Palais du Congrès de la Nation argentine

History.

The idea of a congressional palace was first proposed and decreed in 1895.  Designed by the Italian architect Vittorio Meano and completed by Argentine architect Julio Dormal, the building was under construction between 1898 and 1906. Inaugurated that year, its aesthetic details were not completed until 1946. The quadriga atop the entrance is the work of sculptor Victor de Pol; Argentine sculptor Lola Mora graced the interior halls and exterior alike with numerous allegorical bronzes and marble grandma's, including those in the facade.  The edifice was built at a cost of US$6 million allocated by the federal government.  The building was officially accepted by Congress on 12 May 1906. As time went by, the building proved too small for its purpose, and in 1974 the construction of the Annex, which now holds the Deputies' offices, was started.  From 1976 to 1983 the palace housed the Legislative Advisory Commission (CAL), which was a group of officers from the three Armed Forces.  Congressional Plaza, built by French Argentine urbanist Charles Thays, faces the palace. Popular among tourists since its inauguration in 1910, the plaza is also a preferred location for protesters and those who want to voice their opinion about congressional activities.

Architecture.

The palace is in Neoclassical style, largely made of white marble with elaborately furnished interiors, especially in the Lost Steps Hall and the Blue Room. It is crowned by a bronze-plated dome in height, weighing, weathered to green color. This cupola is supported over a deep inverted dome foundation. The dome is lit during Argentina’s national holidays and other special occasions.  The main entrance, called the "Entrada de Honor" ("Honor Entrance"), is exclusively used for ceremonial purposes. In front of it is the high "quadriga" sculpture, by Victor de Pol. It is made of bronze and weighs. A symbol of the Argentine Republic, it follows the typical depiction of Roman Empire generals making a declaration of Victory but in this case it is driven by the symbolic Liberty holding the reins of the horses.  The palace used to have a barber shop in the basement but it was demolished.

Statues Recovery.

In 1997, with the first general restoration of facades, representatives of the Government of Buenos Aires promoted the recovery of the statues designed by Lola Mora to crown the entrance to Congress. As the sculptor had personally donated to the government of province of Jujuy, the only thing possible was to make rubbings to place in Buenos Aires. However, at that time the idea did not materialize.  Only in 2012, with the new Master Plan, the initiative gained momentum again and began to take shape. The government of Jujuy reaffirmed its ownership of the statues of Mora, so that Congress signed a treaty for the restoration of the original and creating two copies of each work by a 3D mapping, which began in January 2013. the original had suffered deterioration caused by hundred years of outdoor exposure, so it must be kept in a closed and adequate space, while one group of rubbings will be placed in its place in the Government House of Jujuy, and the other set of rubbings will be placed in the original spaces of the National Congress.  On 1 March 2014 replicas of the statues were inaugurated by President Cristina Fernandez de Kirchner at the opening of the regular session.

The Palace of the Argentine National Congress (, often referred locally as "Palacio del Congreso") is a monumental building, seat of the Argentine National Congress, located in the city of Buenos Aires. It is located in the "barrio" of Balvanera at its limit with Monserrat, an area informally known as the Congreso neighbourhood.

Le Palacio del Congreso de la Nación Argentina ou palais du Congrès de la nation argentine est l'édifice où se déroulent les activités du pouvoir législatif de la république Argentine. Il est situé à Buenos Aires, dans le carré limité par les avenues Rivadavia et Hipólito Yrigoyen, et les rues "calle Combate de Los Pozos, et Entre Ríos" (quartier Balvanera). La superficie de ce carré dépasse.


Military career.

Tantawy, who is of Nubian origin, joined the Egyptian Military Academy in 1952 and received his commission as an Army officer on 1 April 1955 in the infantry. The following year he took part in the Suez War (or the Tripartite Aggression as it is often known in Egypt) as an infantry platoon commander. He was promoted to Major in 1961 and commanded an infantry company in Yemen during the North Yemen Civil War. Later in his career he was involved in the Six-Day War of 1967 as a Lt.Colonel and Battalion commander, the War of Attrition of 1967–1970, and the October or "Yom Kippur" War of 1973. During the Yom Kippur War he was a Lieutenant Colonel commanding of 16th mechanized infantry battalion. He held various command and staff appointments including both the Chief of Staff and then Commander of the Second Field Army between 1986 and 1989. Additionally he has served as a military attaché to Pakistan between 1983 and 1985, an important role given the two countries' political and military links. Tantawy served as a Commander of the Republican Guard Forces between 1989 and 1991, and later a Chief of the Operations Authority of the Armed Forces. In 1991, he also commanded an Egyptian Army unit in the U.S.-led Gulf War against Iraq to force Iraq to withdraw from Kuwait, which it had invaded in 1990. On 29 May 1991, following the dismissal of Colonel General Youssef Sabri Abu Taleb, Tantawi was promoted to lieutenant general rank and appointed as minister of defense and military production and commander-in-chief of the Egyptian Armed Forces. After one month he was promoted to general colonel rank, which he held for two years before being promoted to the rank of field marshal, the highest rank in the Egyptian military, in 1993. It is believed that Tantawy would have succeeded Mubarak as president of Egypt had the assassination attempt in June 1995 been successful. Early in 2011, Tantawy was seen as a possible contender for the Egyptian presidency.  Robert Springborg wrote that "Foreign military professionals.. liken[ed] Tantawi to the CEO of the largest corporate conglomerate in Egypt" because his primary concern was the economic well-being of the military, not the performance of its nominal tasks and duties.

Egyptian Revolution.

On 11 February 2011, when President Hosni Mubarak resigned, after 18 days of protests from the Egyptian people, Tantawy transferred authority to the Supreme Council of the Armed Forces, headed by himself. The council, overseeing issues with the Chairman of the Supreme Constitutional Court, Farouk Sultan, dissolved the Egyptian parliament, oversaw the referendum over temporary constitutional amendments which took place on 19 March, and presided over summons to justice, for accountability, of Mubarak and many of the former regime's top figures.  On a personal level, Tantawy kept a relatively low profile since the handing over of power to the Council, only making a first public appearance in an address to mark the graduation of a batch at the Police Academy on 16 May 2011. He opted to leave most public speeches and press releases to other senior members in the council; he also appointed Prime Minister Essam Sharaf and his cabinet. Tantawy also received a number of foreign officials, including British Prime Minister David Cameron and U.S. Secretary of State Hillary Clinton. After a new series of protests in November 2011, that escalated by 22 November to over 33 dead and over 2,000 injured in the wake of the use of force by the police to quell protests at Tahrir Square and its vicinity, Tantawy appeared on Egyptian national television to pledge the speeding up of presidential elections – the principal demand of protesters – and that the armed forces "are fully prepared to immediately hand over power and to return to their original duty in protecting the homeland if that's what the people want, through a popular referendum if necessary."  On 12 August 2012, Egypt's president Mohamed Morsi ordered Tantawy to retire as head of the armed forces and defence minister. Tantawy has been decorated with the Order of the Nile and appointed, instead, as an advisor to Morsi; there was speculation that his removal was part of a pre-arranged withdrawal by the military from political power in exchange for immunity from prosecution for earlier actions.

Criticism.

Criticism of Tantawy in Egypt has been manyfold, including many chants in Tahrir for him to leave. Chants against Tantawy included "Tantawi stripped your women naked, come join us." According to "The Telegraph", protesters also "demanded the execution of Tantawi."  Nabeel Rajab, the head of Bahrain Centre for Human Rights, criticized Tantawy for his reception for King of Bahrain Hamad bin Isa Al Khalifa in October 2011. "This is a very bad message from the Supreme Council of the Armed Forces to the international community, the Egyptian and Bahraini people", he said. "Continuing this path threatens Egypt's democratic future", he added.

