title: FASTA format

text: A multiple sequence FASTA format would be obtained by concatenating several single sequence FASTA files in a common file (also known as multi-FASTA format). This does not imply a contradiction with the format as only the first line in a FASTA file may start with a ";" or ">", hence forcing all subsequent sequences to start with a ">" in order to be taken as different ones (and further forcing the exclusive reservation of ">" for the sequence definition line). Thus, the examples above may as well be taken as a multisequence (i.e multi-FASTA) file if taken together.


title: FASTA format

text: Nowadays, modern bioinformatic programs that rely on the FASTA format expect the sequence headers to be preceded by ">", and the actual sequence, while generally represented as "interleaved", i.e. on multiple lines as in the above example, may also be "sequential" when the full stretch is found on a single line. Users may often need to perform conversion between "Sequential" and "Interleaved" FASTA format to run different bioinformatic programs.


title: FASTA format

text: The description line (defline) or header/identifier line, which begins with '>', gives a name and/or a unique identifier for the sequence, and may also contain additional information. In a deprecated practice, the header line sometimes contained more than one header, separated by a ^A (Control-A) character. In the original Pearson FASTA format, one or more comments, distinguished by a semi-colon at the beginning of the line, may occur after the header. Some databases and bioinformatics applications do not recognize these comments and follow the NCBI FASTA specification. An example of a multiple sequence FASTA file follows:


title: FASTA format

text: The NCBI defined a standard for the unique identifier used for the sequence (SeqID) in the header line. This allows a sequence that was obtained from a database to be labelled with a reference to its database record. The database identifier format is understood by the NCBI tools like codice_1 and codice_2. The following list describes the NCBI FASTA defined format for sequence identifiers.


title: FASTA format

text: The vertical bars ("|") in the above list are not separators in the sense of the Backus–Naur form, but are part of the format. Multiple identifiers can be concatenated, also separated by vertical bars.


title: FASTA format

text: Following the header line, the actual sequence is represented. Sequences may be protein sequences or nucleic acid sequences, and they can contain gaps or alignment characters (see sequence alignment). Sequences are expected to be represented in the standard IUB/IUPAC amino acid and nucleic acid codes, with these exceptions: lower-case letters are accepted and are mapped into upper-case; a single hyphen or dash can be used to represent a gap character; and in amino acid sequences, U and * are acceptable letters (see below). Numerical digits are not allowed but are used in some databases to indicate the position in the sequence. The nucleic acid codes supported are:


title: FASTA format

text: There is no standard filename extension for a text file containing FASTA formatted sequences. The table below shows each extension and its respective meaning.


title: FASTA format

text: The compression of FASTA files requires a specific compressor to handle both channels of information: identifiers and sequence. For improved compression results, these are mainly divided in two streams where the compression is made assuming independence. For example, the algorithm MFCompress performs lossless compression of these files using context modelling and arithmetic encoding. For benchmarks of FASTA files compression algorithms, see Hosseini et al., 2016, and Kryukov et al., 2020.


title: FASTA format

text: The encryption of FASTA files has been mostly addressed with a specific encryption tool: Cryfa. Cryfa uses AES encryption and enables to compact data besides encryption. It can also address FASTQ files.


title: FASTA format

text: FASTQ format is a form of FASTA format extended to indicate information related to sequencing. It is created by the Sanger Centre in Cambridge.


title: FASTA format

text: A2M/A3M are a family of FASTA-derived formats used for sequence alignments. In A2M/A3M sequences, lowercase characters are taken to mean insertions, which are then indicated in the other sequences as the dot ("") character. The dots can be discarded for compactness without loss of information. As with typical FASTA used in alignments, the gap ("") is taken to mean exactly one position. A3M is similar to A2M, with the added rule that gaps aligned to insertions can too be discarded.


title: FASTA format

text: A plethora of user-friendly scripts are available from the community to perform FASTA file manipulations. Online toolboxes are also available such as FaBox or the FASTX-Toolkit within Galaxy servers. For instance, these can be used to segregate sequence headers/identifiers, rename them, shorten them, or extract sequences of interest from large FASTA files based on a list of wanted identifiers (among other available functions). A tree-based approach to sorting multi-FASTA files (TREE2FASTA) also exists based on the coloring and/or annotation of sequence of interest in the FigTree viewer. Additionally, Bioconductor.org's "Biostrings" package can be used to read and manipulate FASTA files in R.


title: FASTA format

text: Several online format converters exist to rapidly reformat multi-FASTA files to different formats (e.g. NEXUS, PHYLIP) for their use with different phylogenetic programs (e.g. such as the converter available on phylogeny.fr.


title: H Mart

text: H Mart ( or ) is an American supermarket chain of Asian supermarkets operated by the Hanahreum Group, headquartered in Lyndhurst, Bergen County (버건군), New Jersey. The chain has 84 stores throughout the United States, operated variously as H Mart, H Mart Northwest, and H Mart Colorado; two stores in the Pacific Northwest operate as G Mart. It also has stores in Canada and eight in the United Kingdom, including seven locations of Oseyo. H Mart is the largest U.S.-based grocery store chain that specializes in Asian-style products and caters to Asian-American shoppers.


title: H Mart

text: The "H" in "H Mart" stands for "Han Ah Reum" (한아름), a Korean phrase meaning "one arm full of groceries". This phrase translates more literally to "spreading both arms to cover" or "armful".


title: H Mart

text: The H Mart chain began in 1982 in Woodside, Queens (퀸스), in New York City (뉴욕), as a small corner grocery store. This original store still exists, but does not operate in the same manner as other H Marts do and maintains the original Han Ah Reum name.


title: H Mart

text: In 1997, the company opened its first store in Falls Church, Virginia, in the Washington-Baltimore metropolitan area. On October 19, 1998, the chain opened its current headquarters in Lyndhurst in Bergen County (버건군), New Jersey, the U.S. county with the highest Korean population percentage, at 6.9%.


title: H Mart

text: In 2004, the first Super H Mart opened in Duluth, Georgia. By 2005, the chain had 17 stores; the following March, 22—all on the East Coast except for two stores in Denver, Colorado. Its first West Coast location, in Federal Way, Washington, opened in April 2006.


title: H Mart

text: After its 2001 opening, an H Mart store in northern Virginia gained many Hispanic American employees. After cultural conflicts between Hispanic and Korean American employees in one store, the H Mart headquarters provided an intercultural training program, with translations in Spanish.


title: H Mart

text: In spring 2017, H Mart opened a 43,000 square-foot store in San Jose, California. In summer 2018, H Mart signed a lease for a 42,000-square-foot store in San Francisco.


title: H Mart

text: As of 2021, there were 84 H Mart stores in the United States, located in New York, New Jersey, Arizona, California, Colorado, Georgia, Hawaii, Illinois, Maryland, Massachusetts, Michigan, North Carolina, Oregon, Pennsylvania, Texas, Virginia, and Washington.


title: H Mart

text: H Mart began moving into western Canada in December 2003, with its first store in Coquitlam, British Columbia, a West Coast location that opened ahead of stores in Seattle, Los Angeles, and San Francisco. In subsequent years, the company opened stores in Downtown Vancouver and Langley in 2006; Richmond in 2012; and Port Coquitlam in 2016.


title: H Mart

text: In 2013, the company opened its first urban convenience format on Yonge Street and Churchill Avenue in the Toronto-suburb of Willowdale called "M2M–morning to midnight". The two-story, store is the first one in Canada. There are currently two other M2M stores in the U.S., both in Manhattan (맨해튼). A larger H Mart opened on Yonge Street in Richmond Hill, with another opening in Downtown Toronto across from Ryerson University in 2017. In July 2019, an H Mart opened in Edmonton, Alberta, followed by another in Calgary, also in Alberta, in 2020.


title: H Mart

text: H Mart Europe Limited was incorporated in 2009, and in 2011, H Mart opened its first store in Europe, in the New Malden area of London. Smaller stores operate as "Oseyo".


title: H Mart

text: In 2006, a civil suit was filed against H Mart for discrimination against whites when three tenants of the West Willow Shopping Mall in Willowbrook, Canada, which the company had moved into and then bought, filed a complaint with the British Columbia Human Rights Tribunal alleging that the company wanted to turn it into an Asian-only market. All three tenants made the claim when their leases were not renewed despite being long-term lease holders within the mall. In late 2007, tribunal member Lindsay Lyster dismissed their complaint on the grounds it had no reasonable prospect of success and did not merit a hearing. She wrote:


title: H Mart

text: In the end, I have concluded that the complainants' case is based on little more than conjecture based on what they read in the media and H-Mart's reputation as a "Korean market," as seen through the lens of their own unhappiness in being unable to maintain their businesses in the mall.


title: H Mart

text: In 2012, picketers gathered outside one of the Flushing (플러싱) stores to protest H Mart's hiring practices. Protest organizer Jim MacDonald said the store, and other H Marts nearby, disproportionately hired Asian people and specifically Korean-Americans. H Mart responded in a statement that the company "does not screen employees by race, but by their capabilities"; for example, the Flushing store hires many Korean speakers to better serve its many customers who do not speak English.


title: H Mart

text: In 2013, Korean news agencies and government agencies alleged that H Mart laundered money for former South Korean president Chun Doo Hwan, who was convicted of embezzling hundreds of millions of dollars during his autocratic rule, and his family. In September 2013, Korean news channel TV Chosun reported that "South Korean prosecutors have traced Chun Doo-Hwan's secret funding to H Mart, as they found suspicious money laundering in an account” (translation by Boston Korea, a Boston-based Korean-language news site). Prosecutors also noted bank transfers from Chun's daughter-in-law marked "H Mart investment". H Mart President Kwon Il-Yeon denied the allegations.


title: Star-Crossed (album)

text: Star-Crossed (stylized in all lowercase) is the fifth studio album by American singer Kacey Musgraves. It was released on September 10, 2021, by MCA Nashville and Interscope Records. Musgraves co-wrote and co-produced the album with American musicians Ian Fitchuk and Daniel Tashian, with whom she collaborated on her fourth studio album, "Golden Hour" (2018), as well.


title: Star-Crossed (album)

text: The album's subject matter was inspired by Musgraves' personal journey of heartache and healing following her divorce from American singer-songwriter Ruston Kelly. She described "Star-Crossed" as chronicling a "modern tragedy", taking influences from "Romeo and Juliet", the famous play by English playwright William Shakespeare, and cited Bill Withers, Daft Punk, Sade, Eagles, and Weezer as her musical references for the album. "Star-Crossed" is primarily a pop record, infusing elements of folk, dance, rock, and psychedelic music, while retaining the country poise of its predecessor. It consists of mellow ballads, propelled by steady tempos, analog synthesizers, looped drums, and layered harmonies.


