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Ethnocracy

An ethnocracy is a type of political structure in which the state apparatus is controlled by a dominant ethnic group (or groups) to further its interests, power, dominance, and resources. Ethnocratic regimes in the modern era typically display a 'thin' democratic façade covering a more profound ethnic structure, in which ethnicity (race, religion, language etc) – and not citizenship – is the key to securing power and resources.

An ethnocratic society facilitates the ethnicization of the state by the dominant group, through the expansion of control likely accompanied by conflict with minorities or neighbouring states. A theory of ethnocratic regimes was developed by critical geographer Oren Yiftachel during the 1990s and later developed by a range of international scholars.

Characteristics, structure, and dynamics
In the 20th century, a few states passed (or attempted to pass) nationality laws through efforts that share certain similarities. All took place in countries with at least one national minority that sought full equality in the state or in a territory that had become part of the state and in which it had lived for generations. Nationality laws were passed in societies that felt threatened by these minorities' aspirations of integration and demands for equality, resulting in regimes that turned xenophobia into major tropes. These laws were grounded in one ethnic identity, defined in contrast to the identity of the other, leading to persecution of and codified discrimination against minorities.

Research shows that several spheres of control are vital for ethnocratic regimes, including of the armed forces, police, land administration, immigration and economic development. These powerful government instruments may ensure domination by the leading ethnic groups and the stratification of society into 'ethnoclasses' (exacerbated by 20th century capitalism's typically neo-liberal policies). Ethnocracies often manage to contain ethnic conflict in the short term by effective control over minorities and by effectively using the 'thin' procedural democratic façade. However, they tend to become unstable in the longer term, suffering from repeated conflict and crisis, which are resolved by either substantive democratization, partition, or regime devolution into consociational arrangements. Alternatively, ethnocracies that do not resolve their internal conflict may deteriorate into periods of long-term internal strife and the institutionalization of structural discrimination (such as apartheid).

In ethnocratic states, the government is typically representative of a particular ethnic group, which holds a disproportionately large number of posts. The dominant ethnic group (or groups) uses them to advance the position of their particular ethnic group(s) to the detriment of others. Other ethnic groups are systematically discriminated against and may face repression or violations of their human rights at the hands of state organs. Ethnocracy can also be a political regime instituted on the basis of qualified rights to citizenship, with ethnic affiliation (defined in terms of race, descent, religion, or language) as the distinguishing principle. Generally, the raison d'être of an ethnocratic government is to secure the most important instruments of state power in the hands of a specific ethnic collectivity. All other considerations concerning the distribution of power are ultimately subordinated to this basic intention.

Ethnocracies are characterized by their control system – the legal, institutional, and physical instruments of power deemed necessary to secure ethnic dominance. The degree of system discrimination will tend to vary greatly from case to case and from situation to situation. If the dominant group (whose interests the system is meant to serve and whose identity it is meant to represent) constitutes a small minority (typically 20% or less) of the population within the state territory, substantial institutionalized suppression will probably be necessary to sustain its control.

Means of avoiding ethnocracy
One view is that the most effective means of eliminating ethnic discrimination vary depending on the specific situation. In the Caribbean, a "rainbow nationalism" type of non-ethnic, inclusive civic nationalism has been developed as a way to eliminate ethnic power hierarchies over time. (Although Creole peoples are central in the Caribbean, Eric Kauffman warns against conflating the presence of a dominant ethnicity in such countries with ethnic nationalism. )

Andreas Wimmler notes that a non-ethnic federal system without minority rights has helped Switzerland to avoid ethnocracy but that this did not help in overcoming ethnic discrimination when introduced in Bolivia. Likewise, ethnic federalism "produced benign results in India and Canada" but did not work in Nigeria and Ethiopia. Edward E. Telles notes that anti-discrimination legislation may not work as well in Brazil as in the U.S. at addressing ethnoracial inequalities, since much of the discrimination that occurs in Brazil is class-based, and Brazilian judges and police often ignore laws that are intended to benefit non-elites.

Mono-ethnocracy vs. poly-ethnocracy
In October 2012, Lise Morjé Howard introduced the terms mono-ethnocracy and poly-ethnocracy. Mono-ethnocracy is a type of regime where one ethnic group dominates, which conforms with the traditional understanding of ethnocracy. Poly-ethnocracy is a type of regime where more than one ethnic group governs the state. Both mono- and poly-ethnocracy are types of ethnocracy. Ethnocracy is founded on the assumptions that ethnic groups are primordial, ethnicity is the basis of political identity, and citizens rarely sustain multiple ethnic identities.

Belgium
Lise Morjé Howard has labeled Belgium as both a poly-ethnocracy and a democracy. Citizens in Belgium exercise political rights found in democracies, such as voting and free speech. However, Belgian politics is increasingly defined by ethnic divisions between the Flemish and Francophone communities. For example, all the major political parties are formed around either a Flemish or Francophone identity. Furthermore, bilingual education has disappeared from most Francophone schools.

Malaysia
Malaysia has been labeled as a pro-Bumiputera/Malay ethnocracy by various academics due to the Article 153 of the Constitution of Malaysia, as well as the Ketuanan Melayu (Malay supremacy) ideology, which gives them more economic, political and social rights over the Malaysian minorities such as the Malaysian Chinese and Malaysian Indians, who are treated as de facto second-class citizens.

Israel
Israel has been labeled an ethnocracy by scholars such as Alexander Kedar, Shlomo Sand, Oren Yiftachel, Asaad Ghanem, Haim Yakobi, Nur Masalha and Hannah Naveh. It is also viewed as an apartheid state by various organisations, including B'Tselem, Human Rights Watch and Amnesty International, due to actions committed against Palestinians that they see as emblematic of such a state.

However, scholars such as Gershon Shafir, Yoav Peled and Sammy Smooha prefer the term ethnic democracy to describe Israel, which is intended to represent a "middle ground" between an ethnocracy and a liberal democracy. Smooha in particular argues that ethnocratic democracies, allowing a privileged status to a dominant ethnic majority while ensuring that all individuals have equal rights, are defensible. His opponents reply that insofar as Israel contravenes equality in practice, the term 'democratic' in his equation is flawed.

In 2018, Israel passed the Nation-State Bill which declared that "The right to exercise national self-determination in the State of Israel is unique to the Jewish people." The law also removed the official status of Arabic, with Hebrew remaining the sole official language of Israel.

Latvia and Estonia
There is a spectrum of opinion among authors as to the classification of Latvia and Estonia, spanning from liberal democracy through ethnic democracy to ethnocracy. Will Kymlicka regards Estonia as a democracy, stressing the peculiar status of Russian-speakers as stemming from being at once partly transients, partly immigrants and partly natives.

British researcher Neil Melvin concludes that Estonia is moving towards a genuinely pluralist democratic society through its liberalization of citizenship and actively drawing of leaders of the Russian settler communities into the political process. James Hughes, in the United Nations Development Programme's Development and Transition, contends Latvia and Estonia are cases of 'ethnic democracy', where the state has been captured by the titular ethnic group and then used to promote 'nationalising' policies and alleged discrimination against Russophone minorities. (Development and Transition has also published papers disputing Hughes' contentions.)

Israeli researchers Oren Yiftachel and As'ad Ghanem consider Estonia an ethnocracy. Israeli sociologist Sammy Smooha, of the University of Haifa, disagrees with Yiftachel, contending that the ethnocratic model developed by Yiftachel does not fit the case of Latvia and Estonia: they are not settler societies as their core ethnic groups are indigenous, nor did they expand territorially, nor have diasporas intervening in their internal affairs (as in the case of Israel for which Yiftachel originally developed his model).