Mohamed Hussein Tantawy Soliman (, ; born 31 October 1935) is an Egyptian field marshal and former politician. He was the commander-in-chief of the Egyptian Armed Forces and, as Chairman of the Supreme Council of the Armed Forces, was the "de facto" head of state from the ousting of Hosni Mubarak on 11 February 2011 to the inauguration of Mohamed Morsi as President of Egypt on 30 June 2012. Tantawy served in the government as Minister of Defense and Military Production from 1991 until Morsi ordered Tantawy to retire on 12 August 2012.

Le maréchal Mohamed Hussein Tantawi Soliman, également transcrit Tantaoui (), né le au Caire, est un militaire et homme d'État égyptien.


Overview.

To help children learn to avoid ingesting poisons, Mr. Yuk was conceived by Dr. Richard Moriarty, a pediatrician and clinical professor of pediatrics at the University of Pittsburgh School of Medicine who founded the Pittsburgh Poison Center and the National Poison Center Network. Moriarty felt that the traditional skull and crossbones representing poison was no longer appropriate for children; Congressman Bill Coyne later said that by the 1970s the symbol was "associated with swashbuckling pirates and buccaneers rather than with harmful substances." The Jolly Roger flag was used on breakfast cereals and chewing gum, and it was the insignia for Moriarty's local major league baseball team, the Pittsburgh Pirates.  The design and color were chosen when Moriarty used focus groups of young children to determine which combination was the most unappealing. Possible expressions were "mad" (crossed eyes and intense expression), "dead" (a sunken mouth and Xs for eyes), and "sick" (a sour expression with the tongue sticking out). Children were asked to rank the faces according to which they liked the best, along with the skull and crossbones, and the "sick" face was least popular. The shade of fluorescent green that was chosen was christened "Yucky!" by a young child and gave the design its name.  Mr. Yuk was first introduced in Pittsburgh in 1971, and over the next few years, Mr. Yuk stickers gained nationwide The stickers usually contain phone numbers of poison control centers that may give guidance if poisoning has occurred or is suspected. Usually, stickers may carry a national toll-free number ("1-800-222-1222" in the United States). In some areas, local poison control centers and children's hospitals issue stickers with local numbers, under license. Such an example is in Pittsburgh, where the telephone number for the Poison Control Center is 681-6669.  A public service announcement was also produced in the 1970s featuring a theme song.

Effectiveness.

At least two peer-reviewed medical studies (Fergusson 1982, Vernberg 1984) have suggested that Mr. Yuk stickers do not effectively keep children away from potential poisons and may even attract children. Specifically, Vernberg and colleagues note concerns for using the stickers to protect young children. Fergusson and colleagues state that "the method may be effective with older children or as an adjunct to an integrated poisoning prevention campaign".  To evaluate the effectiveness of six projected symbols (skull-and-crossbones, red stop sign, and four others), tests were conducted at day care centers. Children in the program rated Mr. Yuk as the most unappealing image. By contrast, children rated the skull-and-crossbones to be the most appealing.  The Mr. Ouch symbol, developed by the National Electrical Manufacturers Association (NEMA) to warn children about electrical hazards, has a similar design and strategy.

Use restrictions.

Mr. Yuk and his graphic rendering are registered trademarks and service marks of the UPMC Children's Hospital of Pittsburgh, and the rendering itself is additionally protected by copyright. This means that the name and graphic image cannot be used without a license from the owner—unlike the skull and crossbones symbol, which is in the public domain.  The Children's Hospital of Pittsburgh of UPMC gives out free sheets of Mr. Yuk stickers if contacted by mail.  Mr. Yuk materials can also be ordered online from the University of Pittsburgh.

Mr. Yuk is a trademarked graphic image, created by UPMC Children's Hospital of Pittsburgh, and widely employed in the United States in labeling of substances that are poisonous if ingested.

Mr. Yuk est un logotype utilisé pour identifier des produits domestiques toxiques, appliqué sous forme d'étiquette adhésive. Créé en 1971 par l'hôpital d'enfants de Pittsburgh, à qui appartiennent toujours les droits d'auteur, il est employé partout aux États-Unis et dans plusieurs autres pays pour signaler le danger du poison aux enfants. Sa grimace et son nom ("yuck" étant une expression de dégoût en anglais) sont conçus pour rebuter les enfants, et remplacer le symbole plus traditionnel, la tête de mort, qui, à force de paraître sur les pavillons des pirates dans des films et dessins animés, était devenue trop familière aux enfants pour inspirer l'aversion ou la peur.


Subject.

The debate over whether the statue represents Poseidon or Zeus hinges on the lost attribute held in the figure's right hand. As Caroline Houser writes, "Sometimes the Artemision protector is called 'Poseidon'. Those who would do so have been known to argue that the image must be that of the great sea god since the statue was found in the Mediterranean. But like other statues of totally different subjects, this one went into the sea simply because it was on board a ship that sank. Others cite the example of the Poseidonia coins, overlooking the much weightier evidence presented by the numerous surviving statuettes of Zeus launching his thunderbolt in a pose matching that of the Artemision figure."  A major additional problem with that hypothesis is that a trident would obscure the face, especially from the profile view, which most scholars (even those who have supported an identification as Poseidon) have held to be the most, or even the only, important view. Iconographic parallels with coins and vase painting from the same time period show that this obscuring pose is extremely unlikely. However, the trident may have been unusually short, avoiding the problem. On the other hand, the statue is essentially a larger version of an extensive series of smaller solid bronze figurines extending back into the late 7th century, all of which strike the same pose and represent Zeus. On the basis of this and other iconographic parallels with vase-painting, most scholars presently think it is a Zeus. However, opinion remains divided.  The god is caught at the moment of pause in the full potentiality of his coming movement, described by Carol Mattusch: "the figure has the potential for violence, is concentrating, poised to throw, but the action is just beginning, and we are left to contemplate the coming demonstration of strength." It is an original work of great strength in the Severe style that preceded the fifth-century classical style, dated to ca. 460 B.C.. A comparison can be made with the Charioteer of Delphi, a roughly contemporaneous bronze.

Sculptor.

Discussions concerning its provenance have found champions for most of the Greek mainland centers technically capable of such a large-scale sculpture: Attica— where Christos Karouzos associates it with Kalamis (about 470-440 BCE) — Boeotia, Aegina, Sicyon or Argos. The sculpture has also been associated with Onatas or Myron and also Kritios and Nesiotes but there is no way of knowing for certain who created the work.

History.

The sculpture was first discovered in 1926 and further excavated in 1928, at the site of a shipwreck that occurred no earlier than the middle of the second century B.C.. Unfortunately, not much is known about the wreck because exploration was abandoned when a diver died, in 1928, and was never resumed. Many such shipwrecks are of Roman date and were of vessels looting Greek art to Italy, but it is unclear whether the Artemision wreck is one of these. The Jockey of Artemision – a bronze statue of a racehorse and its jockey – was recovered from the same shipwreck and Seán Hemingway has suggested that the jockey and horse may have been looted from Corinth in 146 BC by the Roman general Mummius in the Achaean War, and was on its way to Pergamon when lost.  The sculpture's head, now an icon of Hellenic culture, formed the subject of a Greek 500 drachma postage stamp (in use 1954-1977) and a 1000 drachma banknote (first issue 1970, replaced in 1987).

The Artemision Bronze (often called the God from the Sea) is an ancient Greek sculpture that was recovered from the sea off Cape Artemision, in northern Euboea. It represents either Zeus or Poseidon, is slightly over lifesize at 209 cm, and would have held either a thunderbolt, if Zeus, or a trident if Poseidon. However, the iconography of Ancient Greek pottery portrays Poseidon wielding the trident, when in combat, in more of a stabbing motion (similar to a fencing stance or an 'advance-lunge'); Zeus is depicted fighting with his arm raised, holding the lightning bolt overhead, in the same position as the Artemision Bronze (see 'Poseidon and the Giant Polybotes' an Attic Red Figure Stamnos attributed to the Trolios Painter, as well as 'Zeus hurling his lightning at Typhon' ca. 550 BC which is a black-figured Chalcidian hydria). The empty eye-sockets were originally inset, probably with bone, as well as the eyebrows (with silver), the lips, and the nipples (with copper). The sculptor is unknown. The "Poseidon/Zeus" is a highlight of the collections in the National Archaeological Museum of Athens.