title: Star-Crossed (album)

text: The album was preceded by the promotional single "Star-Crossed" on August 23, 2021, followed by "Justified" as the lead single a few days later. "Camera Roll" was released to adult alternative radio as the album's second single on January 24, 2022. A companion film titled after the album and featuring its music, directed by Bardia Zeinali, was exclusively released to Paramount+ alongside the album's release.


title: Star-Crossed (album)

text: "Star-Crossed" received generally favorable reviews from music critics, who regarded it the "divorce album" of Musgraves' discography, in contrast to the celebration of marriage in "Golden Hour". Most of the reviews of complimented its genre-blending production and Musgraves' intimate storytelling, while the rest felt it is an inferior work to "Golden Hour". "Star-Crossed" placed on many year-end best albums lists of 2021. Commercially, the album arrived inside the top 10 in Australia, Canada, Scotland, the United Kingdom, and the United States; and topped the country genre charts in Australia, the U.K. and the U.S. One of the album's tracks, "Camera Roll", was nominated for Best Country Solo Performance and Best Country Song at the 64th Annual Grammy Awards.


title: Star-Crossed (album)

text: In March 2018, American singer-songwriter Kacey Musgraves released her fourth studio album, "Golden Hour", which received widespread critical acclaim and won in all four of its nominated categories at the 61st Grammy Awards, including Album of the Year and Best Country Album. It debuted at number four on the US "Billboard" 200 chart and at number one on the Top Country Albums chart. To support the album, Musgraves embarked on two concert tours: the Oh, What a World: Tour and the Oh, What a World: Tour II.


title: Star-Crossed (album)

text: In March 2021, Musgraves was featured on the cover of "Rolling Stone" magazine. In the cover story, she delves into self-care and the personal work she has done during the COVID-19 pandemic. Musgraves also revealed that as of January 2021, she had written 39 songs for the project, and she's once again working with "Golden Hour" co-producers Ian Fitchuk and Daniel Tashian.


title: Star-Crossed (album)

text: In April 2021, it was reported that the album will be released via Interscope Records and UMG Nashville. In May, during a cover story for "Elle" magazine, Musgraves revealed that the album sees her tackling her divorce from country singer Ruston Kelly after two and a half years of marriage. The two were married in October 2017, and filed for divorce in July 2020. Musgraves also revealed that the record contains 15 of the now 40 songs she wrote during the pandemic.


title: Star-Crossed (album)

text: In August 2021, during a cover story for "Crack Magazine", it was revealed that the project will be released before the end of the year, features jazz flute and a kato, and will have "more of a foot in country than "Golden Hour"". During an appearance on Dr. Maya Shankar's podcast "A Slight Change of Plans", Musgraves sang snippets of two of the songs from the album, "Camera Roll" and "Angel". On August 21, to celebrate her birthday, Kacey shared a snippet of the title track, which was released as the lead single two days later. The album was recorded in Nashville in early 2021, in under three weeks. In an interview with Zane Lowe on Apple Music, Musgraves elaborated on what to expect sonically from the album, noting that although the album will be more country than "Golden Hour", it will be combined with more musical influences.


title: Star-Crossed (album)

text: Musgraves cited Bill Withers, Daft Punk, Sade, Eagles, and Weezer as inspirations for the album. Regarding her status as country musician, she said "I feel like I don't belong to country in any way on one hand, but on the other hand, I'm deeply rooted in that genre. So I'm not owned by it." The album's lyrics were conceived by Musgraves following her divorce from Kelly. In the "Rolling Stone" interview, the singer explained that as she was conceptualizing the album earlier this year, she kept coming back to Greek tragedies, and their three-act structure. The album is also inspired by William Shakespeare's popular tragedy "Romeo and Juliet".


title: Star-Crossed (album)

text: "Star-Crossed" is a pop and country pop album with folk, dance, disco, soft rock, alternative rock, and R&B elements. It is characterized by ballads, layered with harmonies, analog synths, and drum loops. "Slate" critic Carl Wilson said the album expands on the "mellow psychedelic-country-synth sound" Musgraves discovered on "Golden Hour" with co-producers Ian Fitchuk and Daniel Tashian. The country music committee of the Recording Academy ruled "Star-Crossed" and its singles ineligible for the country categories at the 64th Annual Grammy Awards, saying they are "not sufficiently country"; "Variety" said Musgraves' submissions will presumably moved "over to pop categories."


title: Star-Crossed (album)

text: The album's subject matter discusses themes of marriage, divorce, and post-breakup emotional healing, whereas its track-list is divided into three sections, which Musgraves dubbed as "three acts". "Variety" Chris Willman differentiated "Star-Crossed" as her "divorce album" while "Golden Hour" was her "honeymoon record".


title: Star-Crossed (album)

text: "Star-Crossed" is a psychedelic and country song, driven by a Spanish guitar and heartbeat-like percussion, about Musgrave's personal journey. The song opens with a bed of harmonized "ooh" vocals, before the singer sings, "Let me set the scene." What follows is the recounting of a divorce, with papers signed, possessions divided, and names changed. Musgraves described the title track as "a pared back, Latin-inflected ballad about resigning from a relationship and accepting fate without bitterness", noting that it "swells into a pattern of guttural electric guitar, spectral strings and a chorus of voices". The track is inspired by the history of "Romeo and Juliet".


title: Star-Crossed (album)

text: "Star-Crossed" was released on September 10, 2021. On August 23, 2021, Musgraves announced that her fifth album will be called "Star-Crossed" and revealed the release date. On the same day, she revealed the track list across her social media.


title: Star-Crossed (album)

text: "Star-Crossed" released on September 10, 2021. On October 2, Musgraves appeared on "Saturday Night Live" and performed "Camera Roll" and "Justified," the latter wearing only a guitar and cowboy boots.


title: Star-Crossed (album)

text: On August 23, 2021, Musgraves posted a trailer across her social media for a 50-minute companion film, titled after the album. The film was launched exclusively on Paramount+ the same day the album was released, September 10, 2021. The film, characterized as having "a sense of heightened reality", was directed by Bardia Zeinali from a concept by Musgraves and Zeinali, and shot by cinematographer Matthew Libatique. The film was shot over 10 days in Los Angeles and features cameo appearances by actor Eugene Levy, "RuPaul's Drag Race" winner Symone, rapper Princess Nokia, actor Victoria Pedretti, and comedian Meg Stalter.


title: Star-Crossed (album)

text: The album was supported by the Star-Crossed: Unveiled tour, the seventh concert tour by Musgraves. It began on January 19, 2022, in St. Paul, Minnesota and concluded in Toronto, Canada on February 25, comprising 14 shows. King Princess and MUNA served as opening acts.


title: Star-Crossed (album)

text: This set list is from the concert on January 19, 2022, in St. Paul, Minnesota. It is not intended to represent all shows from the tour.


title: Star-Crossed (album)

text: Upon release, "Star-Crossed" received generally positive reviews from music critics. On Metacritic, which assigns a normalized score out of 100 to ratings from publications, the album received a weighted mean score of 78 based on 23 critics, indicating "generally favorable reviews".


title: Star-Crossed (album)

text: Lauren Dehollogne, reviewing for "The Line of Best Fit", lauded "Star-Crossed" as Musgraves' "most raw and honest album to-date" and hailed her as one of the best songwriters of her generation. He called the album a "near therapeutic experience", accentuated by its honeyed vocal performances and minimalistic "dreamy" melodies. Writing for "NME", Hannah Mylrea called "Star-Crossed" an intricate, "powerfully honest depiction of heartbreak" with sonically diverse songs and "brutally honest" lyrics, finding Musgraves address uncomfortable emotions. "Entertainment Weekly" critic Leah Greenblatt stated "Star-Crossed" comprises themes covering both "the essence of country music (love hurts, life is hard) and an extremely 2021 refraction of it." "Slant" reviewer Jeremy Winograd described the album as an intimate, eclectic, "effortlessly melodic and accessible" album far from country or pop radio tropes. Winograd stated even some of the album's less stripped-down tracks are arranged in a very simple fashion, emphasizing Musgraves' stylistic vision and eschewing formulaic pop.


title: Star-Crossed (album)

text: "DIY" Ben Tipple observed, much like its predecessor, "Star-Crossed" "takes the storytelling of her country roots and presents it with pop grandeur", but this time with a darker tone. Tipple complimented the blend of both retrospective and contemporary pop production in the album, while also making space for Musgraves' "personal storytelling". Gabrielle Sanchez of "The A.V. Club" said the album is her "least country" effort, leaning into the modern pop and disco influences that she began to incorporate in her music with "Golden Hour". Writing for "Exclaim!", Dylan Barnabe highlighted that the album is an emotionally vulnerable, "ballad-heavy" record, divided into sections explaining the "exposition, climax, downfall, and resolution of Musgraves' love story". David Smyth of "Evening Standard" recognized adulthood's aspirations and its harsh realities as the album's overarching motifs, and its sound "a less dramatic progression than that between "Golden Hour" and its more traditional predecessors."


title: Star-Crossed (album)

text: Other reviews were critical of the album. "Pitchfork" critic Sam Sodomsky found Musgraves "burrowing inward" in "Star-Crossed", singing stark, simplistic lyrics, but amplifying her "obsessive self-reflection" for mainstream appeal. Sodomsky underscored the album's dichotomy between vulnerability and triumph, and regarded its best moments as "artful" while the rest "feel forced." "Paste" writer Ellen Johnson said, while "Star-Crossed" "can't quite touch the otherworldly iridescence" of "Golden Hour", it is "still a hell of a listen." Johnson commended the production by the Tashian/Fitchuk duo and Musgraves storytelling skills, but picked "Angel", "Easier Said", and "Keep Lookin' Up" as mid-tier tracks. In his AllMusic review, senior editor Stephen Thomas Erlewine wrote "Star-Crossed" offers "a full-blown song cycle" detailing the breakdown of Musgraves' marriage. He dubbed it a "quintessential divorce record" and admired its soothing production, but felt the lyrics suffer from "blunt literalism".