Northern Ireland
Northern Ireland has been described as an ethnocracy by numerous scholars. Wendy Pullan describes gerrymandering of electoral districts to ensure Unionist domination and informal policies that led to the police force being overwhelmingly Protestant as features of the Unionist ethnocracy. Other elements included discriminatory housing and policies designed to encourage Catholic emigration. Ian Shuttleworth, Myles Gould and Paul Barr agree that the systematic bias against Catholics and Irish nationalists fit the criteria for describing Northern Ireland as an ethnocracy from the time of the partition of Ireland until at least 1972, but argue that after the suspension of the Stormont Parliament, and even more so after the Good Friday Agreement in 1998, ethnocracy was weakened, and that Northern Ireland cannot be plausibly described as an ethnocracy today.

Rwanda
According to academic Alana Tiemessen in 2004, Rwanda's president Paul Kagame and his Rwandan Patriotic Front political party have "been characterised inside and outside of Rwanda as a militarised ethnocracy that propagates the survival of Tutsis over the well-being of Hutus". In 2024, The New York Times noted that critics contended that members of the Tutsi ethnic group "dominate[d] the top echelons" of Rwanda's government under Kagame, thereby excluding Hutus and their 85% of the country's population. Prior to the 1990–1994 Rwanda Civil War and 1994 Rwandan genocide, Rwanda had been ruled by a Hutu ethnocracy since 1959.

South Africa
Until 1994, South Africa had institutionalized a highly ethnocratic state structure, apartheid. In his 1985 book Power-Sharing in South Africa, Arend Lijphart classified contemporaneous constitutional proposals to address the resulting conflict into four categories:

 * majoritarian (one man, one vote)
 * non-democratic (varieties of white domination)
 * partitionist (creating new political entities)
 * consociational (power-sharing by proportional representation and elite accommodation)

These illustrate the idea that state power can be distributed along two dimensions: legal-institutional and territorial. Along the legal-institutional dimension are singularism (power centralised according to membership in a specific group), pluralism (power distribution among defined groups according to relative numerical strength), and universalism (power distribution without any group-specific qualifications). On the territorial dimension are the unitary state, "intermediate restructuring" (within one formal sovereignty), and partition (creating separate political entities). Lijphart had argued strongly in favour of the consociational model.

Turkey
Turkey has been described as an ethnocracy by Bilge Azgın. Azgın points to government policies whose goals are the "exclusion, marginalization, or assimilation" of minority groups that are non-Turkish as the defining elements of Turkish ethnocracy. Israeli researcher As'ad Ghanem also considers Turkey an ethnocracy, while Jack Fong describes Turkey's policy of referring to its Kurdish minority as "mountain Turks" and its refusal to acknowledge any separate Kurdish identity as elements of the Turkish ethnocracy.

Uganda
Uganda under dictator Idi Amin Dada has also been described as an ethnocracy favouring certain indigenous groups over others, as well as for the ethnic cleansing of Indians in Uganda by Amin.

title: Ethnocracy


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Argyroupoli

 Argyroupoli (Αργυρούπολη) is a town and a suburb in the southern part of the Athens agglomeration, Greece. Since the 2011 local government reform it is part of the Elliniko-Argyroupoli municipality, of which it is the seat and a municipal unit. A bustling suburb today, it's known for its cafés, restaurants and bars.

Name
The city's name derives from the Greek words άργυρος (árgyros meaning silver) and πόλη (poli meaning city). The name's older form was Argyroupolis. The first name of the settlement was New Argyroupolis, given by the refugees from Gümüşhane, Turkey.

History
As a part of the population exchange between Greece and Turkey after the Greco-Turkish war of 1919-1922, a number of refugees fled to Attica from the former Ottoman Empire. In 1926, refugees from Argyroupolis in northeastern Turkey (modern Gümüşhane meaning "silver house") arrived in site, then named Ktima Geroulanou (Κτήμα Γερουλανου). They named the new settlement Nea Argyroupolis as a remembrance to their old hometown. There was presumably much resemblance between the two towns as, Argyroupoli is built on a plain with the Hymettus mountain to its north, as Gümüşhane is built on a plain with the Pontic Alps to the north. One of the first tasks of the settlers was to build the church of Αγία Βαρβάρα (St. Barbara), named after the patron saint of the now Turkish city.

During the Second World War, the settlement was used by the Germans to protect their ammunition and airplanes that were stationed in the nearby airfield. On December 6, 1943, the settlement was bombed by the British Royal Air Force. Although there were reportedly no casualties amongst the population, the settlement was razed to the ground.

The settlement was part of the community of Kalamaki until 1949, when it became a separate community. It was elevated to municipality status in 1972.

Geography
Argyroupoli is situated on the southwestern foot of the Hymettus mountain, 9 km south of Athens city centre. The municipality has an area of 8.228 km2. It borders Ilioupoli municipality to the North, Alimos municipality and Elliniko municipal district to the West and Glyfada municipality to the South. The city is traversed by the Vouliagmenis Avenue, which connects downtown Athens with the southern suburbs. The three major shopping districts are Kyprou Avenue, M. Geroulanou Avenue and part of Vouliagmenis Avenue. Numerous public bus lines run through Argyroupoli connecting the district with Athens center and Glyfada. The subway stations that serve the suburb are Argyroupoli metro station and Alimos metro station.

Argyroupoli has a mild climate, affected by the sea and the mountain. It rarely snows, but rain is common. During summer, high temperatures are recorded.

International relations
Argyroupoli is twinned with:
 * 🇫🇷 Castanet-Tolosan, France
 * 🇮🇹 Moncalieri, Italy

Notable people

 * Vanessa Adamopoulou, singer
 * Katerina Georgiadou, fashion model
 * Ioannis Papazisis, actor
 * Kostas Tsakonas, actor

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

title: Argyroupoli


text: User talk:149.153.4.101

title: User talk:149.153.4.101


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Elliott Aviation

Elliott Aviation is a chain of fixed-base operators (FBOs) representing Beechcraft and Socata products. Headquartered in Moline, Illinois, Elliott Aviation has branches in Moline, IL, Des Moines, Iowa and Minneapolis, Minnesota.

Elliott Aviation has been providing aircraft sales and aviation services since 1936. Elliott Aviation is an authorized service center for the following airframes:
 * Hawker 125 Series
 * Beechjet/Hawker 400XP
 * Premier
 * Phenom 100/300
 * King Air
 * Baron & Bonanza

title: Elliott Aviation


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Kite (Kirsty MacColl album)

Kite is the breakthrough second album by Kirsty MacColl, released in 1989. Produced by her then-husband Steve Lillywhite, it was her first album for Virgin Records. The album included MacColl's hit cover of the Kinks' "Days", as well as two tracks written with Smiths guitarist Johnny Marr. On 6 October 1989, it was certified silver by the BPI.

Background
In a 1991 interview with Melody Maker, MacColl commented, "With Kite, I felt I had to prove that I wasn't this bimbo girl-next-door I'd been portrayed as. That had been hanging around my neck like a fucking albatross for so long, and I wanted to make the point that, yes, I can write a fucking song, pal!"

MacColl originally wanted to call the album Al Green Was My Valet, as a parody of the 1941 film title How Green Was My Valley, but Virgin Records were not keen on it. She then had the idea of the title Kite after David Gilmour, who played guitar on two tracks, declined payment for his contribution and suggested that a "kite" [slang for cheque] be sent to Armenia instead as a donation towards the relief of the 1988 Armenian earthquake. MacColl told Ira Robbins in 1990, "I thought that was such a nice image – a little bit of hope and optimism rising above a sea of crap."

In April 1990, MacColl revealed the album had sold approximately 85,000 copies in the UK.

Critical reception
On its release, Dave Jennings of Melody Maker described the album as a "thoughtful, mature, yet sometimes exhilarating LP" and "cerebral but instantly likeable; never wild or abandoned, but always intriguing". Aside from some "tender moments", he considered most of Kite to show MacColl "on the attack", with her "carefully-layered, deadpan vocals" suiting the "anger" in her lyrics. Simon Williams of New Musical Express considered it "an old-fashioned album" with "proper songs [and] resolutely orthodox instruments". He concluded, "Kite is charming rather than classy. Everything is pleasantly down-to-earth, sweet and sour stories from a woman's point of view which always avoid being emotionally extreme." Peter Kane of Sounds noted it "boasts some fine tunes about life, love, and the whole damned thing" which is "done in a peculiarly colloquial, very English style" and with "not a hint of pretension". He described the album as "one to be proud of" and one which "deserves to be heard".