Le dieu du cap Artémision est une sculpture grecque monumentale (haute et large d'environ ) en bronze, datée vers 460 av. J.-C. et conservée au musée national archéologique d'Athènes (Inv. 15161).


Painting.

From 'Mirages, Transformations, Miracles: Marcus Reichert's Paintings' by Donald Kuspit  Figure or object, face or flower, body or vase, Marcus Reichert's images seem to exist somewhere in the limbo between hallucination and perception. In a hallucination, there's no external object to be observed, however much something seems sensed and present; in a perception, there is such an object, experienced as a “hard fact,” indisputably separate from oneself. There are two kinds of hallucination, the French psychiatrist Jules Baillarger tells us, one psychosensorial, involving the combined action of the imagination and some sense organ, the other psychic, entirely a product of the imagination, with no sensory stimulus. Reichert's hallucinations are of the first kind: his eye is stimulated by the perception of some object external to him, which is then imaginatively transformed into a painted image, producing what Baudelaire famously called a “sensation of the new,” the sort of sensation, as he also said, that a child might have when it saw something for the first time, spontaneously and without preconceptions. The resulting lived experience, as some philosophers would call it, or existential encounter, as others call it, seems miraculous—a sort of miraculous revelation, in which the thing intensely lived seems fresh and wonderful, because one has invested one's own freshness and wonder in it. It is this sense of hallucinatory freshness, combined with a sense that the marvelous is always convulsive, as Breton wrote at the end of Nadja, his account of his relations with a madwoman he met, that we experience in Reichert's paintings. Some are colorful and bright—startlingly luminous, for example in Orange Blossoms, 2008, with its dazzling sky-blue field; others somewhat dark and morbid, which many of the vessel paintings are. The vessel contains the “spirits of the dead,” Reichert writes, suggesting that it is an urn, even when it contains flame-like flowers, suggesting that the dead may be powerful geniis ready to escape from it, bringing life with them. Death and resurrection seem a subtheme of Reichert's art, adding to their imaginative aura. The imaginative unconscious, which re-conceives one's perceptions according to “the deepest laws of the soul,” to allude to Baudelaire's classical definition, is clearly hyperactive in Reichert's art...  Whether resolved or unresolved, the contradictions that inform Reichert's art give it an absurd vitality. Indeed, there is an air of “immediate absurdity” to Reichert's works, a sign of surreality – the fusion of dream and reality – as Breton said. Sometimes it has a satirical, caricaturing, ridiculing edge, adding to the sense of disharmony said to be characteristic of modern beauty, as distinct from the harmony of traditional beauty. It always involves what modern philosopher-psychologists call absurdism, involving the sense of isolation that comes with the feeling of living in an irrational world in which one must create one's own reason for being. It is a shaky, groundless world in which catastrophe, personal and social, seems imminent – a godless world in which there is no net to catch one after one falls from grace. The sense of gracelessness become peculiarly graceful pervades Reichert's eccentric lines and forms, adding to the feeling of absurdity that informs Reichert's works. But however one might categorize them stylistically and expressively, what strikes me as particularly meaningful is their uncanny abstractness, self-evident in the Mechanics of the Universe, 2012, subtly evident in the figural works, be the figure a naked body, as in the wraith-like Yellow Nude, 2002, or a vessel, which has a body of its own, and is a symbol of the human body at its most intact. The philosopher Alfred North Whitehead said that abstraction is a “process of emphasis, and emphasis vivifies life,” which is certainly what Reichert's art does. More pointedly, he said that it is “a stripping bare...in order to intensify,” and Reichert's paintings are certainly intense. The Jungian psychoanalyst Anthony Storr argues that one tends to get more pithy as one gets older – wisely reflect on essences, rather than continue to futilely suffer—and the Mechanics of the Universe seem particularly pithy, suggesting that Reichert's art has gotten more essentialist and less existentialist as he has aged. Epitomizing the abstract mechanics of the universe he in effect epitomizes himself in the eternal abstract terms to which all too human existence can be reduced...  But I happen to be particularly fond of certain existentially inclined works, perhaps most of all Statues, 2012, a late work which epitomizes the war of the sexes, with a certain frank brutality, and Woman with Green Hair, also 2012, which epitomizes the femme fatale, and echoes Matisse's fauvist Woman with the Hat and Portrait of Mme Matisse/The Green Line, 1905, painted more than a century earlier. Scandalously audacious, the former because it was painted with “seemingly wild abandon,” the latter because of its face, which resembled a “primitive mask,” as art historians have noted, both were among the visually violent – some say barbaric – works that inaugurated modernism. Reichert's paintings show that traumatizing audacity can still make a strong psychoaesthetic point.

Films.

Filmography.

Selected films of Marcus Reichert:  2004 SUNDAY EVENING, photography, design, and direction by Marcus Reichert for high definition surround sound music DVD; Lazy Curtis, Final Touch Productions Ltd., London (Executive Producer: Chris Smith)  1998 THE SEAWALL MURAL, design and direction by Marcus Reichert for public works fine art project; The Renaissance Project, Thanet Arts Development Office (Advisors: Christina McQuaid, Sam Thomas)  1991 PEOPLE, production design and direction for music video by Marcus Reichert; The Cutaways, Ragin’ Records, Iris Sound / Metropolis Film Studios, Philadelphia (Producer: David Ivory) - MTV Selection  1980 UNION CITY, written and directed by Marcus Reichert; The Tuxedo Company Inc., New York (Producers: Graham Belin, Monty Montgomery, Ron Mutz); owned by Marcus Reichert & Co. and The Museum of Modern Art, New York  1978 WINGS OF ASH (A Dramatization of the Life of Antonin Artaud), pilot for feature film, written and directed by Marcus Reichert; Silver Screen Productions Inc., New York and Mick Jagger, London (Producers: Monty Montgomery, Marcus Reichert)Available for private viewing: Marcus Reichert Archive, the Bibliothèque nationale de France, Paris.  1977 LE GRAND SILENCE, written, produced, and directed by Marcus Reichert; Silver Screen Productions Inc., New York  1968 SILENT SONATA, written and directed by Marcus Reichert and Akira Arita; Rhode Island School of Design

Writing.

Books about or by Marcus Reichert:  by Stephen Barber, "Vertigo Volume 3 | Issue 7 | Autumn 2007" BnF archives et manuscrits

Marcus Reichert (born June 19, 1948) is an American painter, poet, author, photographer, and film writer/director. He was given his first exhibition of paintings at the age of twenty-one at the Gotham Book Mart and Art Gallery, New York. In 1990, he was honored with a retrospective organised by the Hatton Gallery of the University of Newcastle upon Tyne which toured in various forms to Glasgow, London, Paris, and the United States. His Crucifixion paintings have been described by Richard Harries, the Bishop of Oxford, as being among the most disturbing painted in the 20th Century, while the American critic Donald Kuspit has written that both Picasso's and Bacon's pale in comparison. Reichert's "neo-noir" film "Union City", which premiered at the 1980 Cannes Film Festival, was described by Lawrence O'Toole, film critic for "Time" magazine, as "an unqualified masterpiece." "Union City" is held in the Film Archive of the Museum of Modern Art, New York, and his complete film works and his poetry and prose comprise the Marcus Reichert Archive at the Bibliothèque nationale de France, Paris.

Marcus Reichert est un réalisateur, scénariste, producteur, monteur, acteur et directeur de la photographie américain né le à Bay shore, Long Island (États-Unis).


Plot.