title: Star-Crossed (album)

text: "The Guardian" Laura Snapes appreciated the album's acoustic, ambiguous songwriting, and "cosmic, retro-futurist" production, which she identified as stemming from "Golden Hour". However, she felt some melodies, production elements, and "zoomed-out" lyrics are indistinct, inspired by "turn-of-the-millennium white pop." Reviewing for "Rolling Stone", Jonathan Bernstein dubbed it a "consistently compelling, admirably idiosyncratic yet mildly disappointing" album, whose best moments were when Musgraves "put her own personalized spin on the well-worn cliches of the standard big-budget post-break-up purge-fest." In mixed reviews, Helen Brown from "The Independent" opined the album is not Musgraves' "sharpest" work, delivering platitudes with subpar melodies, nevertheless, appreciated the honesty and relatability of her lyrics, while Mark Moody of "Under the Radar" considered it an inferior record to "Golden Hour", criticizing the "cringe-worthy lyrics" of "Star-Crossed" and its "failed efforts" in transitioning to pop and dance genres.


title: Star-Crossed (album)

text: "Star-Crossed" debuted at number one on the U.S. Top Country Albums chart, earning 77,000 album-equivalent units, of which 47,000 copies were pure sales, from its opening week. It became Musgraves' fourth number-one album on the chart. The album also debuted at number three on the all-genre "Billboard" 200, and number one on the Americana/Folk Albums chart; it became Musgraves' fourth top-ten album on the former and her second chart-topping debut on the latter. In addition, the album also accumulated a total of 38.23 million on-demand streams of the album's tracks. Six songs from "Star-Crossed" charted on the US Hot Country Songs chart, with "Justified" at number 22, "Simple Times" at number 31, "Breadwinner" at number 36, "Star-Crossed" at number 37, "Good Wife" at number 41 and "Cherry Blossom" at number 44.


title: Star-Crossed (album)

text: On October 10, 2021, Universal Music Group Nashville record label president Cindy Mabe wrote a letter to Recording Academy CEO Harvey Mason Jr. following the decision to place Musgraves' album in the pop music categories instead of the country music categories in regards to the forthcoming 64th Grammy Awards.


title: Star-Crossed (album)

text: After Mabe's letter, Musgraves tweeted on Twitter: "You can take the girl out of the country (genre) but you can't take the country out of the girl." She also posted a collection of photos on her Instagram story, highlighting her ties to country music, such as pictures with Dolly Parton, Willie Nelson, Loretta Lynn, Shania Twain, and George Strait.


title: Star-Crossed (album)

text: "Variety" reported that the country screening committee of the Recording Academy went through "Star-Crossed" "track by track", and decided that although there were some "country-leaning" songs on it, the album as a whole was not sufficiently country; however, the track "Camera Roll" was considered eligible for Best Country Song nominations. Music journalists Jem Aswad and Chris Willman stated Musgraves is not the first artist to face this situation, and highlighted how Taylor Swift's "1989" (2014) became her first album to be placed in pop categories when her previous efforts competed in country, Justin Bieber's "Changes" (2020) was rejected in the R&B field and moved to pop, and "Daddy Lessons" (2016) by Beyoncé was rejected in the country field as well. The country committee had sent "Star-crossed" to its counterpart, the pop committee, as well, to see which genre the album fit, and would have reinstated the decision had the latter rejected it, but however, the pop committee agreed that pop is "the rightful home" for "Star-Crossed". The album's genre placement issue was also raised in the core committee of the Recording Academy, which consists of artists from various genres and usually oversees only the "big four" general categories; the core committee upheld the decision that "Star-Crossed" is "primarily a pop album."


title: Star-Crossed (album)

text: In conclusion, more than 60 academy members were involved in certifying the decision, with nearly all of them saying "it's a pop record." "Variety" also opined that, beyond the musical aspects of "Star-Crossed", the letter by Musgraves' label to the Recording Academy is also due to the album's "business terms", as the pop field is highly competitive, compared to the country field, where Musgraves' chances of winning are higher. Aswad and Willman opined that Musgraves marketed "Star-Crossed" as a pop record, citing how it was jointly released with Interscope Records, which is primarily a pop label home to Lady Gaga, Billie Eilish, Olivia Rodrigo and many hip-hop artists, and none of the album's tracks were serviced to country radio stations, thus making it "hard to imagine that those moves went unnoticed by the [country] screening committee."


title: Star-Crossed (album)

text: The nominations for the 64th Annual Grammy Awards were announced on November 22, 2021. "Camera Roll" received two nominations, for Best Country Solo Performance and Best Country Song. However, "Star-Crossed" was not nominated in any of the album categories.


title: Arrested Development (season 5)

text: The fifth season of the television comedy series "Arrested Development" premiered on Netflix on May 29, 2018. The season consists of 16 episodes, split into two eight-episode parts; with the second half released on March 15, 2019. This is the second revival season after the series was canceled by Fox in 2006; the fourth season premiered in 2013.


title: Arrested Development (season 5)

text: The show's storyline centers on the Bluth family, a formerly wealthy, habitually dysfunctional family, and the show incorporates hand-held camera work, narration, archival photos and historical footage.


title: Arrested Development (season 5)

text: One central storyline of season five is a "whodunit" regarding the mysterious disappearance of Lucille Austero in the very midst of her congressional campaign. The season also features the cast together more frequently, as season four primarily had the cast separated due to scheduling difficulties.


title: Arrested Development (season 5)

text: On July 12, 2013, Netflix was in discussions for a fifth season. In August 2014, Netflix chief content officer Ted Sarandos stated in an interview with "USA Today" that there is a strong possibility of a fifth season. "It's just a matter of when." In April 2015, executive producer Brian Grazer confirmed that a fifth season was in development and would consist of 17 episodes. Jason Bateman contradicted this in February 2016, however, and said regarding a fifth season, "There is no plan. I haven't heard of anything solid going forward." However, in January 2017, Grazer again confirmed a fifth season plan, stating that all of the original series actors are on board for a new season, with an official deal expected to be made "within a couple of weeks".


title: Arrested Development (season 5)

text: Netflix confirmed on May 17, 2017, that a fifth season, featuring the full cast from the show, had been ordered and would be expected to be released on their service in 2018. Production began in August 2017, with 17 episodes planned for the fifth season. Filming wrapped in November 2017. Tambor had been the subject of sexual misconduct allegations in November 2017 which led to him being taken off "Transparent"; however, the allegations did not impact his inclusion in season 5, and the show's team has stood in support of Tambor since then. On May 7, 2018, it was announced that the fifth season would premiere on May 29, 2018, and the season's trailer was released. To promote the fifth season, two versions of the Bluth Real Estate stair car, featuring the hashtag #AD5 and the website voteBLUTH.com, were driven around New York City and Los Angeles.


title: Arrested Development (season 5)

text: Many critics said the season was more in line with the original Fox episodes and that having the ensemble back together after previously separating them benefited the season. On Rotten Tomatoes, it holds an approval rating of 56% with an average score of 5.14/10, based on 52 reviews. The site's critical consensus reads, ""Arrested Development" finds itself back in familiar form, recapturing much of the cast's chemistry and comedic brilliance — though it still doesn't quite live up to its own past." On Metacritic, the season has a weighted average score of 67 out of 100, based on 20 critics, indicating "generally favorable reviews".


title: Arrested Development (season 5)

text: Ben Travers of IndieWire gave it a positive review with a "B" grade, calling it a big improvement over season four. He wrote, "With the cast reunited and a better understanding of what made the characters lovable lunkheads to begin with, the new season can be effortlessly enjoyable; a pleasure to watch instead of something you have to dig through to find the parts you love." Sonya Saraiya of "Vanity Fair" praised it for returning to "the show you remember," claiming it to be far superior to the fourth season. She singles out Arnett's performance in particular, praising him as "magnificent." Caroline Framke of "Variety" also praised the new season for acknowledging and correcting some of the mistakes of the fourth season instead of ignoring them, while also highlighting the ability of the show to engage in character development after 15 years with regards to Cera and Shawkat's characters. She too praised Arnett as the standout of the cast. Tim Goodman of "The Hollywood Reporter" argued that the second Netflix season was "much, much better," than the first, believing that once the show "hits its stride, it evokes its glory days," overall being a "welcome return to form".


title: Marc Silverstein

text: His writing partner is Abby Kohn. They are known for co-writing romantic comedy films such as "Never Been Kissed", "He's Just Not That Into You", "How to Be Single", and the story for "Valentine's Day". Their first co-directing project was "I Feel Pretty" starring Amy Schumer. They also co-wrote the romantic drama film "The Vow".


title: Marc Silverstein

text: Silverstein married actress Busy Philipps on June 16, 2007 and they have two children, Cricket and Birdie. They separated in February 2021.


title: IIT Kanpur

text: Indian Institute of Technology Kanpur ( IIT Kanpur; Hindi: भारतीय प्रौद्योगिकी संस्थान कानपुर) is a public institute of technology located in Kanpur, Uttar Pradesh, India. It was declared to be an Institute of National Importance by the Government of India under the Institutes of Technology Act.


title: IIT Kanpur

text: The institution was established in 1959. As one of the first Indian Institutes of Technology, the institute was created with the assistance of a consortium of nine US research universities as part of the Kanpur Indo-American Programme (KIAP).


title: IIT Kanpur

text: IIT Kanpur was established by an Act of Parliament in 1960 by the Government of India. The institute was started in December 1959 in a room in the canteen building of the Harcourt Butler Technological Institute at Agricultural Gardens in Kanpur. In 1963, the institute moved to its present location, on the Grand Trunk Road near Kalyanpur locality in Kanpur district. The campus was designed by Achyut Kavinde in a modernist style.


title: IIT Kanpur

text: During the first ten years of its existence, a consortium of nine US universities (namely MIT, UCB, California Institute of Technology, Princeton University, Carnegie Institute of Technology, University of Michigan, Ohio State University,


title: IIT Kanpur

text: Case Institute of Technology and Purdue University) helped set up IIT Kanpur's research laboratories and academic programmes under the Kanpur Indo-American Programme (KIAP). The first director of the institute was P. K. Kelkar (after whom the Central Library was renamed in 2002).


title: IIT Kanpur

text: Under the guidance of economist John Kenneth Galbraith, IIT Kanpur was the first institute in India to offer Computer science education. The earliest computer course was started at the institute in August 1963 on an IBM 1620 system. The initiative for computer education came from the Electrical engineering department, then under the chairmanship of Prof. H.K. Kesavan, who was concurrently the chairman of Electrical Engineering and head of the Computer Centre. Prof. Harry Huskey of the University of California, Berkeley, who preceded Kesavan, helped with the computer activity at IIT-Kanpur. In 1971, the institute began an independent academic program in Computer Science and Engineering, leading to MTech and PhD degrees.