In a retrospective review, AllMusic called Kite "the pinnacle of [MacColl's] achievement" and her "best-sustained work". They felt that MacColl's songwriting was "excellent", with some of her "sharpest and cleverest words and most memorable melodies." Trouser Press wrote of the album: "This sturdy, provocative collection mixes full-bodied pop styles with some country, adding a film noir story sung in French, a pair of wonderful covers and pointed lyrical assaults on both Margaret Thatcher and shallow pop stars." The Rolling Stone Album Guide described the album as having a "skillfull, introspective elegance".

Re-issues
Kite was re-released in 2005 with ten bonus tracks, including B-sides and alternate mixes. A 2012 expanded edition released by Salvo Records features a bonus disc with seventeen bonus tracks, also with B-sides and alternate mixes. Both re-issues were remastered. Demon Records re-issued the original twelve-track album in 2018 on 180g vinyl.

Track listing
Adapted from the album's liner notes.

2012 edition bonus CD
The first disc contains the twelve tracks from the original album.

Personnel

 * Musicians
 * Kirsty MacColl – vocals, acoustic guitar (10), electric guitar (10), bass (10), lap steel guitar (6, 7), autoharp (6), percussion (6, 10)
 * Guy Barker – trumpet (6, 7, 15)
 * Mark Berrow – violin (1, 12)
 * Stuart Brooks – trumpet (7, 15)
 * Paul Crowder – percussion (2, 9, 13-15)
 * Ben Cruft – violin (1, 12)
 * James Eller – bass (2, 3, 6, 7)
 * Mel Gaynor – drums (1, 4, 5, 8, 9, 11, 13-15)
 * Wilfred Gibson – violin (1, 7, 12)
 * Roy Gillard – violin (1, 7, 12)
 * David Gilmour – electric guitar (5), acoustic guitar (12)
 * Pete Glenister – acoustic guitar (1-7, 9, 11), electric guitar (1-3, 7-9, 14, 15)
 * Malcolm Griffiths – trombone (6, 7, 15)
 * Jamie Lillywhite – vocals (1)
 * Louis Lillywhite – vocals (1)
 * Steve Lillywhite – double bass (6)
 * Robbie McIntosh – acoustic guitar (2, 6, 7), electric guitar (3)
 * Johnny Marr – electric guitar (3-5, 8, 9, 11-13), acoustic guitar (4, 9), harmonica (15)
 * Yves N'Djock – electric guitar (1, 14, 15), backing vocals (15)
 * Pino Palladino – bass (1, 5, 8, 11, 14, 15)
 * David Palmer – drums (2, 3, 6, 7), percussion (7)
 * Guy Pratt – bass (9, 13), double bass (4)
 * Colin Stuart – acoustic guitar (1, 5, 6, 7, 8, 14, 15); electric guitar (6, 11)
 * Jamie Talbot – tenor saxophone (6)
 * Philip Todd – clarinet (6)
 * Fiachra Trench – string and brass arrangements (1, 6, 7, 12, 15)
 * Steve Turner – electric guitar (7), effects (7)
 * Dave Woodcock – violin (1, 12)
 * Gavyn Wright – violin (1, 7)

 * Technical
 * Steve Lillywhite – producer
 * Steve Chase – engineer
 * Alan Douglas – engineer
 * Chris Dickie – engineer
 * Colin Stuart – engineer, mixing
 * Noel Harris – assistant engineer
 * Roy Spong – assistant engineer
 * Mark Wallis – mixing
 * Heidi Cannovo – assistant mixing engineer
 * Bill Smith Studio – design
 * Kirsty MacColl – design
 * Andrew MacPherson – photography
 * Bonus tracks
 * Kirsty MacColl – producer ("Happy", "El Paso", "Still Life", "Please Help Me, I'm Falling", "Clubland", "Don't Run Away from Me Now", "Am I Right?")
 * Colin Stuart – producer ("Happy", "El Paso", "Still Life", "Please Help Me, I'm Falling", "Clubland", "Don't Run Away from Me Now", "Am I Right?")
 * Johnny Marr – producer ("Happy", "El Paso")
 * Reissues
 * Steve Rooke – remastering (2005)
 * Chris Peyton – reissue design (2005)
 * Charles Dickens – inner inlay photography (2005)
 * Fine Splice Ltd. – remastering (2012)
 * Estuary English – reissue design (2012)

Recording information

 * 1-9, 11, 13-15 recorded at The Town House
 * 6, 10, 12 recorded at Ealing Studios.
 * 1, 6, 7, 12, 15 recorded at RAK Studios
 * David Gilmour recorded at Olympic Studios
 * 1, 5, 10, 11, 13, 14 mixed at Ealing Studios.
 * 2-4, 6-9, 12, 15 mixed at Olympic Studios.

title: Kite (Kirsty MacColl album)


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Dicksonia squarrosa

Dicksonia squarrosa, the New Zealand tree fern, whekī or rough tree fern, is a common tree fern endemic to New Zealand. It has a slender black trunk that is usually surrounded by many dead brown fronds.

Description
This species has a fast growth rate of up to 10 - 80 cm a year, growing to about 6 m tall. It produces few fronds, all of which sprout in almost horizontal fashion. The fronds reach 1.5 - 3 m in length, much smaller than Cyathea varieties, and are quite crisp to touch. They form a small "umbrella" on top of the trunk. They are sometimes found sprouting from apparently dead pieces of trunk. The trunks are often used for fencing or edging and fronds will sometimes sprout from the side if the top is dead. A feature of the whekī is the spreading underground rhizomes which can create dense groves, making it one of the most common tree ferns in New Zealand forests.

The Latin specific epithet squarrosa means "with curving ends" (referring to the fronds).

Human use
The whekī is quite hardy and tolerant to sun and some wind, but is best suited to a site with partial shade and minimal wind. It will tolerate some exposure to the elements – but can look quite scruffy in such a situation. Some protection should be considered over the winter months in climates with temperatures below 4–5 °C, e.g. shadecloth cover or straw packed in the crown. The fronds are small and compact, making this fern an ideal container or garden plant where space is limited. It has gained the Royal Horticultural Society's Award of Garden Merit.

The Māori used to form fences of their fortified Pā with the dead whekī trunks.

title: Dicksonia squarrosa


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Charles Village, Baltimore

Charles Village is a neighborhood located in the north-central area of Baltimore, Maryland, USA. It is a diverse, eclectic, international, largely middle-class area with many single-family homes that is in proximity to many of Baltimore's cultural amenities. Nearby are the Baltimore Museum of Art, the Homewood campus of The Johns Hopkins University, Olmstead's Wyman Park, the weekly Waverly Farmers Market, and the arts district, Station North. Homes are Baltimore brick and stone row houses, many dating from the 1890s. Running from downtown north is the historic boulevard, Charles Street, where Baltimore's Easter Promenade once took place.

The development of the neighborhood began in 1869 when 50 acre of land were purchased for development as "Peabody Heights." The land was divided and turned over to various builders who constructed home exteriors, leaving the interiors to be custom built according to buyer specifications. The area was first developed as a streetcar suburb in the early 20th century, and is thought to be the first community to employ tract housing tactics. At the time, the area was known as Peabody Heights; the moniker Charles Village, derived from Charles Street, the area's major north–south corridor, was coined in the 1970s as the beginning of a process of conceptually grouping a large and somewhat heterogeneous area. The neighborhood history has been researched and published by Gregory J. Alexander and Paul K. Williams in their book Charles Village: A Brief History (The History Press, 2009).