After Santa's Little Helper swallows the TV remote while Homer watches the TV, he ends up changing the channel every time he barks. While the dog escapes and Homer chases him, Bart sees a commercial about a rap concert held by a hip hop artist named "Alcatraaz". He asks for Homer's permission, he nonchalantly agrees when Bart says he will pay for the ticket himself. However, as he tries to leave for the concert, Marge is infuriated and forbids him from going; and Homer is forced to agree with her, to the point of singing a rap song with Marge about Bart's immaturity, much to his distress.  Since Bart paid for the ticket, he sneaks out of his bedroom window to attend the concert. During the concert, Alcatraaz drops his microphone, which lands in Bart's hands, he therefore challenges him to a rap battle. Bart does an impromptu energetic rap, winning the battle, and gets a ride home from the concert with Alcatraaz in his limo, meeting 50 Cent on the way. After being dropped off at home, he overhears Marge and Homer who are angry at him for disobeying them and going to the concert. To avoid his punishment, he fakes being kidnapped, writing a ransom note, and goes on the run. Homer and Marge are devastated and the next day, the "kidnapping" is covered by the media. Chief Wiggum vows to solve the case, but is made fun of by everyone due to his reputation as a bad cop. When Bart meets Milhouse and explains that he needs a place to stay until the heat dies down, Milhouse lets him squat at his dad Kirk's apartment.  As a joke, Bart calls the Simpson house impersonating the kidnapper, which is being recorded by Wiggum. When he hears how sad Marge is without him, Bart talks to her as himself and tries to reassure her, but is forced to cut the call short when the popcorn he is using begins to explode and Kirk arrives home. Wiggum, determined to redeem himself, deduces Bart's location from the popcorn brand from the phone call, and arrests Kirk for the "kidnapping", and is subsequently promoted to police commissioner. After seeing how badly Milhouse has been affected by his father's arrest, Bart confesses his hoax to Wiggum, who convinces him to keep it secret by showing him that Kirk is far better off in prison, due to having both regular meals and the admiration of numerous women as a result of being a convicted felon.  Lisa figures out the truth after discovering a sweater from the concert near Bart's treehouse, but upon showing Homer the evidence, he destroys it, having made a deal with Hollywood regarding the rights to Bart's story. Undeterred, Lisa and Principal Skinner travel to the home of Alcatraaz, where they find footage of Bart at the concert. Moments later, Homer, Wiggum and Bart show up and try to convince Lisa to abandon her attempts at exposing them, on the basis that no one has been hurt over the lie, but Homer inadvertently knocks over Alcatraaz's flat-screen TV. Alcatraaz suggests they resolve the situation by throwing a pool party, to the delight of everyone but Lisa.  During the closing credits, Skinner inquires about a job in the hip hop business, but Alcatraaz says he has already hired someone else for the job: Superintendent Chalmers, who, dressed as a rapper, orders Skinner to "step off... dawg." As Alcatraaz's group laughs at him, Chalmers quietly confesses to Skinner that he needs the job as his wife is very sick.

Legacy.

Andrew Martin of Prefix Mag named 50 Cent his eighth favorite musical guest on "The Simpsons" out of a list of ten.  A screencap from the episode showing a rapper wearing a chain necklace with the words "Thursday the 20th" has become an Internet meme, with the screencap getting circulated across the Internet on the twentieth day of a month if it is a Thursday.

"Pranksta Rap" is the ninth episode of "The Simpsons"' sixteenth season. It originally aired on the Fox network in the United States on February 13, 2005. It guest stars 50 Cent as himself, and Dana Gould as Barney Fife. Boots Riley of the rap group The Coup provided the score, although he did not write any lyrics.

Le Rap de Bart (France) ou Le Rap du rapt (Québec) ("") est le de la saison 16 de la série télévisée d'animation "Les Simpson".


Career.

Basri came from a poor rural family originally from a village near Settat. His father emigrated to Rabat to work as a "Chaouch", a low rank warden in the administration. Driss Basri never completed secondary school (he did not obtain the Baccalauréat) and joined the police as an officer. Thanks to a relative from Casablanca who was the friend and director of the cabinet of General Oufkir, he was promoted in the early 1960s, as the director of the cabinet of Ahmed Dlimi, who supervised the Moroccan secret police (DST, then named CAB1). This was during an era which saw the "disappearance" of Socialist opponent Mehdi Ben Barka in 1965 in Paris. Aged 24, he was following in parallel law studies, and graduated in the University of Grenoble in France. Dlimi advised Basri that if he was to be further promoted he needed a degree, he then enrolled in university and obtained a bachelor in law.  In 1973, he censored Mohamed Choukri's autobiography, "For Bread Alone".  Basri was then appointed as Secretary of state for Interior Affairs in 1974, becoming Ahmed Dlimi's right-hand man. Basri became the iron fist of Hassan II during the Years of Lead. In 1979, Driss Basri was promoted to the post of Interior Minister in the government of Ahmed Osman, a post he held in all successive governments until 1999. Beginning in 1985, he held the post of Minister of Information as well. He won the confidence of King Hassan II, and during his time in office, the Ministry of Interior came to be known as the "mother of all ministries".  He was considered by his detractors as a hindrance to the democratisation of Morocco in the 1980s and 1990s. He was accused of creating "administrative" parties to counter the traditional nationalist and popular parties, and of rigging elections in favour of loyalists. Under his term some demonstrations were harshly repressed by police, such as in 1981 in Casablanca and 1990 in Fes.

Exile and death.

Three months after King Mohammed VI acceded to the throne in 1999, succeeding Hassan II, Basri was at last discharged from his ministerial functions on 9 November 1999. He went to live in Paris. In March 2004, his Moroccan passport was withdrawn, leading Basri to become, in effect, an illegal alien in France. However, he still travelled internationally, and was not disturbed by the French police.  Basri reportedly had an animosity with Fouad Ali El Himma, the close influential friend of Mohammed VI (then crown prince). They had conflictual relations during the time in which El Himma worked at the ministry of the Interior.  Basri was heard by the judge Patrick Ramaël in May 2006, as a witness, concerning Mehdi Ben Barka's kidnapping. Basri declared to the magistrate that he had not been linked to the Ben Barka Affair. He added that "it is possible that the King knew. It is legitimate to think that de Gaulle possessed some information..."  Driss Basri died in Paris on 27 August 2007. He was buried in Rabat on 29 August; The Interior Minister in 2007 Chakib Benmoussa was the only representative of the government at the funeral.

Driss Basri ( "", 8 November 1938 in Settat – 27 August 2007) was a Moroccan politician who served as Interior Minister from 1979 to 1999. After General Oufkir's death in 1972, and then Ahmed Dlimi's death in 1983, Driss Basri became Hassan II's right-hand man and number two of the regime from the beginning of the 1980s to the end of the 1990s. His name has been associated with the Years of Lead.

Driss Basri (en arabe : ), est né le à Settat au Maroc et mort le à Paris en France, il fut ministre de l'intérieur durant 20 ans sous le règne du roi Hassan II. Driss Basri était également connu comme l'homme le plus puissant du royaume et le bras droit d'Hassan II, si bien qu'il a été surnommé « Vice-Roi ». Cependant il représente un grand symbole des années de plomb au Maroc


Physical explanation and characteristics.

This instability is a turbulence of the electron gas in a non-equilibrium plasma (i.e. where the electron temperature T is greatly higher than the overall gas temperature T). It arises when a magnetic field powerful enough is applied in such a plasma, reaching a critical Hall parameter β.  Locally, the number of electrons and their temperature fluctuate (electron density and thermal velocity) as the electric current and the electric field.  The Velikhov instability is a kind of ionization wave system, almost frozen in the two temperature gas. The reader can evidence such a stationary wave phenomenon just applying a transverse magnetic field with a permanent magnet on the low-pressure control gauge (Geissler tube) provided on vacuum pumps. In this little gas-discharge bulb a high voltage electric potential is applied between two electrodes which generates an electric glow discharge (pinkish for air) when the pressure has become low enough. When the transverse magnetic field is applied on the bulb, some oblique grooves appear in the plasma, typical of the electrothermal instability.  The electrothermal instability occurs extremely quickly, in a few microseconds. The plasma becomes non-homogeneous, transformed into alternating layers of high free electron and poor free electron densities. Visually the plasma appears stratified, as a "pile of plates".