title: IIT Kanpur

text: In 1972 the KIAP program ended, in part because of political tensions between India and Pakistan (as the USA supported Pakistan). Government funding was also reduced as a reaction to the sentiment that the IIT's were contributing to the brain drain.


title: IIT Kanpur

text: IIT Kanpur is located on the Grand Trunk Road, west of Kanpur City and measures close to . This land was donated by the Government of Uttar Pradesh in 1960 and by March 1963 the institute had moved to its current location.


title: IIT Kanpur

text: The institute has around 6478 students with 3938 undergraduate students and 2540 postgraduate students and about 500 research associates.


title: IIT Kanpur

text: IIT Kanpur is to open an extension centre in Noida with the plan of making a small convention centre there for supporting outreach activities. Its foundation was laid on 4 December 2012 on 5 acres of land allocated by Uttar Pradesh state government in the sector-62 of Noida city, which is less than an hour's journey from New Delhi and the Indira Gandhi International Airport. The cost of construction is estimated to be about 25 crores. The new campus will have an auditorium, seminar halls for organising national and international conferences and an International Relations Office along with a 7-storey guest house. Several short-term management courses and refresher courses meant for distance learning will be available at the extension center.News from. IITK. Retrieved 9 October 2013.


title: IIT Kanpur

text: Being a major industrial town, Kanpur has a good connectivity by rail and by road but it lags behind in terms of air connectivity. IIT Kanpur was suffering significantly in comparison to IIT Delhi and IIT Bombay due to this reason as far as visiting companies and other dignitaries are concerned


title: IIT Kanpur

text: On 1 June 2013, a helicopter ferry service was started at IIT Kanpur run by Pawan Hans Helicopters Limited. In its initial run the service connects IIT Kanpur to Lucknow, but it is planned to later extend it to New Delhi. Currently there are two flights daily to and from Lucknow Airport with a duration of 25 minutes. Lucknow Airport operates both international and domestic flights to major cities. IIT Kanpur is the first academic institution in the country to provide such a service. The estimated charges are Rs. 6000 (US$100) per person. If anyone would like to avail the facility he/she have to contact Student Placement Office (SPO) at IIT Kanpur, since the helicopter service is subject to availability of chopper rights. The campus also has airstrips which allows flight workshops and joyrides for students.


title: IIT Kanpur

text: The institute has set up an office in New York with alumnus, Sanjiv Khosla designated as the overseas brand ambassador of the institute. It is located on 62, William Street, Manhattan. The office aims to hunt for qualified and capable faculty abroad, facilitate internship opportunities in North American universities and be conduit for research tie ups with various US universities. The New York Office also tries to amass funds through the alumni based there. A system that invites students and faculty of foreign institutes to IIT Kanpur is also being formulated.


title: IIT Kanpur

text: All IITs follow the same organization structure which has President of India as visitor at the top of the hierarchy. Directly under the president is the IIT Council. Under the IIT Council is the board of governors of each IIT. Under the board of governors is the director, who is the chief academic and executive officer of the IIT. Under the director, in the organizational structure, comes the deputy director. Under the director and the deputy director, come the deans, the heads of various departments, and the registrar.


title: IIT Kanpur

text: IIT Kanpur offers four-year BTech programs in Aerospace Engineering, Biological Sciences and Bio-engineering, Chemical Engineering, Civil Engineering, Computer Science and Engineering, Electrical Engineering, Materials Science and Engineering and Mechanical Engineering. The admission to these programs is procured through Joint Entrance Examination. IITK offers admission only to bachelor's degree now (discontinuing the integrated course programs), but it can be extended by 1 year to make it integrated, depending on the choice of student and based on his/her performance there at undergraduate level. IIT Kanpur also offers four-year B.S. Programs in Pure and Applied Sciences (Mathematics, Physics and Chemistry in particular), Earth Science and Economics.


title: IIT Kanpur

text: From 2011, IIT Kanpur has started offering a four-year BS program in sciences and has kept its BTech Program intact. Entry to the five-year MTech/MBA programs and Dual degree programme will be done based on the CPI of students instead of JEE rank. In order to reduce the number of student exams, IIT Kanpur has also abolished the earlier system of conducting two mid-term examinations. Instead, only two examinations (plus two quizzes in most courses depending on the instructor-in-charge, one before mid-semesters and the other after the mid-semesters and before the end-semesters examination), one between the semester and other towards the end of it would be held from the academic session starting July 2011 onward as per Academic Review Committee's recommendations.


title: IIT Kanpur

text: Postgraduate courses in Engineering offer Master of Technology (MTech), MS (R) and PhD(Doctor of Philosophy) degrees. The institute also offers two-tier MSc(Master of Science) courses in areas of basic sciences in which students are admitted through Joint Admission Test for MSc (JAM) exam. The institute also offers M.Des. (2 years), M.B.A. (2 years) and MSc (2 years) degrees. Admissions to MTech is made once a year through Graduate Aptitude Test in Engineering. Admissions to M. Des are made once a year through both Graduate Aptitude Test in Engineering (GATE) and Common Entrance Exam for Design (CEED). Until 2011, admissions to the M.B.A. program were accomplished through the Joint Management Entrance Test (JMET), held yearly, and followed by a Group Discussion/Personal Interview process. In 2011, JMET was replaced by Common Admission Test (CAT).


title: IIT Kanpur

text: Undergraduate admissions until 2012 were being done through the national-level Indian Institute of Technology Joint Entrance Examination (IIT-JEE). Following the Ministry of Human Resource Development's decision to replace IIT-JEE with a common engineering entrance examination, IIT Kanpur's admissions are now based on JEE (Joint Entrance Examination) -Advanced level along with other IITs.


title: IIT Kanpur

text: Postgraduate admissions are made through the Graduate Aptitude Test in Engineering and Common Admission Test.


title: IIT Kanpur

text: Internationally, IIT Kanpur was ranked 277 in "QS World University Rankings" for 2022. It was ranked 65 in QS Asia Rankings 2020 and 25 among BRICS nations in 2019. The "Times Higher Education World University Rankings" ranked it 601–800 globally in the 2020 ranking 125 in Asia and 77 among Emerging Economies University Rankings 2020.


title: IIT Kanpur

text: In India, IIT Kanpur was ranked third among engineering colleges by "India Today" in 2021. It was ranked fourth among engineering colleges in India by the "National Institutional Ranking Framework" (NIRF) in 2020, and sixth overall.


title: IIT Kanpur

text: The Department of Industrial and Management Engineering was ranked 16 among management schools in India by NIRF in 2020.


title: IIT Kanpur

text: The campus is spread over an area of . Facilities include the National Wind Tunnel Facility. Other large research centres include the Advanced Centre for Material Science, a Bio-technology centre, the Advanced Centre for Electronic Systems, and the Samtel Centre for Display Technology, Centre for Mechatronics, Centre for Laser Technology, Prabhu Goel Research Centre for Computer and Internet Security, Facility for Ecological and Analytical Testing. The departments have their own libraries.


title: IIT Kanpur

text: PK Kelkar Library (formerly Central Library) is an academic library of the institute with a collection of more than 300,000 volumes, and subscriptions to more than 1,000 periodicals. The library was renamed to its present name in 2003 after Dr. P K Kelkar, the first director of the institute. It is housed in a three-story building, with a total floor area of 6973 square metres. The Abstracting and Indexing periodicals, Microform and CD-ROM databases, technical reports, Standards and thesis are in the library. Each year, about 4,500 books and journal volumes are added to the library.


title: IIT Kanpur

text: The New Core Labs (NCL) is 3-storey building with state of the art physics and chemistry laboratories for courses in the first year. The New Core Labs also has Linux and Windows computer labs for the use of first year courses and a Mathematics department laboratory housing machines with high computing power.


title: IIT Kanpur

text: IIT Kanpur has set up the Startup Innovation and Incubation Centre (SIIC) "(previously known as "SIDBI" Innovation and Incubation Centre)" in collaboration with the Small Industries development Bank of India (SIDBI) aiming to aid innovation, research, and entrepreneurial activities in technology-based areas. SIIC helps business Start-ups to develop their ideas into commercially viable products.


title: IIT Kanpur

text: A team of students, working under the guidance of faculty members of the institute and scientists of Indian Space Research Organisation (ISRO) have designed and built India's first nano satellite Jugnu, which was successfully launched in orbit on 12 Oct 2011 by ISRO's PSLV-C18.


title: IIT Kanpur

text: The Computer Centre is one of the advanced computing service centre among academic institution in India. IT hosts IIT Kanpur website and provides personal web space for students and faculties. It also provides a spam filtered email server and high speed fibre optic Internet to all the hostels and the academics. Users have multiple options to choose among various interfaces to access mail service. It has Linux and windows laboratories equipped with dozens of high-end software like MATLAB, Autocad, Ansys, Abaqus etc. for use of students. Apart from departmental computer labs, computer centre hosts more than 300 Linux terminals and more than 100 Windows terminals and is continuously available to the students for academic work and recreation. Computer centre has recently adopted an open source software policy for its infrastructure and computing. Various high-end compute and GPU servers are remotely available from data centre for user computation.


title: IIT Kanpur

text: Computer centre has multiple super computing clusters for research and teaching activity. In June 2014 IIT Kanpur launched their second supercomputer which is India's fifth most powerful supercomputer as of now. The new supercomputer 'Cluster Platform SL230s Gen8' manufactured by Hewlett-Packard has 15,360 cores and a theoretical peak (Rpeak) 307.2 TFlop/s and is the world's 192th most powerful supercomputer as of June 2015.


title: IIT Kanpur

text: Research is controlled by the Office of the Dean of Research and Development. Under the aegis of the Office the students publish the quarterly NERD Magazine (Notes on Engineering Research and Development) which publishes scientific and technical content created by students. Articles may be original work done by students in the form of hobby projects, term projects, internships, or theses. Articles of general interest which are informative but do not reflect original work are also accepted. The institute is part of the European Research and Education Collaboration with Asia (EURECA) programme since 2008.


title: IIT Kanpur

text: Along with the magazine a student research organisation, PoWER (Promotion of Work Experience and Research) has been started. Under it several independent student groups are working on projects like the Lunar Rover for ISRO, alternate energy solutions under the Group for Environment and Energy Engineering, ICT solutions through a group Young Engineers, solution for diabetes, green community solutions through ideas like zero water and zero waste quality air approach. Through BRaIN (Biological Research and Innovation Network) students interested in solving biological problems get involved in research projects like genetically modifying fruit flies to study molecular systems and developing bio-sensors to detect alcohol levels. A budget of Rs 1.5 to 2 crore has been envisaged to support student projects that demonstrate technology.