Charles Village in a strict sense consists of the area immediately to the east and south of the Johns Hopkins University Homewood campus. However, smaller neighborhoods to the east of this area — including Abell and Harwood, are considered by residents and other Baltimoreans to be part of Greater Charles Village. The Charles Village Community Benefits District (CVCBD) covers a hundred-block area generally bounded by 33rd Street to the north, Greenmount Avenue to the east, 25th Street (east of Guilford) and 20th Street (west of Guilford) to the south, and Johns Hopkins and Howard Street to the west. This area contains over 14,000 people and 700 businesses. The Charles Village Community Benefits District Management Authority (CVCBDMA) is a public entity that provides services within the CVCBD.

Residents
One of the Charles Village's defining features is its proximity to Johns Hopkins Homewood Campus. Many of the university's staff and students live in the neighborhood, particularly in the areas immediately adjacent to the campus. Perhaps as a result, Charles Village has for the past several decades attracted a large population of artists and bohemians. The area also has a reputation for being one of the more racially diverse neighborhoods in a city that was largely segregated for decades. The neighborhood in general becomes more affluent as you travel from south to north and from east to west.

Housing stock

Though there are a number of apartment buildings, much of Charles Village's housing stock consists of two- and three-story rowhouses built in the early 20th century. Many of the houses have been well maintained and, along with the rest of the city, the neighborhood has seen a boom in real estate prices in the first half of the 2000s. Some of the larger rowhouses have been converted into multi-unit apartment houses in more recent decades.

In 1998, Charles Village residents were challenged to take up a paint brush and choose vividly uncommon colors for the facades and front porches of their Victorian rowhouses. Within five years, residents had enlivened more than 100 homes, including several which the owners have repainted more than once. More was at stake, though, than just neighborly relations; the contest offered $3,000 for the best front porch, $2,000 for the best flush front facade and even $500 for the best front door. And as the painters increased, so did the number of competitions, to up to three times a year with new prizes. City blocks, best railings, and entire homes were up for judging. The contests ended in 2003, but Charles Village homeowners say they are looking for the funding to restart the contest. The contests' lasting result is that the neighborhood is now part of iconic Baltimore, with pictures of the "Painted Ladies," as the homes are known, appearing on travel guides and magazine covers.

Amenities and future development
The neighborhood includes several small commercial districts and is within walking distance to the well-attended Waverly farmer's market. However, unlike many of the trendier neighborhoods in the city, there are few large-scale retail areas. That is in the process of changing, however, as two blocks of St. Paul Street in the northern part of the neighborhood have been completely redeveloped. On October 21, 2006, the first phase of a new development project was completed: a Barnes & Noble bookstore opened as an anchor to the retail space of a new dorm building, called Charles Commons, for Hopkins students. The project, completed in 2007, converted a stretch of rowhouses and small apartment buildings to the 600+ capacity dorm as well as multi-story condominiums, all of which contain ground-floor retail. The Barnes & Noble now serves both as the Johns Hopkins student bookstore and as a standard retail outlet for residents of North Baltimore City.

The Benefits District
The Charles Village Community Benefits District Management Authority (CVCBDMA) is a special taxing district, one of four in Baltimore, the others being the Midtown Benefits District in Mount Vernon, the Downtown Partnership and the Waterfront Partnership. The CVCBD's geographical boundaries include four neighborhoods in the northern part of the city: Charles Village, Harwood, Abell and Old Goucher. Property owners within the CVCBDMA pay 12 cents per $100 of assessed value over and above city taxes to support the supplemental sanitation and safety services provided by the District.

The CVCBD was formed in 1994 through the efforts of the Charles Village Civic Association (CVCA), led by its then-president Ed Hargadon; the South Charles Village Business Association, led at the time by the managing partner of Whitman, Requardt & Associates, Tom Shafer; and the Greater Homewood Community Corporation (GHCC), whose executive director was former CVCA president Sandra Sparks. Shafer had been spurred into action by the 1992 murder of an employee in the company parking lot. He had pursued Benefits District legislation in the 1993 General Assembly without success, enjoying community support from GHCC but not from the CVCA. CVCA's decision to come on board in 1994 made it possible to pass the enabling legislation in the 1994 Maryland General Assembly, the City Council ordinance later that summer, and then a neighborhood referendum in October of that year. In the referendum, which was conducted using mail-in ballots by the Baltimore City Board of Elections, all registered voters and property owners were eligible to vote, and about 1,500 did so, and about two-thirds voted for the creation of the Benefits District.

Prior to 2006, the CVCBDMA provided a wide range of services to the community allowable under the enabling legislation. In addition to supplemental sanitation and safety services (including a security patrol), these included housing code enforcement, low-interest loans for residential and commercial revitalization, Painted Ladies contests, facade improvement matching grants, neighborhood festivals, and security cameras. Other than supplemental safety and sanitation, most services and activities were financed by grants awarded to the CVCBD but passed through an associated 501(c)3 nonprofit, the Charles Village Community Foundation.

Beginning in 2006, the CVCBDMA began to divest its housing and economic revitalization programs, transferring them to the Greater Homewood Community Corporation. In 2009, it also eliminated the "safety patrol" program because it was too costly and ineffective, replacing it with a community based safety program involving safety workshops for residents, victim's advocacy, and a neighborhood walkers on patrol program.

This restructuring led to a reduction in the CVCBDMA reliance on grants. The CVCBDMA now relies primarily on the surcharge tax and a regular grant from the Johns Hopkins University and has focused its mission and financial resources on providing supplemental sanitation and community-based safety services, carried out by its uniformed, in-house staff. It also supports and organizes community activities that promote the District.

Koreatown
There is a small portion of lower Charles Village that is sometimes referred to as Koreatown or Little Korea and is home to a number of Korean restaurants, but it has not been officially designated as a Koreatown. This informal Koreatown is bound on the north by 24th Street, on the south by North Avenue, on the west by Maryland Avenue, and on the east by St. Paul Street. Korean international students coming from the nearby Johns Hopkins University provide a constant stream of diners seeking Korean comfort food at the Korean restaurants of Charles Village. A Korean grocery store, the Far East House, formerly existed in Charles Village at 33 W. North Avenue.

Little Appalachia
Historically, a portion of Charles Village was colloquially known as "Little Appalachia" and was home to Southern and Appalachian migrants to Baltimore. The neighborhood was roughly bounded by Charles Street to the west, Calvert Street to the east, 20th Street to the south, and 25th Street to the north. Little Appalachia was home to renowned bluegrass musician Hazel Dickens. Appalachian migrants living in Hampden began to settle in Lower Charles Village after World War II. Many of these newcomers were left unemployed after the sailcloth industry went under.

Transportation

MTA Maryland's Route 11 and Route 3 buses are the two major mass transportation options in Charles Village, while Route 8 runs down Greenmount Avenue, just to the East of the neighborhood; all three lines eventually converge in the northern suburb of Towson. Route 61 and Route 64 buses, which are weekday-only buses intended primarily for commuters, also travel through the area. As of October 2015, the Charm City Circulator now serves Charles Village on St. Paul St. and Charles St. through 33rd St. Charles Village is not served by either of Baltimore's rapid transit systems. The silver line and Bus 95 also run Downton on St. Paul St. and uptown on North Charles St. The line reaches Morgan State University in the north and Curtis Bay in the south. Bus 51 runs Downtown on Maryland Ave.

The neighborhood also has the Johns Hopkins Shuttle which runs from the Homewood campus to the Johns Hopkins Hospital in East Baltimore. The shuttle primarily serves students and faculty at the university.

Charles and Saint Paul Streets, two one-way streets that together comprise one of central Baltimore's main north–south corridors, pass through the middle of Charles Village, and are both signed as Maryland Route 139; two other major corridors, Howard Street and Greenmount Avenue, bound the neighborhood on the west and east, respectively. The area is also only a short drive from the Jones Falls Expressway (I-83).

Demographics
As of the census of 2000, there were 7,925 people living in the neighborhood. The racial makeup of Charles Village was 58.9% White, 22.5% African American, 0.3% Native American, 13.6% Asian, 1.3% from other races, and 3.6% from two or more races. Hispanic or Latino of any race were 3.7% of the population. 12.9% of occupied housing units were owner-occupied. 16.3% of housing units were vacant.