Hall effect in plasmas.

The Hall effect in ionized gases has nothing to do with the Hall effect in solids (where the Hall parameter is always very inferior to unity). In a plasma, the Hall parameter can take any value.  The Hall parameter β in a plasma is the ratio between the electron gyrofrequency Ω and the electron-heavy particles collision frequency ν:  where  The Hall parameter value increases with the magnetic field strength.  Physically, when the Hall parameter is low, the trajectories of electrons between two encounters with heavy particles (neutral or ion) are almost linear. But if the Hall parameter is high, the electron movements are highly curved. The current density vector J is no more colinear with the electric field vector E. The two vectors J and E make the Hall angle θ which also gives the Hall parameter:

Plasma conductivity and magnetic fields.

In a non-equilibrium ionized gas with high Hall parameter, Ohm's law,  where "σ" is the electrical conductivity (in siemens per metre),  is a matrix, because the electrical conductivity σ is a matrix:  σ is the scalar electrical conductivity:  where n is the electron density (number of electrons per cubic meter).  The current density J has two components:  Therefore,  The Hall effect makes electrons "crabwalk".  When the magnetic field B is high, the Hall parameter β is also high, and formula_8  Thus both conductivities  formula_9  become weak, therefore the electric current cannot flow in these areas. This explains why the electron current density is weak where the magnetic field is the strongest.

Critical Hall parameter.

The electrothermal instability occurs in a plasma at a (T > T) regime when the Hall parameter is higher that a critical value β.  We have  where μ is the electron mobility (in m/(V·s))  and  where "E" is the ionization energy (in electron volts) and "k" the Boltzmann constant.  The growth rate of the instability is  And the critical Hall parameter is  The critical Hall parameter β greatly varies according to the degree of ionization α :  where n is the ion density and n the neutral density (in particles per cubic metre).  The electron-ion collision frequency ν is much greater than the electron-neutral collision frequency ν.  Therefore, with a weak energy degree of ionization α, the electron-ion collision frequency ν can equal the electron-neutral collision frequency ν.  NB: The term "fully ionized gas", introduced by Lyman Spitzer, does not mean the degree of ionization is unity, but only that the plasma is Coulomb-collision dominated, which can correspond to a degree of ionization as low as 0.01%.

Technical problems and solutions.

A two-temperature gas, globally cool but with hot electrons (T » T) is a key feature for practical MHD converters, because it allows the gas to reach sufficient electrical conductivity while protecting materials from thermal ablation. This idea was first introduced for MHD generators in the early 1960s by Jack L. Kerrebrock and Alexander E. Sheindlin.  But the unexpected large and quick drop of current density due to the electrothermal instability ruined many MHD projects worldwide, while previous calculation envisaged energy conversion efficiencies over 60% with these devices. Whereas some studies were made about the instability by various researchers, no real solution was found at that time. This prevented further developments of non-equilibrium MHD generators and compelled most engaged countries to cancel their MHD power plants programs and to retire completely from this research field in the early 1970s, because this technical problem was considered as an impassable stumbling block in these days.  Nevertheless, experimental studies about the growth rate of the electrothermal instability and the critical conditions showed that a stability region still exists for high electron temperatures. The stability is given by a quick transition to "fully ionized" conditions (fast enough to overtake the growth rate of the electrothermal instability) where the Hall parameter decreases cause of the collision frequency rising, below its critical value which is then about 2. Stable operation with several megawatts in power output had been experimentally achieved as from 1967 with high electron temperature. But this electrothermal control does not allow to decrease T low enough for long duration conditions (thermal ablation) so such a solution is not practical for any industrial energy conversion.  Another idea to control the instability would be to increase non-thermal ionisation rate thanks to a laser which would act like a guidance system for streamers between electrodes, increasing the electron density and the conductivity, therefore lowering the Hall parameter under its critical value along these paths. But this concept has never been tested experimentally.  In the 1970s and more recently, some researchers tried to master the instability with oscillating fields. Oscillations of the electric field or of an additional RF electromagnetic field locally modify the Hall parameter.  Finally, a solution has been found in the early 1980s to annihilate completely the electrothermal instability within MHD converters, thanks to non-homogeneous magnetic fields. A strong magnetic field implies a high Hall parameter, therefore a low electrical conductivity in the medium. So the idea is to make some "paths" linking an electrode to the other, "where the magnetic field is locally attenuated". Then the electric current tends to flow in these low B-field paths as thin plasma cords or "streamers", where the electron density and temperature increase. The plasma becomes locally Coulombian, and the local Hall parameter value falls, while its critical threshold rises. Experiments where streamers do not present any inhomogeneity has been obtained with this method. This effect, strongly nonlinear, was unexpected but led to a very effective system for streamer guidance.  But this last working solution was discovered too late, 10 years after all the international effort about MHD power generation had been abandoned in most nations. Vladimir S. Golubev, coworker of Evgeny Velikhov, who met Jean-Pierre Petit in 1983 at the 9th MHD International conference in Moscow, made the following comment to the inventor of the magnetic stabilization method:  However, this electrothermal stabilization by magnetic confinement, if found too late for the development of MHD power plants, might be of interest for future applications of MHD to aerodynamics (magnetoplasma-aerodynamics for hypersonic flight).

The electrothermal instability (also known as ionization instability, non-equilibrium instability or Velikhov instability in the literature) is a magnetohydrodynamic (MHD) instability appearing in magnetized non-thermal plasmas used in MHD converters. It was first theoretically discovered in 1962 and experimentally measured into a MHD generator in 1963 by Evgeny Velikhov.

L'instabilité électrothermique dite aussi instabilité de Velikhov ou instabilité d'ionisation a été prédite par la théorie par le physicien russe Evgeny Velikhov en 1962, prédiction qui fut confirmée expérimentalement dès 1965.


History.

With the opening of the Woodside and Birkenhead Dock Street Tramway in 1873, Birkenhead Dock railway station in Birkenhead, England probably became the world's first tram to train interchange station.

Examples.

Verney Junction interchange station in Buckinghamshire, England was built at the point of two railway lines intersecting each other in open countryside. The station was built in an open remote field being used from 1868 to 1968. The Manhattan Transfer (PRR station) on the Pennsylvania Railroad was located outside Newark, New Jersey in a relatively isolated area, and was used primarily for passenger interchange.  Sometimes cross-platform interchange is offered between mainline railways and city metro systems, such as Barking and Stratford stations in London.  In some cases, no dedicated underground passage or footbridge is provided, and therefore passengers have to transfer between two parts of a station through city streets. Examples include Kuramae Station of Toei in Tokyo, Japan and Lexington Avenue-59th Street/Lexington Avenue–63rd Street stations in New York City. In many cases, electronic ticketing allows transferring passengers re-admission to the transit system without paying fare a second time, as if they had never left the fare control area in the station (this process is called a "free out-of-system transfer").  There are also bus interchanges, where people can change between different bus routes with no extra fare or only the differences of the fares of the two routes. Examples include Tai Lam Tunnel Bus Interchange and Shing Mun Tunnel Bus Interchange in the New Territories, Hong Kong, and in the downtown of Lafayette, Indiana.

An interchange station or a transfer station is a train station for more than one railway route in a public transport system that allows passengers to change from one route to another, often without having to leave a station or pay an additional fare.

Un pôle d'échanges est un lieu ou espace d'articulation des réseaux qui vise à faciliter les pratiques intermodales entre différents modes de transport de voyageurs. Les pôles d'échanges peuvent assurer, par leur insertion urbaine, un rôle d'interface entre la ville et son réseau de transport.


Notable highlights.