title: IIT Kanpur

text: Assisting the Indian Ordnance Factories in not only upgrading existing products, but also developing new weapon platforms.


title: IIT Kanpur

text: The students of IIT Kanpur made a nano satellite called Jugnu, which was given by president Pratibha Patil to ISRO for launch. Jugnu is a remote sensing satellite which will be operated by the Indian Institute of Technology Kanpur. It is a nanosatellite which will be used to provide data for agriculture and disaster monitoring. It is a 3-kilogram (6.6 lb) spacecraft, which measures 34 centimetres (13 in) in length by 10 centimetres (3.9 in) in height and width. Its development programme cost around 25 million rupees. It has a design life of one year.


title: IIT Kanpur

text: Jugnu's primary instrument is the Micro Imaging System, a near infrared camera which will be used to observe vegetation. It also carries a GPS receiver to aid tracking, and is intended to demonstrate a microelectromechanical inertial measurement unit.


title: IIT Kanpur

text: IITK motorsports is the biggest and most comprehensive student initiative of the college, founded in January 2011. It is a group of students from varied disciplines who aim at designing and fabricating a Formula-style race car for international Formula SAE


title: IIT Kanpur

text: (Society of Automotive Engineers) events. Most of the components of the car, except the engine, tyres and wheel rims, are designed and manufactured by the team members themselves. The car is designed to provide maximum performance under the constraints of the event, while ensuring the driveability, reliability, driver safety and aesthetics of the car are not compromised.


title: IIT Kanpur

text: Researchers at IIT Kanpur have developed a series of solar powered UAVs named MARAAL-1 & MARAAL-2. Development of Maraal is notable as it is the first solar powered UAV developed in India. Maraal-2 is fully indigenous.


title: IIT Kanpur

text: The Students' Gymkhana functions mainly through the Students' Senate, an elected student representative body composed of senators elected from each batch and the six elected executives:


title: IIT Kanpur

text: The number of senators in the Students' Senate is around 50–55. A senator is elected for every 150 students of IIT Kanpur.


title: IIT Kanpur

text: The meetings of the Students' Senate are chaired by the chairperson, Students' Senate, who is elected by the Senate.


title: IIT Kanpur

text: The Senate lays down the guidelines for the functions of the executives, their associated councils, the Gymkhana Festivals and other matters pertaining to the Student body at large.


title: IIT Kanpur

text: The Students' Senate has a say in the policy and decision-making bodies of the institute. The president, Students' Gymkhana and the chairperson, Students' Senate are among the special invitees to the Institute Academic Senate. The president is usually invited to the meetings of the board of governors when matters affecting students are being discussed. Nominees of the Students' Senate are also members of the various standing Committees of the Institute Senate including the disciplinary committee, the Undergraduate and Postgraduate committee, etc. All academic departments have Departmental Undergraduate and Post Graduate Committees consisting of members of the faculty and student nominees.


title: Jimmy Crack Corn

text: "Jimmy Crack Corn" or "Blue-Tail Fly" is an American song which first became popular during the rise of blackface minstrelsy in the 1840s through performances by the Virginia Minstrels. It regained currency as a folk song in the 1940s at the beginning of the American folk music revival and has since become a popular children's song. Over the years, several variants have appeared.


title: Jimmy Crack Corn

text: Most versions include some idiomatic African American English, although General American versions now predominate. The basic narrative remains intact. On the surface, the song is a black slave's lament over his white master's death in a horse-riding accident. The song, however, is also interpreted as having a subtext of celebration about that death and of the slave's having contributed to it through deliberate negligence or even deniable action.


title: Jimmy Crack Corn

text: The melody is similar to "Miss Lucy Long" and was originally set for piano accompaniment, although "De Blue Tail Fly" was marketed in Boston as one of "Emmett's Banjo Melodies". The four-part chorus favors a single bass and three tenors: the first and third tenors harmonize in thirds with the second completes the triads or doubles the root, sometimes crossing the melody line. The versions published in 1846 differed rather markedly: "De Blue Tail Fly" is modal (although Lhamar emends its B♭ notation to C minor) and hexatonic; "Jim Crack Corn", meanwhile, is in G major and more easily singable. Its simplicity has made it a common beginner's tune for acoustic guitar. The melody is a chain of thirds (G-B, F♯-A, G-B, [A]-C, B-D, C-E) harmonized a third above and below in the manner of the choruses in Italian opera.


title: Jimmy Crack Corn

text: The first verses usually establish that the singer was initially a house slave. He is then charged with protecting the master out of doors—and his horse as well—from the "blue-tailed fly". This is possibly the blue bottle fly ("" or ""), but probably the mourning horsefly (""), a bloodsucking pest with a blue-black abdomen found throughout the American South. In this, the singer, ultimately, is unsuccessful; the horse begins to buck, and the master is thrown and killed. A coroner's jury is convened to investigate the master's death, or the singer is criminally charged with that death, but owing to the "blue-tail fly," the slave escapes culpability.


title: Jimmy Crack Corn

text: The chorus can be mystifying to modern listeners, but its straightforward meaning is that someone is roughly milling ("cracking") the old master's corn in preparation for turning it into hominy or liquor. There has been much debate, however, over the subtext. In the 19th century, the singer was often considered mournful and despondent at his master's death; in the 20th, celebratory: "Jimmy Crack Corn" has been called "the baldest, most loving account of the master's demise" in American song.


title: Jimmy Crack Corn

text: The debate has been further muddled by changes to the refrain over time. Throughout the 19th century, the lines referred to "Jim", "Jim Crack", or "Jim Crack Corn" and lacked any conjunction across the line's caesura; following the rise of highly-syncopated musical genres such as ragtime and jazz, anaptyxis converted the name to "Jimmy" or "Jimmie" and the "and" appeared, both putting more stress on their measures' backbeat. This has obscured some of the possible original meanings: some have argued that—as "Jim" was a generic name for slaves in minstrel songs—the song's "Jim" was the same person as its blackface narrator: Speaking about himself in the 3rd person or repeating his new masters' commands in apostrophe, he has no concern with his demotion to a field hand now that his old master is dead.


title: Jimmy Crack Corn

text: Another now-obscured possible meaning derives from "jim crack" being eye dialect for "" ("worthless"): The narrator is so overcome with emotion (be it pleasure or sorrow) that he has no concern at all about his gimcrack cracked corn, his substandard rations. Since "corn" was also a common rural American ellipsis and euphemism for "corn whiskey", it could also refer to the slave being so overcome that he has no concern about his rotgut alcohol. The 1811 Dictionary of Vulgar Tongue by Francis Grose defines a jimcrack as a "spruce woman", so perhaps the lyric refers to the slave being so sad he doesn't have interest in an approaching beautiful woman.


title: Jimmy Crack Corn

text: Other suppositions include that "cracking" or "cracking corn" referred to the now-obsolete English and Appalachian slang meaning "to gossip" or "to sit around chitchatting"; that the singer is resting from his oversight duties and allowing Jim to steal corn or corn liquor; that "Jim Crack" is simply a synonym for "Jim Crow" by means of the dialectical "crack" to reference the crake; or that it is all code for the old master "Jim" cracking his "corn" (skull) open during his fall. The 1847 version of the song published in London singularly has the lyrics "Jim Crack com'", which could refer to a poor Southern cracker (presumably an overseer or new owner) or a minced oath for Jesus Christ (thus referencing indifference at the Judgment Day); the same version explicitly makes the fly's name a wordplay on the earlier minstrel hit "Long Tail Blue", about a horse. A number of racehorses have been named "Jim Crack" or "Blue Tail Fly" and, in at least one early-20th century variant of the song, it's given as the name of the horse that killed the master, but that is not a common element of the song. (Another uncommon variant appeared in the 1847 "Songs of Ireland" published in New York: it has the slave being given away by the master.)


title: Jimmy Crack Corn

text: Explanations of the song based upon "jimmy" or "jimmie" being slaves' slang for crows or mules (here being allowed into the old master's corn fields instead of being chased away) or deriving "jimmy" from "gimme" are unsupported by the existing records. Pete Seeger, for instance, is said to have maintained that the original lyrics were "gimme cracked corn" and referred to a punishment in which a slave's bacon rations were curtailed, leaving him chickenfeed; the same lines could also just be asking for the whiskey jug to be passed around. The idea that Jim or Jimmy is "cracking open" a jug of whiskey is similarly unsupported: that phrasal verb is attested at least as early as 1803 but initially applied to literal ruptures; its application to opening the cap or cork of a bottle of alcohol was a later development.


title: Jimmy Crack Corn

text: The present song is generally credited to Dan Emmett's Virginia Minstrels, whose shows in New York City in the mid-1840s helped raise minstrelsy to national attention. Along with "Old Dan Tucker", the tune was one of the breakout hits of the genre and continued to headline Emmett's acts with Bryant's Minstrels into the 1860s. It was also a common song of Tom Rice. The song was first published (with two distinct sets of lyrics) in Baltimore and Boston in 1846, although it is sometimes mistakenly dated to 1844. However, as with later rockabilly hits, it is quite possible Emmett simply received credit for arranging and publishing an existing African-American song. The song was certainly picked up by slaves and became widely popular among them. The chorus of the song not uncommonly appeared in the middle of other African-American folk songs, one of which may have been its original source. The song differed from other minstrel tunes in long remaining popular among African Americans: it was recorded by both Big Bill Broonzy and Lead Belly after World War II.


title: Jimmy Crack Corn

text: Abraham Lincoln was an admirer of the tune, calling it "that buzzing song". Throughout the 19th century, it was usually accompanied by the harmonica or by humming which mimicked the buzzing of the fly (which on at least one occasion was noted disrupting the parliament of Victoria, Australia.). Lincoln would ask his friend Ward Lamon to sing and play it on his banjo and likely played along on his harmonica. It is said that he asked for it to be played as the lead-in to his address at Gettysburg.


title: Jimmy Crack Corn

text: Following World War II, the "Blue Tail Fly" was repopularized by the Andrews Sisters' 1947 recording with the folk singer Burl Ives. It then became part of the general Folk Revival through the '50s and early '60s before losing favor to more politically charged fare, as parodied by Tom Lehrer's "Folk Song Army". A 1963 "Time" article averred that "instead of ... chronicling the life cycle of the blue-tailed fly", the "most sought-after folk singers in the business"—including Pete Seeger, Theodore Bikel, and Bob Dylan—were "singing with hot-eyed fervor about police dogs and racial murder". All the same, Seeger claimed to have been present when Alan Lomax first taught the song to Burl Ives for a CBS radio show and their duet at the 92nd Street Y in New York City in 1993 was Ives' last public performance.