62.8% of the population were employed, 2.5% were unemployed, and 34.7% were not in the labor force. The median household income was $20,324. About 20.2% of families and 31.7% of the population were below the poverty line.

title: Charles Village, Baltimore


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Judeo-Christian Council for Constitutional Restoration

The Judeo-Christian Council for Constitutional Restoration is a conservative, religious organization formed in early 2005 that ran the website StopActivistJudges.org. By February 28, 2013, the domain had expired and been acquired by a domain parking company.

The council is descended from the Dallas Group. It is currently chaired by Rick Scarborough. The council's executive director is Philip Jauregui, former counsel to Chief Justice Roy Moore. In April 2005, Scarborough was quoted as saying that his group was needed because of, "Activist judges...(whose) distortions of the Constitution have brought us abortion-on-demand, purged religious symbols from public places, made our schools faith-free zones, created a so-called right to homosexual sodomy and threatened 'one nation under God' in the pledge of allegiance. Now, judges seem intent on imposing same-sex marriage by fiat." According to the group's website, "Each progressive step down the road to the secularization of America has come not through a referendum of the people, or an act of their elected representatives, but rather at the stroke of a judge’s pen."

Confronting The Judicial War On Faith
The group's April 2005 conference, Confronting The Judicial War On Faith, attracted many prominent conservatives. According to the Washington Post, "The two-day program listed two House members; aides to two senators; representatives from the Family Research Council and Concerned Women for America; conservative activists Alan Keyes and Morton C. Blackwell; the lawyer for Terri Schiavo's parents; Alabama's "Ten Commandments" judge, Roy Moore; and [Rep. Tom] DeLay, who canceled to attend the pope's funeral." The event brought together lawmakers and Capitol Hill staffers with theocrats, adherents of Christian Reconstructionism, a Calvinist doctrine that calls for the biblical law to rule American law.

In a session titled "Remedies to Judicial Tyranny," constitutional lawyer Edwin Vieira discussed United States Supreme Court justice Anthony Kennedy's majority opinion in Lawrence v. Texas, which struck down that state's anti-sodomy law. Kennedy was accused of relying on "Marxist, Leninist, Satanic principles drawn from foreign law" in his jurisprudence.

According to the group's website, "April 7–8 proved to be a divine appointment. There was no way of knowing, humanly speaking, how significant that time would be in the life of our Republic"; Schiavo had died and "the federal judiciary, up to and including the United States Supreme Court, also turned a deaf ear to repeated pleas to save Terri." The group claims that the conference was responsible for creating "a movement... to restore the Constitution to its true meaning and original glory."

Books

 * Judicial Tyranny: The New Kings of America? by Mark Sutherland 2005. ISBN 0-9753455-6-7 Features conservative perspectives on the United States judicial system from Mark Sutherland, US Attorney General Ed Meese, Ambassador Alan Keyes, Dave Meyer, Phyllis Schlafly, the Honorable Howard Phillips, Alan Sears, William Federer, Ben DuPre, Rev. Rick Scarborough, David Gibbs, Mathew Staver, Don Feder, Roy Moore, James Dobson and Herb Titus.


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Hour of the Wolf

Hour of the Wolf (Vargtimmen) is a 1968 Swedish psychological horror film directed by Ingmar Bergman and starring Max von Sydow and Liv Ullmann. The story explores the disappearance of fictional painter Johan Borg (von Sydow), who lived on an island with his wife Alma (Ullmann) while plagued with frightening visions and insomnia.

Bergman originally conceived much of the story as part of an unproduced screenplay, The Cannibals, which he abandoned to make the 1966 film Persona. He took inspiration from Wolfgang Amadeus Mozart's 1791 opera The Magic Flute and E. T. A. Hoffmann's 1814 novella The Golden Pot, as well as some of his own nightmares. Principal photography took place at Hovs Hallar, Stockholm and Fårö.

Themes include insanity, particularly as experienced by an artist, sexuality, and relationships, conveyed in a surreal style and with elements of folklore. Analysts have found allusions to vampire and werewolf legend. Authors have also connected the work to Bergman's life and his relationship with Ullmann; Bergman said he was experiencing his own "hour of the wolf" when he conceived the story.

The film was initially met with negative reviews in Sweden. In later years Hour of the Wolf received generally positive reviews and was ranked one of the 50 greatest films ever made in a 2012 directors' poll by the British Film Institute. The film was followed by Bergman's thematically related films Shame (1968) and The Passion of Anna (1969). Ullmann won awards in 1968 for her performances in both Hour of the Wolf and Shame.

Plot
Painter Johan Borg and his pregnant young wife Alma live on the small island of Baltrum. He shares sketches with Alma of frightening visions he has had, and begins to give them names, including the Birdman, the Insects, the Meat-Eaters, the Schoolmaster, and the Lady With a Hat. As his insomnia grows worse, Alma stays awake by his side.

One day, an elderly lady stops by the house and tells Alma to read Johan's diary, which he hides under his bed. Alma discovers that Johan is haunted not only by the real or imaginary strangers, but also by images of his former lover, Veronica Vogler. She also reads that Johan was approached by Baron von Merkens, who lives in a nearby castle. The painter and his wife visit them and their household. After dinner, the baron's wife shows the couple into her bedroom, where she has a portrait of Veronica by Johan. After they leave the castle, Alma expresses to Johan her fears of losing him to the demons, as well as her will to persevere if such were to happen.

One night, Alma again stays awake with Johan. He tells her of the "vargtimmen" ("Hour of the Wolf"), during which, he says, most births and deaths occur. He also recounts his childhood trauma of being locked into a closet where, as his parents said, a small person lived. He then recalls a confrontation with a small boy while out fishing on the island, which culminated with him killing the boy. Alma is shocked by Johan's confessions.

Heerbrand, one of von Merkens's guests, shows up at the couple's house to invite them to another party at the castle, adding that Veronica Vogler is among the invitees. He places a pistol on the table, for protection against "small animals", and leaves. Johan and Alma begin quarreling over his obsession with Veronica. Johan finally picks up the pistol, shoots Alma and runs to the castle.

Johan attends the party. The baron's guests are revealed to be the demons that Johan described to Alma. As he rushes through the castle searching for Veronica, he meets Lindhorst, who applies cosmetics to his pale face and dresses him in a silk robe. He then leads Johan to her. Johan finds Veronica, who appears to be dead; as he looks over her naked body, she suddenly sits up and laughs. Johan is physically attacked by the demons and flees into underbrush. Alma, who was injured by one of the shots but is only left with a scar, searches the forest for her husband. She witnesses the attacks on him before he finally disappears, leaving her alone in the woods.

Alma later shares her story and her husband's diary. She wonders whether the fact that she and Johan lived together for so long and became so similar was why she could see his Man-Eaters, and whether she would have been better able to protect him if she had loved him less, or more.

Cast
The cast includes:

Themes and interpretations
Johan has been interpreted as "Bergman's alter ego". Professor Frank Gado interprets the film as the "story of an artist's disintegration" (also arguing it reflects "Bergman's own unraveling", and criticizing the film). Author Dan Williams similarly reads it as a "story of the self-destructive artist unable to maintain a relationship with reality". Psychiatrist Barbara Young writes that Hour of the Wolf, like Persona, was about "the disintegration of a personality" (also rejecting Gado's commentary on "Bergman's own unraveling" and instead praising his courage for addressing his issues). The artist's "humiliation" is also depicted. Gado connects Johan to Karin in Bergman's 1961 Through a Glass Darkly, remarking that Johan is at a crossroads where he "must choose between two worlds": real life and his nightmare visions. Gado considers whether Johan may fear he is homosexual, writing Johan's "perversity manifests itself in transvestism, masochism, and necrophilia, yet none of these necessarily indicates homosexuality".

Williams links the artistic visions with "oppression by a group of aristocrats", as the castle's people become vampire-like and "the unreality of Johan's world takes over". Scholar Egil Törnqvist compares what he saw as vampirism in Hour of the Wolf to that in Persona, adding that the portrayals are similar to themes in the work of playwright August Strindberg. Writer Laura Hubner asserts the legend of the werewolf also informed themes of "fission and conflict" and "confused sexuality". According to Hubner, the film's central notion of cannibalism, with a fear of being consumed, is linked to lycanthropy and the legend of Little Red Riding Hood, and these legends are also associated with sexual awakening.

