and future barnstormer) Ivan R. Gates became the first to transport a prisoner by air, one James Kelly (convicted of carrying concealed weapons), from Alameda to the waiting arms of San Francisco Police Chief D. A. White.

Prior to the existence of JPATS, the air transport of federal inmates over long distances was complicated. The process required an escort by two U.S. Marshals, accompanying the inmate on a regular passenger airplane. This posed numerous problems, including danger to civilians, a backlog of marshals needed to perform such escorts, and a high taxpayer expense.

On August 20, 1985, the U.S. Marshals were offered a transfer from the Federal Aviation Administration (FAA) of a Boeing 727 aircraft. Though no purpose was originally designated for this plane, one official had the idea of using it for the mass transportation of federal inmates. JPATS' predecessor was the National Prisoner Transportation System of the U.S. Marshals Service.

The airline ultimately improved the efficiency of inmate transportation and made the sight of a shackled commercial airline passenger largely a thing of the past. For a plane full of 200 inmates, only 12 marshals are required. Marshals are trained with aircraft emergency procedures very similar to those flight attendants learn to protect the aircraft's occupants.

Today
Today's JPATS fleet has expanded to four full-sized aircraft. These planes fly a large series of routes that serve nearly every major U.S. city.

The flight schedules are kept secret from the public, and are known only to those directly involved in its operation. Inmates scheduled to fly are given little or no advance notice of their flight, to deter escapes and sabotage, and to prevent harm from outsiders.

Passengers aboard a flight are restrained with handcuffs as well as ankle and waist chains which are double- or even triple-locked. Those who pose additional danger may be forced to wear additional restraints, such as reinforced mittens that completely isolate and almost completely immobilize the hands, handcuff covers which conceal the keyholes, and face masks to prevent biting and spitting. However, due to FAA regulations inmates are not physically restrained to their seats in any way except for seat belts used during takeoff and landing.

Flight and seating arrangements are made carefully with the intent to separate inmates who may conflict with one another.

For example, members of rival prison gangs may be transported on different days to help reduce the risk of an in-flight incident.

Unlike the practice of most jails and prisons, male and female inmates fly together on the same planes.

Fleet
, the JPATS fleet consists of the following aircraft:

Fleet development
, JPATS was seeking to purchase an additional Boeing 737-700 or Boeing 737-800 to replace one of its current Boeing 737-400 aircraft.

In popular culture

 * Con Air (1997), starring Nicolas Cage, draws heavy inspiration and basis from the operations on the agency, with the title being a reference to the agency's nickname. The film is set on a Fairchild C-123 Provider, an aircraft that JPATS never actually operated, and its interior more closely resembles a prison than actual JPATS aircraft, which do not significantly differ from most airliners. The film's screenplay explains this by saying that the prisoners on the flight are "the worst of the worst", including several serial killers and mass murderers.
 * U.S. Marshals (1998) depicted the story of a JPATS Flight 343, a Boeing 727-200 that crashed during flight and the manhunt for a prisoner who escapes following the crash.
 * The Freakazoid! episode "Island of Dr. Mystico" features an airline named "Prison Air", a parody of JPATS.
 * In The Unusuals episode "The Dentist" (2009), Det. Eddie Alvarez asks suspended U.S. Marshal and suspected felon Ben Foster if he will be transporting a prisoner via "JPATS". Marshal Foster appears confused until Det. Alvarez explains that it is the "Justice Prisoner and Alien Transportation System". Marshal Foster then confirms the prisoner will be transported via JPATS, however he is really breaking the prisoner out of custody after robbing the police precinct of valuable evidence against a dentist.
 * In the Orange Is the New Black episode "Thirsty Bird" (2014), prisoner Piper Chapman is transported on a JPATS plane for a transfer from Litchfield prison in New York to a Chicago detention facility. US Marshals are shown doing prisoner pat-downs before boarding and then staffing the flight. Prisoners are shown boarding the flight from various locations, including both male and female.


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Gus Suhr

August Richard Suhr (January 3, 1906 – January 15, 2004) was a Major League Baseball (MLB) first baseman. Suhr was born in San Francisco, California. The fourth son of August H Suhr and Elise (Nobmann) Suhr, both of German descent. He batted left-handed and threw right-handed.

Suhr was a career .279 hitter with 84 home runs and 818 RBI in 1435 games played with the Pittsburgh Pirates (1930–39) and Philadelphia Phillies (1939–40). He hit better than .300 twice, with a career high .312 in 1936 and .303 in 1939 with the Pirates and Phillies. Defensively, he recorded a career .992 fielding percentage as a first baseman. Prior to playing in the majors, Suhr played for the San Francisco Seals. In 1929, he hit .381 with 51 home runs and 177 RBI for his team. During that season, he became the only player in baseball history to be sued (in addition to his team) by a fan injured after being struck by a foul ball he hit. The case was dismissed under the legal Baseball Rule, a verdict upheld by the California Supreme Court three years later. In his rookie season with the Pirates, he belted 17 homers with 107 RBI. He produced three 100-RBI seasons in his 11-year career. Selected for the 1936 All-Star game, Suhr played 1,339 games at first base for Pittsburgh, a team record for a Pirates' first baseman.

On September 11, 1931, Suhr started a then National League record streak of 822 games played, which ended on June 4, 1937 when he missed a game to attend his mother's funeral. His record stood until June 12, 1957 when it was broken by Stan Musial. The record is currently held by Steve Garvey.