title: Jimmy Crack Corn

text: Seeger maintained that the song's subtext gave it a social justice element but began (with 1953's "American Folksongs for Children") to perform and market the work as a children's sing-along. Usually under the name "Jimmy Crack Corn", it remains common at campfires and summer camps. It is also sampled in a number of rap songs—including Tuff Crew and Eminem's compositions (both titled "Jimmy Crack Corn")—playing on the present usage of "crack".


title: Nazi plunder

text: Nazi plunder () was the stealing of art and other items which occurred as a result of the organized looting of European countries during the time of the Nazi Party in Germany. The looting of Polish and Jewish property was a key part of the Holocaust. The plundering was carried out from 1933, beginning with the seizure of the property of German Jews, until the end of World War II, particularly by military units which were known as the Kunstschutz, although most of the plunder was acquired during the war. In addition to gold, silver, and currency, cultural items of great significance were stolen, including paintings, ceramics, books, and religious treasures.


title: Nazi plunder

text: Although most of these items were recovered by agents of the Monuments, Fine Arts, and Archives program (MFAA, also known as the Monuments Men), on behalf of the Allies immediately following the war, many of them are still missing. An international effort to identify Nazi plunder which still remains unaccounted for is underway, with the ultimate aim of returning the items to their rightful owners, their families, or their respective countries.


title: Nazi plunder

text: Adolf Hitler was an unsuccessful artist who was denied admission to the Vienna Academy of Fine Arts. Nonetheless, he thought of himself as a connoisseur of the arts, and, in "Mein Kampf," he ferociously attacked modern art as degenerate, including Cubism, Futurism, and Dadaism, all of which he considered the product of a decadent 20th-century society. In 1933 when Hitler became chancellor of Germany, he enforced his aesthetic ideal on the nation. The types of art that were favored among the Nazi party were classical portraits and landscapes by Old Masters, particularly those of Germanic origin. Modern art that did not match this was dubbed degenerate art by the Third Reich and all that was found in Germany's state museums was to be sold or destroyed. With the sums raised, the Führer's objective was to establish the European Art Museum in Linz. Other Nazi dignitaries, like Reichsmarschall Hermann Göring and Foreign Affairs minister von Ribbentrop, were also intent on taking advantage of German military conquests to increase their private art collections.


title: Nazi plunder

text: The systematic dispossession of Jewish people and the transfer of their homes, businesses, artworks, financial assets, musical instruments, books, and even home furnishings to the Reich was an integral component of the Holocaust. In every country controlled by Nazis, Jews were stripped of their assets through a wide array of mechanisms and Nazi looting organizations.


title: Nazi plunder

text: Art dealers Hildebrand Gurlitt, Karl Buchholz, Ferdinand Moeller, and Bernhard Boehmer set up shop in Schloss Niederschonhausen, just outside Berlin, to sell a cache of near-16,000 paintings and sculptures which Hitler and Göring removed from the walls of German museums in 1937–1938. They were first put on display in the Haus der Kunst in Munich on 19 July 1937, with the Nazi leaders inviting public mockery by two million visitors who came to view the condemned modern art in the "Degenerate Art Exhibition". Propagandist Joseph Goebbels in a radio broadcast called Germany's degenerate artists "garbage". Hitler opened the Haus der Kunst exhibition with a speech. In it, he described German art as suffering "a great and fatal illness".


title: Nazi plunder

text: Hildebrand Gurlitt and his colleagues did not have much success with their sales, mainly because art labeled "rubbish" had small appeal. So, on 20 March 1939, they set fire to 1,004 paintings and sculptures and 3,825 watercolors, drawings, and prints in the courtyard of the Berlin Fire Department, an act of infamy similar to their earlier well-known book burnings. The propaganda act raised the attention they hoped. The Basel Museum in Switzerland arrived with 50,000 Swiss francs to spend. Shocked art lovers came to buy. What is unknown after these sales is the number of paintings kept by Gurlitt, Buchholz, Moeller, Boehmer, and later sold by them to Switzerland and America—ships crossed the Atlantic from Lisbon—for personal gain.


title: Nazi plunder

text: The most notorious auction of Nazi looted art was the "degenerate art" auction organized by Theodor Fischer on 30 June 1939 at the Grand Hotel National in Lucerne, Switzerland. The artworks on offer had been "de-accessioned" from German museums by the Nazis, yet many well known art dealers participated alongside proxies for major collectors and museums. In addition to public auctions, there were many private sales by art dealers. The Commission for Art Recovery has characterized Switzerland as "a magnet" for assets from the rise of Hitler until the end of World War II. Researching and documenting Switzerland's role "as an art-dealing centre and conduit for cultural assets in the Nazi period and in the immediate post-war period" was one of the missions of the Bergier Commission, under the directorship of Professor Georg Kreis.


title: Nazi plunder

text: While the Nazis were in power, they plundered cultural property from Germany and from every territory they occupied, targeting Jewish property in particular. This was conducted in a systematic manner with organizations specifically created to determine which public and private collections were most valuable to the Nazi Regime. Some of the objects were earmarked for Hitler's never realized Führermuseum, some objects went to other high-ranking officials such as Hermann Göring, while other objects were traded to fund Nazi activities.


title: Nazi plunder

text: In 1940, an organization known as the (Reichsleiter Rosenberg Institute for the Occupied Territories), or ERR, was formed, headed for Alfred Rosenberg by . The first operating unit, the western branch for France, Belgium, and the Netherlands, called the (Western Agency), was located in Paris. The chief of this Dienststelle was Kurt von Behr. Its original purpose was to collect Jewish and Freemasonic books and documents, either for destruction or for removal to Germany for further "study". However, late in 1940, Hermann Göring, who in fact controlled the ERR, issued an order that effectively changed the mission of the ERR, mandating it to seize "Jewish" art collections and other objects. The war loot had to be collected in a central place in Paris, the Museum Jeu de Paume. At this collection point worked art historians and other personnel who inventoried the loot before sending it to Germany. Göring also commanded that the loot would first be divided between Hitler and himself. Hitler later ordered that all confiscated works of art were to be made directly available to him. From the end of 1940 to the end of 1942, Göring traveled 20 times to Paris. In the Museum Jeu de Paume, art dealer Bruno Lohse staged 20 expositions of the newly looted art objects, especially for Göring, from which Göring selected at least 594 pieces for his own collection. Göring made Lohse his liaison-officer and installed him in the ERR in March 1941 as the deputy leader of this unit. Items which Hitler and Göring did not want were made available to other Nazi leaders. Under Rosenberg and Göring's leadership, the ERR seized 21,903 art objects from German-occupied countries.


title: Nazi plunder

text: Other Nazi looting organizations included the , the organization run by the art historian Hans Posse, which was particularly in charge of assembling the works for the Führermuseum, the Dienststelle Mühlmann, operated by Kajetan Mühlmann which operated primarily in the Netherlands and in Belgium, and a Sonderkommando Kuensberg connected to the minister of foreign affairs Joachim von Ribbentrop, which operated first in France, then in Russia and North Africa. In Western Europe, with the advancing German troops, were elements of the "von Ribbentrop Battalion", named after Joachim von Ribbentrop. These men were responsible for entering private and institutional libraries in the occupied countries and removing any materials of interest to the Germans, especially items of scientific, technical, or other informational value.


title: Nazi plunder

text: Art collections from prominent Jewish families, including the Rothschilds, the Rosenbergs, the Wildensteins, and the Schloss Family, were the targets of confiscations because of their significant value. Also, Jewish art dealers sold art to German organizations—often under duress, e.g., the art dealerships of Jacques Goudstikker, Benjamin and Nathan Katz, and Kurt Walter Bachstitz. Also, non-Jewish art dealers sold art to the Germans, e.g., the art dealers De Boer and Hoogendijk in the Netherlands.


title: Nazi plunder

text: On 21 November 1944, at the request of Owen Roberts, William J. Donovan created the (ALIU) within the OSS to collect information on the looting, confiscation, and transfer of cultural objects by Nazi Germany, its allies and the various individuals and organizations involved; to prosecute war criminals and to restitute property. The ALIU compiled information on individuals believed to have participated in art looting, identifying a group of key suspects for capture and interrogation about their roles in carrying out Nazi policy. Interrogations were conducted in Bad Aussee, Austria.


title: Nazi plunder

text: The ALIU Reports detail the networks of Nazi officials, art dealers, and individuals involved in the Hitler's policy of spoliation of Jews in Nazi-occupied Europe. The ALIU's final report included 175 pages divided into three parts: Detailed Interrogation Reports (DIRs), which focused individuals who played pivotal roles in German spoliation; Consolidated Interrogations Reports (CIRs); and a "Red Flag list" of people involved in Nazi spoliation. The ALIU Reports form one of the key records in the US Government Archives of Nazi Era Assets


title: Nazi plunder

text: The first group of reports detailing the networks and relations between art dealers and other agents employed by Hitler, Göring, and Rosenberg are organized by name: Heinrich Hoffmann, Ernst Buchner, Gustav Rochlitz, Gunter Schiedlausky, Bruno Lohse, Gisela Limberger, Walter Andreas Hofer, Karl Kress, Walter Bornheim, Hermann Voss, and Karl Haberstock.


title: Nazi plunder

text: A second set of reports detail the art looting activities of Göring (The Goering Collection), the art looting activities of the Einsatzstab Reichsleiter Rosenberg (ERR), and Hitler's Linz Museum.


title: Nazi plunder

text: The Art Looting Intelligence Unit published a list of "Red Flag Names", organizing them by country: Germany, France, Switzerland, The Netherlands, Belgium, Italy, Spain, Portugal, Sweden, and Luxembourg. Each name is followed by a description of the person's activities, their relations with other people in the spoliation network and, in many cases, information concerning their arrest or imprisonment by Allied forces.


title: Nazi plunder

text: To investigate and estimate Nazi plunder in the USSR during 1941 through 1945, the Soviet State Extraordinary Commission for Ascertaining and Investigating the Crimes Committed by the German-Fascist Invaders and Their Accomplices was formed on 2 November 1942. During the Great Patriotic War and afterward, until 1991, the Commission collected materials on Nazi crimes in the USSR, including incidents of plunder. Immediately following the war, the Commission outlined damage in detail to 64 of the most valuable Soviet museums, out of 427 damaged ones. In the Russian SFSR, 173 museums were found to have been plundered by the Nazis, with looted items numbering in the hundreds of thousands.