Academic Gordon Thomas discusses a theme of a relationship in which one person's identity is absorbed into another's. Thomas wrote, "the von Merkens et al. are manifestations of Johan's own self-loathing, and Alma, because she loves him, must be present at her husband's phantasmagorical inquisition". Critic Robin Wood compares Hour of the Wolf to Persona in how Alma becomes able to see Johan's "inner horrors", while in Persona Alma is affected by Elisabet's views. While recognizing insanity as a major theme, writer José Teodoro argues another (shared with Bergman's later Shame and The Passion of Anna) is "the realization that it is impossible for any one person to truly know another", with Alma realizing she never understood her husband. Authors have related the story's couple to Bergman's real-life relationships: Thomas theorizes that during production Ullmann was at peace' with the world, while her genius boyfriend was not". Young notes Bergman had abandoned his wife Käbi Laretei and son Daniel for Ullmann, yet Hour of the Wolf is dedicated to Laretei, suggesting the story of the disintegrating artist was meant to explain to Laretei why he left them.

Gado identifies the Birdman character as "Bergman's ironic inversion" of The Magic Flute, with Johan stating the Birdman is likely related to the Magic Flute character Papageno. According to Gado, the Birdman represents "corruptive self-knowledge and a 'natural' evil seated in childhood sexuality". Thomas identifies the character Lindhorst as Johan's Birdman. Other writers have found parallels to E. T. A. Hoffmann's The Golden Pot. These include the character names Lindhorst, Heerbrand and Veronica. Gado argues the film's Veronica is more analogous to Hoffmann's character Serpentina than to the literary Veronica, but that the book recognizes Veronica and Serpentina as both being part of "a double image of Woman". Gado adds that, like the book's Veronica and Serpentina, in the film, "Veronica is Alma inverted".

In one scene, Johan describes murdering a boy. Professor Irving Singer wrote that it is ambiguous whether Johan's story is real or imagined. According to Young, Bergman had said the boy represents his own internal "demon" and the boy's struggle with Johan is meant to look "orgasmic". Gado connects the boy to Johan's recollection of his childhood, when he was locked in a closet as a punishment, and believed a little person lived in the closet. Thomas suggests the boy is "the imp of id, an inverse incubus, or a vision of regressive sexuality", and that the murder does not resolve Johan's issues, as after he throws the body into the waters the body floats back to the surface.

Style
The style of certain scenes has been described as surreal, near-expressionist, or gothic. Professor Fabio Pezzetti Tonion writes that the film's "stylistic ciphers" create "friction between objective and subjective elements". Teodoro describes the film as "eerily hushed", with sparing dialogue accentuating other sounds, and compares its atmosphere to the 1980 film The Shining.

In establishing its mythology, including the boy Johan struggles with and tales of a little person in the closet, Kat Ellinger of the British Film Institute argues Hour of the Wolf draws on folklore. Ellinger further compares the horrific visions to the work of Swiss painter Henry Fuseli. Author John Orr characterizes the film as a "modernist fable". The film's second half takes place only at night, with the exception being the overexposed flashback to Johan and the boy. Hubner argues the overexposure and quick editing of more than 30 shots contribute to the "dreamlike and nightmarish" feel of the scene.

Tonion describes the antagonists as "vampire-like", contributing to the "Strindbergian 'ghost sonata. Various authors have compared Lindhorst, as played by Georg Rydeberg, and the other antagonists to Dracula actor Bela Lugosi; Bergman was an admirer of the 1931 Dracula. Hubner also suggests allusions to Middle Age folklore and werewolves, opining that Johan's lipstick (after made over by Lindhorst) resembles blood and Johan's leer is that of a wolf's.

Analyzing the opening, Tonion observes the sounds of the crew moving cameras and props and what he presumes to be Bergman preparing Ullmann for her role; this is followed by Ullmann as Alma speaking into the camera, a mise-en-scène repeated at the end. In much the same way as Persona's prologue, this opening breaks the fourth wall. Bergman also uses mise-en-scène to add ambiguity to Alma's meeting with the lady with the hat, with a view of Alma and then a pan to the lady; Tonion argues the cinematography creates doubt when the lady leaves as to whether Alma has been alone the whole time.

Development
Inspirations for the story included Bergman's recurring nightmares, featuring a woman who took off her own face and an entity that walked on ceilings. Johan's description of being locked in a closet as a boy was based on Bergman's childhood. An external influence was Wolfgang Amadeus Mozart's The Magic Flute, with the opera's character Papageno transformed into an evil Birdman. Bergman's interpretation of The Magic Flute is echoed through his character Lindhorst. Bergman credited German author E. T. A. Hoffmann as an additional major influence.

Elements of the story also originated from Bergman's manuscript The Cannibals or The Maneaters, which he finished in 1964 and planned to shoot on Hallands Väderö. Bergman abandoned The Cannibals due to pneumonia, after which he wrote and directed Persona instead. Following Persona, he decided to make a reworked version of The Cannibals, under the new title Hour of the Wolf. The term was defined by Bergman in an explanatory note in his screenplay: "The hour between night and dawn ... when most people die, sleep is deepest, nightmares are most real. It is the hour when the sleepless are haunted by their worst anguish, when ghosts and demons are most powerful. The hour of the wolf is also the hour when most babies are born." According to Professor Birgitta Steene, the title is drawn from Swedish folklore, where the "hour of the wolf" refers to the period from 3 a.m. to 5 a.m., supposedly when the most deaths and births occur. Folklorist Bengt af Klintberg recalled that in 1964, Bergman tasked theatre manager Niklas Brunius to research legend about the hour, and Brunius asked Klintberg about it; Klintberg found the term had no roots in Swedish folklore, though there was a "ghost hour" between midnight and 1 a.m. Bergman claimed he first came across the term "hour of the wolf" in a Latin source, though he did not identify the source and may have coined the term himself. He later said that at the time of the story's conception, he was experiencing his own "hour of the wolf", and was "freed" from it upon the production's completion.

During the latter stages of post-production of Persona in 1966, Bergman held a meeting to begin planning Hour of the Wolf. He later said the film builds on Persona: "Hour of the Wolf is seen by some as a regression after Persona. It isn't that simple. Persona was a breakthrough, a success that gave me the courage to keep on searching along unknown paths. ... When I see it today, I understand that it is about a deep-seated division within me both hidden and carefully monitored, visible in both my earlier and later work. ... Hour of the Wolf is important since it is an attempt to encircle a hard-to-locate set of problems and get inside them."

Casting
Bergman had planned to cast Bibi Andersson and Liv Ullmann in The Cannibals, having met Ullmann through his regular collaborator Andersson on a Stockholm street. Ullmann placed the meeting in 1964, and said that Bergman recognized her and asked her on the spot if she would like to work with him. Ullmann later became Bergman's lover and became pregnant with their daughter Linn. After a separation Bergman told her he had written a pregnant character, Alma, for her. He mailed her the screenplay for Hour of the Wolf and she returned to Fårö from Norway for the part.

Erland Josephson was busy as a managing director of the Royal Dramatic Theatre, but desired a role in Hour of the Wolf, having seen earlier versions of the Cannibals screenplay and deciding a frightening film would be fun. Naima Wifstrand's part as the lady with the hat was her last film role.

Filming
Principal photography took place at Hovs Hallar and Råsunda Studios in Stockholm, and on the island of Fårö. Hovs Hallar's coast was particularly used for exterior shots. Shooting lasted from 23 May to 23 November 1966.