After retiring from baseball, Suhr became a liquor store owner. He died in Scottsdale, Arizona, of natural causes at the age of 98.

title: Gus Suhr


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Cadmium pigments

Cadmium pigments are a class of pigments that contain cadmium. Most of the cadmium produced worldwide has been for use in rechargeable nickel–cadmium batteries, which have been replaced by other rechargeable nickel-chemistry cell varieties such as NiMH cells, but about half of the remaining consumption of cadmium, which is approximately 2000 t annually, is used to produce colored cadmium pigments. The principal pigments are a family of yellow, orange and red cadmium sulfides and sulfoselenides, as well as compounds with other metals.

Cadmium is toxic to humans and other animals in very small amounts, especially when it is inhaled, which often happens when working with powdered pigment or breathing the dust from chalk pastels. As a result, it is not appropriate for children to use any art supplies that contain cadmium pigments. However, because the pigments have some desirable qualities, such as resistance to fading, some adult artists continue to use them.

Artists' paints
Brilliantly colored, with good permanence and tinting power, cadmium yellow, cadmium orange and cadmium red are familiar artists’ colors, and are frequently employed as architectural paints, as they can add life and vibrancy to renderings. Their greatest use is in the coloring of plastics and specialty paints, which must resist processing or service temperatures up to 3000 C. The colorfastness or permanence of cadmium requires protection from the element's tendency to slowly form carbonate salts with exposure to air. Most paint vehicles accomplish this, but cadmium colors will fade in fresco or mural painting.

The following are commonly used as pigments in artists' paints:
 * Cadmium yellow is cadmium sulfide (CdS), C.I. Pigment Yellow 37.
 * Cadmium sulfoselenide is a solid solution of CdS and cadmium selenide; depending on the sulfur-to-selenium ratio, C.I. Pigment Orange 20 or C.I. Pigment Red 108 is obtained.
 * Zinc cadmium sulfide is a greenish, solid solution of CdS and zinc sulfide, C.I. Pigment Yellow 35.
 * Cadmium yellow is sometimes mixed with viridian to give a bright, pale green mixture called cadmium green.

When first introduced, there were hardly any stable pigments in the yellow-to-red range, with orange and bright red being very troublesome. The cadmium pigments eventually replaced compounds such as mercury(II) sulfide (the original vermilion) with greatly improved lightfastness.

Cadmium pigments are known for excellent lightfastness, although the lighter shades can fade in sunlight. A cadmium yellow paint was frequently used on Bob Ross' TV show The Joy of Painting.

In July 2023, the brilliance of cadmium yellow (especially "Cadmium Yellow Lemon No.1 by Lucien Lefebvre-Foinet") used by some modern artists, was reported to have faded over time due to chemical degradation.

Coloring art glass
Cadmium compounds are utilized in coloring borosilicate glass used by artists in lampworking. The palette is often referred to as "cadmium colors" or "cadmium-based colors" and is marked by uniquely bright and saturated tones not found in other colored glass. Cadmium pigments used in borosilicate have a relatively short history, with the first commercial formulations hitting the market in 2000 under the name Crayon Colors by Henry Grimmett of Glass Alchemy.

Cadmium-compound-containing glass exhibits a characteristically low heat tolerance when melted, and therefore must be treated with caution when lampworking to avoid boiling off of the cadmium sulfide. CdS has a boiling point of 980 °C, putting its maximum temperature tolerance as a pigment not far above the working temperature range for borosilicate, which has a softening point of approximately 850 °C.

Safety
Cadmium sulfide is not very toxic ( above 5,000 mg/kg). Cadmium is introduced into the body most commonly through smoking and the diet. Poisoning by pigments is uncommon but of continuing concern. Acute exposure to cadmium vapors can arise from welding near cadmium pigments.

The cadmium pigments have been partially replaced by azo pigments, which have significantly inferior lightfastness.

In December 2013, the Swedish Chemicals Agency (KEMI) proposed a case to the European Chemicals Agency (ECHA) in favor of restricting or banning cadmium use in artists’ paints, as cadmium in pigments used in other types of paints was already restricted and regulated via TARIC codes and REACH Annex XVII. This proposal stated that cadmium in the body leads to increased risk of bone fractures and breast cancer as well as an array of environmental impacts, and that paint washed down the drain is absorbed by crops that are then consumed, increasing the average dietary cadmium intake. This can cause an array of health effects, including kidney and liver damage, skeletal damage, several types of cancers and death. KEMI's proposal was ultimately declined.

In a June 2015 article of Just Paint, published by Golden Artist Colors, the company argued against KEMI's proposal, offering that "There are no alternatives that match all of the characteristics of cadmium pigments." This statement was also included in Golden's response to KEMI's request for information on cadmium-pigmented artists’ paints while the agency was composing its ban proposal. The article also stated that a ban would be technically feasible for some artists, but not all, and that "cadmium colors are not for use by children, should not be spray applied or sanded, and unless one is properly protected from exposure and in a non-household setting, use of dry cadmium pigment should be avoided."

Inhalation poses the greatest risk from cadmium pigments, though the chemical is very low-risk when sealed within a pigment particle because of its insolubility. The use of chalk pastels containing cadmium colors is among the highest risks for artists, as these pastels create a dust that can be inhaled.

title: Cadmium pigments