title: Nazi plunder

text: After the dissolution of the USSR, the Government of the Russian Federation formed the State Commission for the Restitution of Cultural Valuables to replace the Soviet Commission. Experts from this Russian institution originally consulted the work of the Soviet Commission, yet continue to catalog artworks lost during the war museum by museum. , lost artworks of 14 museums and the libraries of Voronezh Oblast, Kursk Oblast, Pskov Oblast, Rostov Oblast, Smolensk Oblast, Northern Caucasus, Gatchina, Peterhof Palace, Tsarskoye Selo (Pushkin), Novgorod, and Novgorod Oblast, as well as the bodies of the Russian State Archives and CPSU Archives, were cataloged in 15 volumes, all of which were made available online. They contain detailed information on 1,148,908 items of lost artworks. The total number of lost items is unknown so far, because cataloging work for other damaged Russian museums is ongoing.


title: Nazi plunder

text: Alfred Rosenberg commanded the so-called ERR, which was responsible for collecting art, books, and cultural objects from invaded countries, and also transferred their captured library collections back to Berlin during the retreat from Russia. "In their search for 'research materials' ERR teams and the Wehrmacht visited 375 archival institutions, 402 museums, 531 institutes, and 957 libraries in Eastern Europe alone". The ERR also operated in the early days of the blitzkrieg of the Low Countries. This caused some confusion about authority, priority, and the chain of command among the German Army, the von Rippentropp Battalion and the Gestapo, and as a result of personal looting among the Army officers and troops. These ERR teams were, however, very effective. One account estimates that from the Soviet Union alone: "one hundred thousand geographical maps were taken on ideological grounds, for academic research, as means for political, geographical and economic information on Soviet cities and regions, or as collector's items".


title: Nazi plunder

text: After the occupation of Poland by German forces in September 1939, the Nazi regime committed genocide against Polish Jews and attempted to exterminate the Polish upper classes as well as its culture. Thousands of art objects were looted, as the Nazis systematically carried out a plan of looting prepared even before the start of hostilities. 25 museums and many other facilities were destroyed. The total cost of German Nazi theft and destruction of Polish art is estimated at 20 billion dollars, or an estimated 43 percent of Polish cultural heritage; over 516,000 individual art pieces were looted, including 2,800 paintings by European painters; 11,000 paintings by Polish painters; 1,400 sculptures; 75,000 manuscripts; 25,000 maps; 90,000 books, including over 20,000 printed before 1800; and hundreds of thousands of other items of artistic and historical value. Germany still has much Polish material looted during World War II. For decades, there have been negotiations between Poland and Germany concerning the return of the looted Polish property.


title: Nazi plunder

text: The Anschluss (joining) of Austria and Germany began on 12 March 1938. Looting of Jewish properties began immediately. Churches, monasteries, and museums were home to many pieces of art before the Nazis came but after, the majority of the artwork was taken. Ringstrasse, which was a residence for many people but as well as a community center, was confiscated and all of the art inside as well. Between the years 1943 and 1945, salt mines in Altaussee held the majority of Nazi looted art. Some from Austria and others from all around Europe. In 1944, around 4,700 pieces of art were then stored in the salt mines.


title: Nazi plunder

text: After Hitler became Chancellor, he made plans to transform his home city of Linz, Austria, into the Third Reich's capital city for the arts. Hitler hired architects to work from his own designs to build several galleries and museums, which would collectively be known as the Führermuseum. Hitler wanted to fill his museum with the greatest art treasures in the world and believed that most of the world's finest art belonged to Germany after having been looted during the Napoleonic and First World wars.


title: Nazi plunder

text: The Hermann Göring collection, a personal collection of Reichsmarschall Hermann Göring, was another large collection including confiscated property, consisted of approximately 50 percent of works of art confiscated from the enemies of the Reich. Assembled in large measure by art dealer Bruno Lohse, Göring's adviser, and ERR representative in Paris, in 1945, the collection included over 2,000 individual pieces including more than 300 paintings. The US National Archives and Records Administration's Consolidated Interrogation Report No. 2 states that Göring never crudely looted, instead he always managed "to find a way of giving at least the appearance of honesty, by a token payment or promise thereof to the confiscation authorities. Although he and his agents never had an official connection with the German confiscation organizations, they nevertheless used them to the fullest extent possible."


title: Nazi plunder

text: The Third Reich amassed hundreds of thousands of objects from occupied nations and stored them in several key locations, such as Musée Jeu de Paume in Paris and the Nazi headquarters in Munich. As the Allied forces gained advantage in the war and bombed Germany's cities and historic institutions, Germany "began storing the artworks in salt mines and caves for protection from Allied bombing raids. These mines and caves offered the appropriate humidity and temperature conditions for artworks." Well known repositories of this kind were mines in Merkers, Altaussee, and Siegen. These mines were not only used for the storage of looted art but also of art that had been in Germany and Austria before the beginning of the Nazi rule. Degenerate art was legally banned by the Nazis from entering Germany, and so ones designated were held in what was called the Martyr's Room at the Jeu de Paume. Much of Paul Rosenberg's professional dealership and personal collection were so subsequently designated by the Nazis. Following Joseph Goebbels's earlier private decree to sell these degenerate works for foreign currency to fund the building of the Führermuseum and the wider war effort, Hermann Göring personally appointed a series of ERR approved dealers to liquidate these assets and then pass the funds to swell his personal art collection, including Hildebrand Gurlitt. With the looted degenerate art sold onward via Switzerland, Rosenberg's collection was scattered across Europe. Today, some 70 of his paintings are missing, including: the large Picasso watercolor "Naked Woman on the Beach", painted in Provence in 1923; seven works by Matisse; and the "Portrait of Gabrielle Diot" by Degas.


title: Nazi plunder

text: One of the things Nazis sought after during their invasion of European countries was Jewish books and writings. Their goal was to collect all of Europe's Jewish books and burn them. One of the first countries to be raided was France, where the Nazis took 50,000 books from the Alliance Israélite Universelle; 10,000 from L'Ecole Rabbinique, one of Paris's most significant rabbinic seminaries; and 4,000 volumes from the Federation of Jewish Societies of France, an umbrella group. From there, they went on to take a total of 20,000 books from the Lipschuetz Bookstore and another 28,000 from the Rothschild family's personal collection, before scouring the private homes of Paris and coming up with thousands of more books. After sweeping France for every Jewish book they could find, the Nazis moved on to the Netherlands where they would take millions more. They raided the house of Hans Furstenberg, a wealthy Jewish banker and stole his 16,000 volume collection; in Amsterdam, they took 25,000 volumes from the Bibliotheek van het Portugeesch Israelietisch Seminarium; 4,000 from Ashkenazic Beth ha- Midrasch Ets Haim; and 100,000 from Bibliotheca Rosenthaliana. In Italy, the central synagogue of Rome contained two libraries, one was owned by the Italian Rabbinic College and the other one was the Jewish community Library. In 1943, the Nazis came through Italy, packaged up every book from the synagogue, and sent them back to Germany.


title: Nazi plunder

text: The Allies created special commissions, such as the MFAA organization to help protect famous European monuments from destruction and, after the war, to travel to formerly Nazi-occupied territories to find Nazi art repositories. In 1944 and 1945, one of the greatest challenges for the "Monuments Men" was to keep Allied forces from plundering and "taking artworks and sending them home to friends and family"; When "off-limits" warning signs failed to protect the artworks the "Monuments Men" started to mark the storage places with white tape, which was used by Allied troops as a warning sign for unexploded mines. They recovered thousands of objects, many of which had been pillaged by the Nazis.


title: Nazi plunder

text: The Allies found these artworks in over 1,050 repositories in Germany and Austria at the end of World War II. In summer 1945, Capt. Walter Farmer became the collecting point's first director. The first shipment of artworks arriving at Wiesbaden Collection Point included cases of antiquities, Egyptian art, Islamic artifacts, and paintings from the Kaiser Friedrich Museum. The collecting point also received materials from the Reichsbank and Nazi-looted, Polish, liturgical collections. At its height, Wiesbaden stored, identified, and restituted approximately 700,000 individual objects, including paintings and sculptures, mainly to keep them away from the Soviet Army and wartime reparations.


title: Nazi plunder

text: The Allies collected the artworks and stored them in collecting points, in particular the Central Collection Point in Munich until they could be returned. The identifiable works of art, that had been acquired by the Germans during the Nazi rule, were returned to the countries from which they were taken. It was up to the governments of each nation if and under which circumstances they would return the objects to the original owners.


title: Nazi plunder

text: When the Munich collection point was closed, the owners of many of the objects had not been found. Nations were also unable to find all the owners or to verify that they were dead. There are many organizations put in place to help return the stolen items taken from the Jewish people. For example: Project Heart, the World Jewish Restitution Organization, and the Conference on Jewish Material Claims Against Germany. Depending on the circumstances, these organizations may receive the art works in lieu of the heirs.


title: Nazi plunder

text: Although most of the stolen artworks and antiques were documented, found, or recovered "by the victorious Allied armies [...] principally hidden away in salt mines, tunnels, and secluded castles", many artworks have never been returned to their rightful owners. Art dealers, galleries, and museums worldwide have been compelled to research their collection's provenance in order to investigate claims that some of the work was acquired after it had been stolen from its original owners. Already in 1985, years before American museums recognized the issue and before the international conference on Nazi-looted assets of Holocaust victims, European countries released inventory lists of works of art, coins, and medals "that were confiscated from Jews by the Nazis during World War II, and announced the details of a process for returning the works to their owners and rightful heirs." In 1998, an Austrian advisory panel recommended the return of 6,292 objets d'art to their legal owners (most of whom are Jews), under the terms of a 1998 restitution law.


title: Nazi plunder

text: Nazi concentration camp and death camp victims had to strip completely before their murder, and all their personal belongings were stolen. The very valuable items, such as gold coins, rings, spectacles, jewelry, and other precious metal items, were sent to the Reichsbank for conversion to bullion. The value was then credited to SS accounts.


title: Nazi plunder

text: Pieces of art looted by the Nazis can still be found in Russian/Soviet and American institutions: the Metropolitan Museum of Art revealed a list of 393 paintings that have gaps in their provenance during the Nazi Era, the Art Institute of Chicago has posted a listing of more than 500 works "for which links in the chain of ownership for the years 1933–1945 are still unclear or not yet fully determined." The San Diego Museum of Art and the Los Angeles County Museum of Art provide lists on the internet to determine if art items within their collection were stolen by the Nazis.