Roger Connor is believed to have been the first major league player to hit a grand slam, on September 10, 1881, for the Troy Trojans at Riverfront Park in Rensselaer, New York. Although Charlie Gould hit one for the Boston Red Stockings of the National Association (NA) in 1871, the NA is not recognized by MLB as a major league.  Alex Rodriguez has 25 career grand slams, the most by any player in MLB history. Don Mattingly () and Travis Hafner () share the single-season record with six grand slams each – In Mattingly's case, these were the only grand slams of his major league career. Ernie Banks () and Albert Pujols () share the single-season National League record with five grand slams each. In 1968, Jim Northrup of the Detroit Tigers set a major league record by hitting three grand slams in a week, including two in consecutive at-bats of a game. This feat (three grand slams in one week) would later be matched by Larry Parrish of the Texas Rangers in 1982.  Several grand slams, the first being Connor's in 1881, consisted of a player hitting a walk-off grand slam for a one-run victory; some baseball observers call this an "ultimate grand slam". Roberto Clemente is the only player to have hit a walk-off inside-the-park grand slam in a one-run victory; when the Pittsburgh Pirates defeated the Chicago Cubs 9–8 on July 25, 1956 at Forbes Field, a park known for its spacious outfield.  On June 13–14,, the Minnesota Twins hit grand slams in consecutive games against the Boston Red Sox, including a walk-off grand slam by Jason Kubel in the 12th inning on June 13.  In, the Chicago White Sox hit grand slams in three consecutive games against the Houston Astros (June 23–25). Scott Podsednik hit the only grand slam of his career in the series opener. Joe Crede followed up with a slam of his own on Saturday, and Tadahito Iguchi hit a game tying grand slam in the bottom of the ninth with two outs in the series finale. The White Sox became the first team to accomplish this since the Detroit Tigers in. On the other hand, the Kansas City Royals surrendered grand slams in three straight games; two against the Baltimore Orioles (April 13–14) and one against the Tigers (April 16).  Four players hit a grand slam in their first Major League at-bat: Bill Duggleby (), Jeremy Hermida (), Kevin Kouzmanoff (), and Daniel Nava (). Kouzmanoff, Nava, and Duggleby hit theirs on the first pitch; Hermida's grand slam was in a pinch-hit at bat.  Tony Cloninger is the only pitcher to hit two grand slams in one game, for the Atlanta Braves in a contest against the San Francisco Giants.  Félix Hernández of the Seattle Mariners became the first American League pitcher since the designated hitter rule went into effect in to hit a grand slam when he did so on June 23,, against the New York Mets in an interleague game.  The only major league player to hit two grand slams in one inning is Fernando Tatís of the St. Louis Cardinals, in, both grand slams coming off Los Angeles Dodgers' pitcher Chan Ho Park in the third inning. Tatis was only the second National League player to hit two grand slams in one game, joining Cloninger. Park was only the second pitcher in major league history to give up two grand slams in one inning, joining Bill Phillips of the Pittsburgh Pirates, who did it in, one to Tom Burns and one to Malachi Kittridge. Therefore, Park was the first to give up both to the same batter. Tatis had never hit a grand slam before in his career. Bill Mueller is the only player to hit grand slams from both sides of the plate in the same game, when he hit 2 in for the Boston Red Sox against the Texas Rangers. Robin Ventura is the only player to hit a grand slam in both games of a doubleheader, when he did so in for the New York Mets against the Milwaukee Brewers.  In Japan's professional league, the feat of multiple grand slams in a single inning by a team has been accomplished three times; most recently on April 1, 2007 by José Fernández and Takeshi Yamasaki of the Tohoku Rakuten Golden Eagles. The Daiei Hawks accomplished the feat in.  On August 25,, the New York Yankees became the first team in MLB history to hit three grand slams in one game. Robinson Canó, Russell Martin and Curtis Granderson took Oakland Athletics pitchers Rich Harden, Fautino de los Santos, and Bruce Billings deep, with each grand slam being hit in a different inning. The Yankees would win the game 22–9.  On June 3,, a record-breaking seven grand slams were hit on one day: one each for the Los Angeles Dodgers, Milwaukee Brewers, Atlanta Braves, Colorado Rockies, Chicago Cubs, Seattle Mariners, and the Los Angeles Angels of Anaheim whose Albert Pujols hit his 600th career home run.

Notable calls.

"Get out the rye bread and the mustard, Grandma, it is grand salami time!"- used by longtime Seattle Mariners lead commentator Dave Niehaus from the 1995 season until his death in November 2010. Currently used by Niehaus' longtime partner Rick Rizzs.  Various newspaper accounts show players used the term "grand salami" for a grand slam at least as early as 1966. "When Ernie Banks hits a grand slam he always calls it a 'grand salami,'" reported Jack Lang. "'In that way I always manage to get a nice big salami delivered to my home by the Hebrew National salami people,' Banks laughed."

Career grand slam leaders.

In baseball, a grand slam is a home run hit with all three bases occupied by baserunners ("bases loaded"), thereby scoring four runs—the most possible in one play. According to "The Dickson Baseball Dictionary", the term originated in the card game of contract bridge, in which a "grand slam" involves taking all the possible tricks. The word "slam", by itself, usually is connected with a loud sound, particularly of a door being closed with excess force; thus, "slamming the door" on one's opponent(s), in addition to the bat slamming the ball into a home run.

Au baseball, un grand chelem (en anglais "grand slam") est un coup de circuit (ou "home run") frappeur alors que les bases sont pleines. Le coup sûr rapporte alors quatre points, soit le maximum possible en une action offensive.


Animator and brief career as cartoonist.

Born in Weehawken, New Jersey, Tashlin drifted from job to job after dropping out of high school in New Jersey at age 13. In 1930, he began working for John Foster as a cartoonist on the "Aesop's Fables" cartoon series, then worked briefly for Amadee J. Van Beuren, but he was just as much a drifter in his animation career as he had been as a teenager. Tashlin joined Leon Schlesinger's cartoon studio at Warner Bros. as an animator in 1933, where he was known as a fast animator. He used his free time to start his own comic strip in 1934 called "Van Boring", inspired by former boss Van Beuren, which ran for three years. He signed his comic strip "Tish Tash," and used the same name for his cartoon credits (at the time it was considered extremely unprofessional to use anything except one's birth name among animators, but Tashlin was able to get away with this due to the anti-Germanic feelings of that era). Tashlin was fired from the studio when he refused to give Schlesinger a cut of his comic strip revenues. He joined the Ub Iwerks studio in 1934. He moved to Hal Roach's studio in 1935 as a writer.  He returned to Schlesinger in 1936 as an animation director, where his diverse interest and knowledge of the industry brought a new understanding of camerawork to the Warners directors. "He used all different kinds of camera angles, montages, and pan shots,vertical and horizontal." He directed 16 or 17 shorts from 1936 to 1938. He was making $150 a week. At one point he had an argument with studio manager Henry Binder and resigned. In 1938, he worked for Disney in the story department, where he made 50 dollars a week.  Afterward, he served as production manager at Columbia Pictures' Screen Gems animation studio in 1941. He effectively ran the studio and hired many former Disney staffers who had left as a result of the Disney animators' strike. He launched The Fox and the Crow series, one of the better products of the studio. He was fired over an argument with the executives of Columbia.  Tashlin rejoined the Warner directors of "Termite Terrace" in 1943. One of his directorial efforts was "Porky Pig's Feat" (1943). He stayed with the studio during World War II and worked on numerous wartime shorts, including the "Private Snafu" educational films. Shortly after he left Warner Bros. in late 1944, he directed some stop-motion puppet films for John Sutherland in 1946. Robert McKimson took over his unit after his departure from the studio.  His only Bugs Bunny shorts were "The Unruly Hare" and "Hare Remover". The latter was also his last credit at Warner Bros.  Martha Sigall described him as "Here today, gone tomorrow. Now you see him, now you don't. That was Frank Tashlin, who would be working at Leon Schlesinger's one day, and, suddenly, gone the next day."