Ullmann said she had little understanding of the subject matter during production, but recognized Bergman's traits in von Sydow's character. During shooting, including of her monologue scene, she became frightened imagining Bergman could degenerate like the character. She said there were no rehearsals or discussion of the film's meaning. According to von Sydow, Bergman wanted to film the dinner table scene in one take, for the "continuity" actors experience in stage plays. Ultimately, cinematographer Sven Nykvist took a seat in front of the actors at the table and panned quickly, with von Sydow explaining, "it's very difficult to stop each pan at a moment when you have an ideal composition on each person".

The ceiling-walking scene was achieved through trick photography. During production Ullmann left for Norway to give birth, and returned to shoot her last scenes wearing a pillow under her clothes.

Post-production
Prologue and epilogue scenes along the line of Persona's, acknowledging the story as a work of cinema, were mostly cut during post-production because Bergman felt they became too personal. The only exception was the sound of the film crew talking.

Lars Johan Werle's score is employed only in the latter half of the film, with the music accompanying the scene in which Johan murders a boy employing flutes, clarinets and tubas and then oboes and horns, followed by flutes, trombones and violins. Aside from the music, the boy's screams are the only sound in the scene. Werle's score underwent alterations during recording and in post-production, and some of it was improvised. The soundtrack also includes Partita No. 3 in A minor by Johann Sebastian Bach and The Magic Flute, as recorded by Hungarian conductor Ferenc Fricsay.

Release
Hour of the Wolf was released in Stockholm on 19 February 1968 by Svensk Filmindustri. A U.S. release followed in New York City on 9 April, distributed by Lopert Pictures. It grossed approximately $250,000 in the U.S. At the New York Bergman Festival in May–June 1995, a version was screened with a prologue that had been deleted from previous releases, claiming the film is based on a diary. To mark the centennial of Bergman's birth, Sveriges Television aired the film in 2018 among numerous other works in his filmography.

Home media
MGM released Hour of the Wolf on DVD both in the U.S. and the UK in single-disc editions and as part of a box set including Shame, The Passion of Anna, The Serpent's Egg and Persona. The U.S. release contains bonus material missing on the UK edition, while the UK box set omits Persona. On 20 November 2018, The Criterion Collection released a Blu-ray version in Region A, along with 38 other Bergman films, in the set Ingmar Bergman's Cinema.

Reception
The film met with negative reviews in Sweden, with C.H. Svenstedt of Svenska Dagbladet criticizing Bergman for preaching his message and Dagens Nyheter's Mauritz Edström writing viewers could not identify with the film. For Vecko-Journalen, Stig Ahlgren wrote a piece examining the story's connections to The Magic Flute.

In 1968, Renata Adler from The New York Times opined that it is "not one of Bergman's great films", but positively reviewed the acting of von Sydow, Ullmann and Thulin. Roger Ebert rated Hour of the Wolf three out of four, calling it "a difficult film, and not altogether a successful one", and crediting Bergman with achieving "deeply emotional results with very stark, almost objective, scenes". In New York, Judith Crist called it "a minor effort" from Bergman, not adding much to his past filmography, while crediting it for "stark intellectualizing and lush fantasizing". Time hailed von Sydow as "gothically brilliant" and stated the film cemented Ullmann's position as one of the foremost Scandinavian actresses, also crediting Sven Nykvist for "phosphorescent" cinematography. Critic Richard Schickel judged the visuals "more exciting" than those in Persona, but said Hour of the Wolf appeared to be a "regression".

At the 1968 National Board of Review Awards, Ullmann was named Best Actress for both Hour of the Wolf and Shame. At the 1968 National Society of Film Critics Awards, Ullmann was named Best Actress for both films and Bergman won Best Director for both films.

On review aggregator Rotten Tomatoes, the film holds an approval rating of 92%, based on 24 reviews with an average rating of 7.73/10. In 1992, critic James Monaco rated Hour of the Wolf three out of five, dubbing it a "fine acting exercise". The New Yorker recalled it in 1999 as "probably the darkest of Ingmar Bergman’s journeys into his shadowy interior", mentioning the "ferocity" of the scene where Johan murders a boy. In 2000 Kim Newman of Empire Online praised Hour of the Wolf as "one of the most sinisterly beautiful black-and-white horror films you will ever see". Time Out London called it "a brilliant gothic fantasy".

In the British Film Institute's 2012 Sight & Sound polls, Hour of the Wolf received three critics' votes and 11 directors' votes, placing it at 44th in the latter poll. In his 2014 Movie Guide, Leonard Maltin rated the film three out of four, calling it "lesser Bergman" but with "first-rate" performances. Hour of the Wolf is listed in the film reference book 1001 Movies You Must See Before You Die, which cited references to the work of E. T. A. Hoffmann. IndieWire also named it in 2015 as one of the 15 greatest Bergman films, calling it "not wholly successful" but citing the wall-walking scene (comparing it to the work of David Lynch) and the scene in which Johan murders the boy. Glenn Kenny cited Hour of the Wolf and Bergman's 1963 The Silence as "mesmerizing nightmares" in The New York Times in 2018. Don Druker wrote a negative review for Chicago Reader, assessing it as "outlandish" and "a magnificent failure". In 2021, The film was ranked at No. 43 by Time Out on their list of "The 100 best horror movies".

Legacy
Andrei Tarkovsky considered it a masterpiece and named it one of the 77 greatest works of cinema.

Bergman later made the films Shame (1968) and The Passion of Anna (1969). Author Jerry Vermilye wrote that in exploring "the thread of violence intruding on ordinary lives," Hour of the Wolf, Shame and The Passion of Anna represent a trilogy. Author Amir Cohen-Shalev concurs; the three films are sometimes called the "Fårö trilogy".

WBAI's longest-running radio program takes its name from the film. The "Hour of the Wolf" radio show has run continuously since 1972 and concentrates on the literature of science fiction and fantasy. A stage adaptation of the film also played at the Royal Dramatic Theatre in 2011, directed by Malin Stenberg.

title: Hour of the Wolf


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Wikipedia:Articles for deletion/Sasha Alexander Dolgy

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. Mindspillage (spill yours?) 21:47, 24 Apr 2005 (UTC)

Sasha Alexander Dolgy
Vanity, IP goes to England (IP Address: 81.171.130.212 Location: Basildon), also because acting credit: see IMDB only an extra (age 7). Speedy delete removed by user, and only edits by this IP to this article only. And since when an IT specialist is notable. I rest my case. Feydey 19:44, 11 Apr 2005 (UTC)
 * Sounds like vandalism to me, especially since this bit of fluff has been expanded. Sorry, Sasha, but you don't warrant an encyclopedia article.  Delete. - Lucky 6.9 22:53, 11 Apr 2005 (UTC)
 * Delete as non-notable. Not to be confused with American TV actress Sasha Alexander. 23skidoo 22:11, 12 Apr 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


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Stability criterion

In control theory, and especially stability theory, a stability criterion establishes when a system is stable. A number of stability criteria are in common use:

 * Circle criterion
 * Jury stability criterion
 * Liénard–Chipart criterion
 * Nyquist stability criterion
 * Routh–Hurwitz stability criterion
 * Vakhitov–Kolokolov stability criterion
 * Barkhausen stability criterion

Stability may also be determined by means of root locus analysis.