title: Nazi plunder

text: Stuart Eizenstat, the Under Secretary of State and head of the US delegation sponsoring the 1998 international conference on Nazi-looted assets of Holocaust victims in Washington conference stated that "From now on, [...] the sale, purchase, exchange and display of art from this period will be addressed with greater sensitivity and a higher international standard of responsibility." The conference was attended by more than 49 countries and 13 different private entities, and the goal was to come to a federal consensus on how to handle Nazi-Era Looted Art. The conference was built on the foundation of the Nazi Gold Conference held in London in 1997. The US Department of State hosted the conference with the US Holocaust Memorial Museum from 30 November to 3 December 1998.


title: Nazi plunder

text: After the conference, the Association of Art Museum Directors developed guidelines which require museums to review the provenance or history of their collections, focussing especially on art looted by the Nazis. The National Gallery of Art in Washington identified more than 400 European paintings with gaps in their provenance during the World War II era. One particular piece of art, "Still Life with Fruit and Game" by the 16th-century Flemish painter Frans Snyders, was sold by Karl Haberstock, whom the World Jewish Congress describes as "one of the most notorious Nazi art dealers." In 2000, the New York City's Museum of Modern Art still told the US Congress that they were "not aware of a single Nazi-tainted work of art in our collection, of the more than 100,000" they held.


title: Nazi plunder

text: In 1979, two paintings, a Renoir, "Tête de jeune fille", and a Pissarro, "Rue de village", appeared on Interpol's "12 Most Wanted List", but, to date, no-one knows their whereabouts (ATA Newsletter, Nov. '79, vol. 1, no. 9, p. 1. '78, 326.1–2). The New Jersey owner has asked the International Foundation for Art Research (IFAR) to republish information about the theft, with the hope that someone will recognize the paintings. The owner wrote IFAR that, when his parents emigrated from Berlin in 1938, two of their paintings "mysteriously disappeared". All of their other possessions were shipped from Germany to the US via the Netherlands, and everything except the box containing these two paintings arrived intact. After World War II, the owner's father made a considerable effort to locate the paintings but was unsuccessful. Over the years, numerous efforts have been made to recover them, articles have been published, and an advertisement appeared in the German magazine, "Die Weltkunst", 15 May 1959. A considerable reward has been offered, subject to usual conditions, but there has been no response.


title: Nazi plunder

text: However, restitution efforts initiated by German politicians have not been free of controversy, either. As the German law for restitution "applies to "cultural assets lost as a result of Nazi persecution, "which includes paintings that Jews who emigrated from Germany sold to support themselves", pretty much any trade involving Jews in that era is affected, and the benefit of the doubt is given to claimants. German leftist politicians Klaus Wowereit (SPD, mayor of Berlin) and Thomas Flierl (Linkspartei) were sued in 2006 for being overly willing to give away the 1913 painting "Berliner Straßenszene" of expressionist Ernst Ludwig Kirchner, which was in Berlin's Brücke Museum. On display in Cologne in 1937, it had been sold for 3,000 Reichsmark by a Jewish family residing in Switzerland to a German collector. This sum is considered by experts to have been well over the market price. The museum, which obtained the painting in 1980 after several ownership changes, could not prove that the family actually received the money. It was restituted to the heiress of the former owners, and she had it auctioned off for $38.1 million.


title: Nazi plunder

text: In 2010, as work began to extend an underground line from Alexanderplatz through the historic city centre to the Brandenburg Gate, a number of sculptures from the degenerate art exhibition were unearthed in the cellar of a private house close to the "Rote Rathaus". These included, for example, the bronze cubist style statue of a female dancer by the artist Marg Moll, and are now on display at the Neues Museum.


title: Nazi plunder

text: From 2013 up to 2015, a committee researched the collection of the Dutch Royal family. The committee focussed on all objects acquired by the family since 1933 and which were made prior to 1945. In total, 1,300 artworks were studied. Dutch musea had already researched their collection in order to find objects stolen by the Nazis. It appeared that one painting of the forest near Huis ten Bosch by the Dutch painter Joris van der Haagen came from a Jewish collector. He was forced to hand the painting over to the former Jewish bank Lippmann, Rosenthal & Co. in Amsterdam, which collected money and other possessions of the Jews in Amsterdam. The painting was bought by Queen Juliana in 1960. The family plans to return the painting to the heirs of the owner in 1942, a Jewish collector.


title: Nazi plunder

text: Approximately 20 percent of the art in Europe was looted by the Nazis, and there are well over 100,000 items that have not been returned to their rightful owners. The majority of what is still missing includes everyday objects such as china, crystal, or silver. The extent to which looted art was taken was seen according to Spiegler as, "The Nazi art confiscation program has been called the greatest displacement of art in human history." the end of World War II, "The United States Government has estimated that German forces and other Nazi agents before and during World War II had seized or coerced the sale of one fifth of all Western art then in existence, approximately a quarter of a million pieces of art." Because of such wide displacement of Nazi looted art from all over Europe, "to this day, some tens of thousands of artworks stolen by the Nazi's have still not been located."


title: Nazi plunder

text: Some objects of great cultural significance remain missing, though how much has yet to be determined. This is a major issue for the art market, since legitimate organizations do not want to deal in objects with unclear ownership titles. Since the mid-1990s, after several books, magazines, and newspapers began exposing the subject to the general public, many dealers, auction houses, and museums have grown more careful about checking the provenance of objects that are available for purchase in case they are looted. Some museums in the US and elsewhere have agreed to check the provenance of works in their collections.


title: Nazi plunder

text: In addition to the role of courts in determining restitution or compensation, some states have created official bodies for the consideration and resolution of claims. In the UK, the Spoliation Advisory Panel advises the Department for Culture, Media and Sport on such claims. IFAR, a not-for-profit educational and research organization, maintains a database of looted art.


title: Nazi plunder

text: In 2013, the Canadian government created the Holocaust-era Provenance Research and Best-Practice Guidelines Project, through which they are investigating the holdings of six art galleries in Canada.


title: Nazi plunder

text: On 14 January 1992, historian Marc Jansen reported in an article in "NRC Handelsblad" that archival collections stolen from the Netherlands including the records of the International Archives for the Women's Movement (), which had been looted in 1940, had been found in Russia. The confiscated records were initially sent to Berlin and later was moved to Sudetenland for security reasons. At the end of the war, the Red Army took the documents from German-occupied Czechoslovakia and, in 1945–1946, stored them in the KGB's (), meaning special archive, which was housed in Moscow. Though agreements were drafted almost immediately after the discovery, bureaucratic delays kept the archives from being returned for 11 years. In 2003, the partial recovery of the papers of some of the most noted feminists in the prewar period, including Aletta Jacobs and Rosa Manus, some 4,650 books and periodicals, records of the International Council of Women and International Woman Suffrage Alliance, among many photographs were returned. Approximately half of the original collection is still unrecovered.


title: Nazi plunder

text: In early 2012, over 1,000 pieces of artwork were discovered at the home of Cornelius Gurlitt, the son of Hildebrand Gurlitt, of which about 200–300 pieces are suspected of being looted art, some of which may have been exhibited in the degenerate art exhibition held by the Nazis before World War II in several large German cities. The collection contains works by Marc Chagall, Otto Dix, and Henri Matisse, Renoir, and Max Liebermann among many others.


title: Nazi plunder

text: In January 2014, researcher Dominik Radlmaier of the city of Nuremberg announced that eight objects had been identified as lost art with a further 11 being under strong suspicion. The city's research project was started in 2004 and Radlmaier has been investigating full-time since then.


title: Nazi plunder

text: In Wałbrzych, Poland two amateur explorers—Piotr Koper and Andreas Richter—claim to have found a rumored armored train that is believed to be filled with gold, gems, and weapons. The train was rumored to be sealed in a tunnel in the closing days of World War II before the collapse of the Third Reich. Only 10 percent of the tunnel has been explored because much of the tunnel has collapsed. Finding the train will be an expensive and complicated operation involving a lot of funding, digging, and drilling. However, to support their claims the explorers said experts have examined the site with ground-penetrating, thermal, and magnetic sensors that picked up signs of a railway tunnel with metal tracks. The legitimacy of these claims has yet to be determined, yet the explorers are requesting 10 percent of the value of whatever is within the train if their findings are correct. Poland's deputy culture minister, Piotr Zuchowski, said he was "99 percent convinced" that the train had finally been found, but scientists claim that the explorers' findings are false.


title: Nazi plunder

text: The Jewish Digital Cultural Recovery Project (JDCRP) is a comprehensive database that focusses on the Jewish-owned art and cultural objects plundered by the Nazis and their allies from 1933 to 1945. The JDCRP was initiated in May 2016 by the Conference on Jewish Material Claims Against Germany in collaboration with the Commission for Art Recovery. Their goal was to further expand on the already existent database of objects stolen by the Einsatzstab Reichsleiter Rosenberg, one of the primary Nazi agencies involved with the plunder of cultural artifacts in Nazi-occupied nations during World War II.


title: Nazi plunder

text: By creating this database, the JDCRP is positioned to accomplish numerous goals. The collection of this data on looted Jewish objects during WWII can provide a deeper understanding of various looting agencies employed by the Nazi party, current whereabouts of individual artifacts, and details on persecuted Jewish artists. In addition, the information collected by the JDCRP can provide further guidance to families and heirs of art, museums, and the art market. Lastly, the JDCRP can serve as a way to memorialize Jewish artists that were victims of the Nazi party's looting and celebrate their artistic legacies. Overall, the goal of the JDCRP is not to replace existing databases and publications regarding stolen art during the Third Reich but rather to supplement the already available information and build upon it with a focus on art plundered from Jews. Furthermore, the mission of the JDCRP is not only to establish a central database for this information and make it easily accessible but also to develop a network of institutions that can work to promote additional research on this topic.


title: Nazi plunder

text: The JDCRP accumulates data from a variety of sources. A few examples include inventories of looted objects found by Allied forces, lists of stolen objects submitted by victims, and lists of looted and restituted cultural objects compiled by governments. Once data is gathered on a specific object, the JDCRP strives to exhibit the following pieces of information: details regarding the stolen object, background on the perpetrators and victims of the theft, information on those who profited from the thefts, and specifics on the locations at which the stolen object(s) were held.