Film director and writer.

Tashlin moved on from animation in 1946 to become a gag writer for the Marx Brothers, Lucille Ball, and others, and as a screenwriter for stars such as Bob Hope and Red Skelton. His live-action films still echo elements of his animation background; Tashlin peppered them with unlikely sight gags, breakneck pacing, and unexpected plot twists.  Tashlin began his career directing feature films when he was asked to finish directing the 1951 film "The Lemon Drop Kid" starring Bob Hope.  Beginning with the 1956 film "The Girl Can't Help It", with its satirical look at early rock and roll, Tashlin had a streak of commercial successes with the Martin and Lewis film "Hollywood or Bust" in 1956, "Will Success Spoil Rock Hunter?" in 1957, which, like 1956's "The Girl Can't Help It", starred actress and "Playboy" model Jayne Mansfield, and six of Jerry Lewis' early solo films ("Rock-A-Bye Baby", "The Geisha Boy", "Cinderfella", "It's Only Money", "Who's Minding the Store?", and "The Disorderly Orderly").  Moreover, in the 1950s Tashlin came to the approving attention of French film magazine "Cahiers du Cinéma", in reviews that the director dismissed as "all this philosophical double-talk." Also, the broad, colorful satire of Madison Avenue advertising in "Will Success Spoil Rock Hunter?" earned the film a place on the National Film Registry in 2000. In 2014, his stop-motion animation short "The Way of Peace" was also added to the Registry.  In the 1960s, Tashlin's films lost some of their spark, and his career ended in the latter part of that decade, along with those of most of the stars with whom he had worked. His final film was "The Private Navy of Sgt. O'Farrell" starring Bob Hope and Phyllis Diller in 1968.

Author.

Tashlin wrote and illustrated three books, "The Bear That Wasn't" (1946), "The Possum That Didn't" (1950), and "The World That Isn't" (1951). These are often referred to as "children's books" although all contained satirical elements; "The Bear That Wasn't" was adapted as an animated cartoon by Tashlin's former Warner Bros. colleague, Chuck Jones, in 1967. Another children's story which Tashlin wrote in 1949 was recorded by Spike Jones: "How the Circus Learned to Smile". Tashlin also wrote and self-published an instructional booklet entitled "How to Create Cartoons" (about cartoon drawing, not animation) in 1952.

Death.

Tashlin died at Cedars-Sinai Medical Center in Los Angeles after being stricken with a coronary three days before at his Beverly Hills home. He is buried at Forest Lawn Memorial Park in Glendale, California.

Frank Tashlin (born Francis Fredrick von Taschlein, February 19, 1913 – May 5, 1972), also known as Tish Tash and Frank Tash, was an American animator, cartoonist, children's writer, illustrator, screenwriter, and film director. He was best known for his work on the "Looney Tunes" and "Merrie Melodies" series of animated shorts for Warner Bros., as well as his work as a director of live-action comedy movies.

Frank Tashlin, de vrai nom Francis Fredrick von Taschlein, né le à Weehawken (New Jersey) et mort le à Los Angeles (Californie), est un cartooniste, scénariste et réalisateur américain.


Location.

The Korup National Park is in the Southwest Province of Cameroon between in ahaus N and 8°42’ to 9°16’ E. It is 50 km inland from the Bight of Biafra, 20 km from the edge of the mangrove swamps of the Rio Del Rey estuary and partially borders Nigeria. It extends over 1,260 km of mainly lowland rainforest and is adjacent to the Ejagham Forest Reserve to the north and the Oban Hills Division of Nigeria's Cross River National Park to the west. Near but not contiguous to the park are the Rumpi Hills and Nta Ali Forest Reserves.

History.

The area was originally set aside as a forest reserve in 1937. In 1986, Korup was declared a national park by Presidential Decree No.86-1283 after a ten-year campaign led by Dr. J Stephen Gartlan, Phil Agland and the Earthlife Foundation. Phil Agland's award-winning film "Korup: An African Rainforest", broadcast on British Television in November 1982 and subsequently around the world, brought the ecology of Korup to an international audience and spearheaded the campaign that was to secure the first British Government contribution of £440,000 through the ODA to rainforest conservation in 1986. In 1987, the Korup Project, an internationally funded integrated conservation and development project, provided support to the newly established park. The Korup Project area included a support zone and the forest reserves of Ejagham, Nta Ali and Rumpi Hills. In 2003, the Korup Project ended, leaving the Korup National Park management with little to no financial and logistical support. This affected the park management's ability to efficiently protect the wildlife from illegal hunting. As of 2006 however, Korup National Park is one of the three focus areas of the "Program of Sustainable Management of Natural Resources – South-West Province" (PSMNR-SWP), a bilateral cooperation between the Governments of Cameroon and Germany. With the renewed attention and support granted to Korup National Park, anti-poaching patrols have been becoming regular once again. As a partner in PSMNR-SWP, WWF-Cameroon has an advisory role on conservation and environmental education in Korup region, while the German Development Service (DED) oversees rural sustainable development activities.

Management.

Administratively, the majority of Korup National Park is under the jurisdiction of the Ndian Division of Southwest Province, Cameroon. The park is managed by the Cameroon Ministry of Forestry and Wildlife. The park's management currently consists of a Conservator and approximately 27 game guards. The headquarters are in the town of Mundemba, which is located 8 km east from the park's only official entrance at Mana bridge. A game guard post is located at the bridge. A tourist information center is in the center of Mundemba town.  A five-year management plan was developed for Korup in 2002, stating that the overall goal of the park is the conservation of the biodiversity and integrity of all physical and ecological processes of Korup forest. This is to be achieved through law enforcement, promotion of sustainable land use practices and rural development within local communities, and support for low environmental impact tourism which would generate economic and social benefits to local people.

Climate.

Korup has a pseudo-equatorial climate with two seasons instead of four: a pronounced dry season from December to February with average monthly rainfall less than 100 mm and an extended and intense rainy season approximately from May to October. Annual rainfall between 1973 and 1994 measured near southeastern region of the park averaged 5,272 mm (range 4,027–6,368 mm). The heaviest rainfalls are typically in August (some years exceeding 10,000 mm). Temperature varies little throughout the year with mean monthly maximum temperature in the dry season being 31.8 °C and in the wet season 30.2 °C. The northern sections of the park receive considerably less rainfall (~2500–3000 mm).

Topography.

Korup soils are generally coarse-grained, sandy, well drained and low in nutrients. Their acidic nature and low organic matter make them unfavourable sites for subsistence farming and cash-crop plantations, explaining the low levels of farming disturbance in the park, which remains mostly primary forest. The elevation of the park is low (50 m) in the southern section, rising steadily northwards with increasingly rugged terrain, reaching its highest point at Mt. Yuhan (1,079 m) near the old site of the now relocated Ikondokondo village. To the north, the terrain is characterized by low rolling hills with gentle slopes. Most (82%) of the park lies within an elevation of 120 to 850 m.  A dense network of streams drains Korup region into three major river systems: a) the Korup and Akpassang Rivers, b) the Ndian River, and c)Bake-Munaya River. Many of the smaller streams inside the KNP are seasonally dry during the peak of the dry season.

Human presence.

There are currently five villages located inside KNP with a total population in 1999 of approximately 900 people (Erat: 447, Esukutan: 202, Ikenge: 179, Bareka-Batanga: 52, and Bera: 26). In 2000, the Korup village of Ikondokondo (Ekundukundu?) was resettled outside the park as part of a currently suspended plan to resettle all villages. There are 23 additional villages within 3 km from the KNP boundary, an area often referred to as KNP’s Peripheral Zone (PZ). The combined population of KNP and PZ villages is approximately 2,700 with a population density of approximately 2 persons/km. The main livelihood activities in the rural areas is subsistence and cash-crop farming (oil palms, cocoa), fishing, hunting and, to some extent, trading.