Although the concept of stability is general, there are several narrower definitions through which it may be assessed:

 * BIBO stability
 * Linear stability
 * Lyapunov stability
 * Orbital stability

title: Stability criterion


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Sea devil

Sea devil or Sea Devil may refer to:

Biology

 * The manta ray, Manta birostris
 * Its relatives in the family Myliobatidae
 * Deep-sea fishes in the family Ceratiidae
 * The deep-sea fish black seadevil
 * Members of the genus Lophius

Marine vessels

 * USS Sea Devil, the name of more than one United States Navy ship
 * HMS Sea Devil (P244), a British submarine launched in 1945
 * USCGC Sea Devil (WPB-87368), a Marine Protector-class U.S. Coast Guard Cutter launched in 2007
 * Seeteufel, a German amphibious submarine
 * Seeteufel (1856), a Russian prototype submarine

Fiction

 * Sea Devil (Doctor Who), a fictional monster in the Doctor Who television series
 * The Sea Devils, a story in the above series
 * The Sea Devils (Dungeons & Dragons), a sourcebook detailing the fictional aquatic race of the sahuagin for the game
 * Sea Devils (comics), a team of characters in the DC comics universe; as well as the title of the comic starring them
 * Sea Devils (1931 film), a 1931 film directed by Joseph Levering
 * Sea Devils (1937 film), a 1937 American film directed by Benjamin Stoloff
 * Sea Devils (1953 film), a 1953 film starring Rock Hudson
 * A group of "sea devils" appear in L. Frank Baum's novel The Sea Fairies

Other

 * The athletic teams of Cape Fear Community College in Wilmington, North Carolina
 * Devil's Sea, an area of water south of Japan
 * Sea Devils, an autobiographical memoir by Junio Valerio Borghese detailing his naval exploits

title: Sea devil


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Émile Léonard Mathieu

Émile Léonard Mathieu (15 May 1835, in Metz – 19 October 1890, in Nancy) was a French mathematician. He is known for his work in group theory and mathematical physics. He has given his name to the Mathieu functions, Mathieu groups and Mathieu transformation. He authored a treatise of mathematical physics in 6 volumes. Volume 1 is an exposition of the techniques to solve the differential equations of mathematical physics, and contains an account of the applications of Mathieu functions to electrostatics. Volume 2 deals with capillarity. Volumes 3 and 4 deal with electrostatics and magnetostatics. Volume 5 deals with electrodynamics, and volume 6 with elasticity. The asteroid 27947 Emilemathieu was named in his honour.

Early life
Émile Mathieu was born into a family of minor civil servants. His father, Nicolas Mathieu, was a cashier at the Tax Office of the city. His mother, Amélie Antoinette Aubertin, was from Metz while her brother, Pierre Aubertin, the uncle of our mathematician, had attended the École Polytechnique, was a colonel of artillery and the director of a foundry which made cannons. Émile Mathieu was brought up in Metz, and he attended school at the Lycée de Metz in that town. He excelled at school, first in classical studies showing remarkable abilities in Latin and Greek compositions. However, once he had met mathematics when he was in his teenage years, it became the only subject which he wanted to pursue. We mentioned above that his uncle Pierre Aubertin had studied at the École Polytechnique and he advised Émile on preparing himself for the entrance examinations which he took successfully in 1854.

Books by Émile Mathieu

 * Traité de physique mathématique (6 vols.) (Gauthier-Villars, 1873-1890)
 * Dynamique Analytique (Gauthier-Villars, 1878)

title: Émile Léonard Mathieu


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Out of This Furnace

Out of This Furnace is a historical novel and the best-known work of the American writer Thomas Bell. It was first published in 1941 by Little, Brown and Company.

Description
The novel is set in Braddock, Pennsylvania, a steel town just east of Pittsburgh, along the Monongahela River. Based upon Bell's own family of Rusyn and Slovak immigrants, the story follows three generations of a family, starting with their migration in 1881 from Austria-Hungary to the United States, and finishing with World War II. The novel focuses on the steelworkers' attempt to unionize from 1889, the first Homestead strike (mentioned by Andrej on p. 38) through the big Homestead Steel Strike of 1892, the Great Steel Strike of 1919 right after World War I, and the events of the 1930s. Struggle, poverty, discrimination, and other forces beyond the characters' control tell the story of a troubled group of people. The novel's title refers to the central role of the steel mill in the family's life and in the history of the Pittsburgh region.

Reissue
Long out of print, the novel was rediscovered in the 1970s by David P. Demarest, a professor of English at Carnegie Mellon University, who convinced director Frederick A. Hetzel at the University of Pittsburgh Press to reissue it in 1976. The book quickly became a regional bestseller. By the 1980s, however, it found an even larger readership on American college campuses. Out of This Furnace is regularly used as required reading in universities to introduce students to the history of immigration, industrialization, and the rise of trade unionism, as well as to the genre of the American working class novel.

Adaptations
The novel was adapted into a play by Andy Wolk, and Pittsburgh theatre company Iron Clad Agreement mounted a well-received production of it in 1977. Unseam'd Shakespeare Company mounted successful productions of the play in 2008 (as part of Pittsburgh's 250th anniversary) and 2011.

title: Out of This Furnace


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UCL Pi Media

UCL Pi Media is the oldest continuously running student journalism society at University College London Union. Initially launched as a newspaper in 1946 and named after former Provost David Pye, it now publishes on three platforms: Pi Online, Pi Magazine and PiTV.

Pi Media's contribution to student journalism has been recognised both within UCL and by other media outlets. Pi Magazine was shortlisted for 'Magazine of the Year' at The Guardian Student Media Awards in 2009 and was named Best Publication at the Students' Union UCL Arts Awards in 2012, 2013, 2016 and 2020.

History
Pi Media was originally launched as a newspaper in 1946, named Pi in honour of the University's Provost, Sir David Pye. In the aftermath of World War II, there was strong popular support amongst UCL students and Union officials for a community project that would bind together the rapidly expanding campus. The newspaper was conceived as a fortnightly news-sheet, written and published internally by UCL students.

The founding editor was Richard Lubbock, a first-year medic, who modelled the four-page broadsheet after the style of an American high school newspaper. The purpose was to provide news and entertainment for students, and journalistic experience for the editorial team.

The paper was popular, charging a small fee for each issue. Though the initial focus was on student politics, as the paper recruited a more diverse base of writers and journalists, new areas began to receive attention. The newspaper's popularity among students was driven by its coverage of sports, academic discourse and regular interviews with London's public figures. Pi drew favourable comparisons with other heavyweight student newspapers, such as the London School of Economics Beaver.

Pi Squared was launched alongside the magazine in October 2006 as a sister publication in newspaper form. In December 2012, following concerns that internal competition between the magazine and the newspaper was mutually harmful, the decision was made by the editorial board to discontinue Pi Squared.

In May 2007, the society constitutionally renamed as Pi Media to take into account its expansion into other media formats.

Former contributors
• Jonathan Dimbleby, British journalist and TV personality

• Raj Persaud, TV psychiatrist

• Ali Parsa, Founder and CEO of Babylon Health

• Neil Bennett, CEO of Maitland/AMO

• Greg Wood, The Guardian racing correspondent

Today
Pi Media's content is spread across three different platforms: Pi Online, Pi Magazine and PiTV.

Pi Online is the society's fastest-growing platform which regularly publishes submissions from student writers across six sections: News, Opinion, Features, Science, Lifestyle and Culture. Topics include campus news, student politics, investigations, environmental features, student life advice and coverage of London's cultural activities. Three editors are appointed per section to support the Editors-In-Chief.

Pi Magazine is published biannually and each issue is curated around a specific theme. In recent years, the themes have included "Balance", "Empowerment" and UCL itself. The magazine contains the same sections as Pi Online, with two articles per section. The magazine is distributed for free around the UCL campus, including UCL Union bars, departmental common rooms and libraries. Although Pi Magazine is primarily available in print form, online copies of the latest issues are available through the society's website. Pi Magazine commissions art and photography from creatives within the UCL student body.

PiTV is the broadcasting arm of Pi Media. It produces a range of video projects, from short documentaries, travel diaries and the Backstage Pass series, to student news coverage, political interviews and UCL Students’ Union investigations.

In recent years, Pi Media has conducted interviews with well-known figures such as Desmond Tutu, Elijah Wood, Nigel Farage, Dominic Raab MP, Rory Stewart, and David Runciman.

Committee structure
Unlike many other student publications, Pi Media does not have a paid full-time sabbatical editor. Students are elected to the Committee at the Annual General Meeting (AGM) in March. Any positions that become vacant throughout the year are filled at an Extraordinary General Meeting (EGM).

• President

• Vice President/Treasurer

• Pi Online Editors-In-Chief

• Pi Magazine Editors-In-Chief

• PiTV Editors-In-Chief

• Marketing Officer

• Social Media Officer

• Design Officer

• Photographer Officer

• Events Officers

• Welfare Officer

• Diversity & Inclusion Officer

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