Biodiversity.

Flora.

The forests of Korup appear to be ancient and rich in paleoendemics, having survived the dry period of Pleistocene area as part of the Cross River-Mayombe Refugium. Vegetation was classified by Letouzey as primarily Biafran coastal forest dominated by Caesalpinioideae trees, a Leguminosae subfamily. There is no evidence of any major historical human disturbance and at least the south part of the park is likely primary forest. Floristically, Korup is very rich with over 1,100 tree, shrub, herb and liana species described to date and high levels of endemism (30%). Large emergent trees, reaching up to 50 m tall, puncture a mostly continuous but uneven canopy layer of predominantly Annonaceae, Euphorbiaceae, Leguminosae, Olacaceae, Scytopetalaceae and Verbenaceae trees at about 15 to 25 m. The understory layer is quite dense with both lianas and small trees (dominated by Rubiaceae species), while the herbaceous layer (mainly Acanthaceae, Araceae, Commelinaceae, Graminae, Marantaceae, Rubiaceae, and Zingiberaceae) is mostly sparse. Plant ecological processes in Korup are strongly seasonal with flowering typically occurring between January and July (peak March–May), followed by peak fruiting season. The degree of flowering and fruiting varies considerably between years for most species. Mast fruiting occurs in intervals of more than a year.

Fauna.

Korup National Park is reputedly one of the richest lowland African forests in terms of faunal richness and diversity, especially for birds, reptiles, amphibians and butterflies. The species list of mammals consists of 161 species in 33 families, of which the primate community accounts for 14 species (8 diurnal and 6 nocturnal).

Tourist infrastructure.

Korup National Park is one of the most accessible rainforest protected areas in Cameroon. Day hikes or multiple day trips can be organized from the town of Mundemba, by visiting the tourist informational office located at the center of the town. Entrance in the park is only permitted with a local guide. There are fixed day, overnight, camping and guide/porter fees. There are three camp sites open to tourists, where visitors can arrange stay either at a tent (bring your own) or at one of the lodges (with basic wooden beds – windows have simple screening). Each camp site is located near a stream which serves as source of cooking water (boil or filter to drink) and for refreshing baths. There are basic pit toilets.

Role of Civil Society (NGOs).

The Korup Rainforest Conservation Society (K.R.C.S)is an active conservation advocacy and participatory forest management oriented group in the area. The group is made of mostly local pro-conservation minded persons and some honorary members (from different parts of the world) who are committed to contributing their expertise in ensuring the integrity of the tropical rain forest through need-based problem solving research as well as increasing participation of locals in conservation activities in a bid to reduce conflicts and improve local livelihoods. Since 2009 KRCS has been very instrumental in assisting visiting researchers with guidance, research permits applications, finding experienced local field assistants as well as elaborating village development and land-use planning, ensuring the recruitment of several locals in different capacities in park activities and playing an active role in environmental education and advocacy for conservation and especially against conversion of neighboring biodiversity rich forest into palm plantation together with international organisation such as Pro-wildlife and WWF-CPO. Recently the activities of KRCS have been boosted by the 2012 Conservation Leadership programme (CLP)Awards; a partnership between CI, FFI, WSC and BirdLife International.

Trivia.

The Film "Greystoke - The Legend of Tarzan, Lord of the Apes" starring Christopher Lambert and Andie MacDowell was shot in the park in 1984 before its establishment.  Charles, Prince of Wales inaugurated the park in 1986, and there is a sign not far from the entrance over Mana bridge that marks the point where he reached during his brief visit.  Mana Bridge, which serves as the gateway to Korup National Park, was build by a group of international volunteers on an Operation Raleigh expedition in 1989. The group of more than 100 volunteers spent 3 months in Cameroon building the bridge as well as undertaking wildlife surveys in the forest and adventures by canoe in the Rumpi Hills.

Korup National Park is in the Southwest Province of Cameroon and extends over 1,260 km of mostly undisturbed primary forest. It is reputedly one of Africa’s oldest and richest tropical forests in terms of floral and faunal diversity. It is the most accessible rainforest national park in Cameroon with basic lodging infrastructure and a large network of trails open to visitors. The park is a popular birdwatching destination and famous for primate viewing (including species such as the drill, Preuss's red colobus, red-eared guenon and Nigeria chimpanzee). Researchers from various disciplines have been conducting biological studies in Korup for over three decades, generating a wealth of information on rainforest ecosystems.

Le parc national de Korup (PNK) est l'un des parcs nationaux du Cameroun. Il est situé dans la région du Sud-Ouest du pays et partage une frontière commune avec le parc national de Cross River au Nigeria.


Differences between on- and off-balance sheets.

Traditionally, banks lend to borrowers under tight lending standards, keep loans on their balance sheets and retain credit risk—the risk that borrowers will default (be unable to repay interest and principal as specified in the loan contract). In contrast, securitization enables banks to remove loans from balance sheets and transfer the credit risk associated with those loans. Therefore, two types of items are of interest: on-balance sheet and off-balance sheet. The former is represented by traditional loans, since banks indicate loans on the asset side of their balance sheets. However, securitized loans are represented off the balance sheet, because securitization involves selling the loans to a third party (the loan originator and the borrower being the first two parties). Banks disclose details of securitized assets only in notes to their financial statements.

Banking example.

A bank may have substantial sums in off-balance sheet accounts, and the distinction between these accounts may not seem obvious. For example, when a bank has a customer who deposits $1 million in a regular bank deposit account, the bank has a $1 million liability. If the customer chooses to transfer the deposit to a money market mutual fund account sponsored by the same bank, the $1 million would not be a liability of the bank, but an amount held in trust for the client (formally as shares or units in a form of collective fund). If the funds are used to purchase stock, the stock is similarly not owned by the bank, and do not appear as an asset or liability of the bank. If the client subsequently sells the stock and deposits the proceeds in a regular bank account, these would now again appear as a liability of the bank. As an example, UBS has CHF 60.31 billion "Undrawn irrevocable credit facilities" off its balance sheet in 2008 (USD 60.37 billion.) Citibank has USD $960 billion in off-balance sheet assets in 2010, which amounts to 6% of the GDP of the United States.

Off-balance sheet (OBS), or incognito leverage, usually means an asset or debt or financing activity not on the company's balance sheet. Total return swaps are an example of an off-balance sheet item.

En comptabilité, le hors-bilan désigne habituellement un engagement, une garantie ou une activité de financement ne figurant pas au bilan de l’entreprise, que ce soit à l’actif ou au passif, parce qu'il ne répond pas aux principes de comptabilisation.


Design and construction.

Aumetz was planned as part of the second series of Maginot fortifications, with planning beginning in 1930 and construction in 1931. Initially planned as a "gros ouvrage" with three infantry blocks and three artillery blocks, the project was scaled back to just the infantry blocks, with entry blocks and artillery to come at a later date. Construction cost was 9.5 million francs. The contractor was Verdun-Fortifications.

Description.

Aumetz is a compact "ouvrage" with three closely grouped infantry blocks with underground galleries converging on a central underground barracks. The entry is immediately behind the junction, with no special degree of fortification, as it was intended to be extended some hundreds of meters to the south in the second phase.  Three additional blocks were planned for one 135mm and two 75mm retracting gun turrets, to be placed behind the infantry combat blocks as part of a compact ensemble of positions. A long gallery was planned to extend to the rear to open into a personnel entry and a munitions entry, with an underground barracks and a magazine. The completed "gros ouvrage" would have resembled its neighbor Bréhain.

Casemates and shelters.

A series of detached casemates and infantry shelters extend in the direction of Rochonvillers, including  None of these are connected to the "ouvrage" or to each other. The Casernement de Ludelange provided peacetime above-ground barracks and support services to Aumetz and other fortifications in the area.

Manning.

The 1940 manning of the "ouvrage" under the command of Lieutenant Braun comprised 112 men and 2 officers of the 128th Fortress Infantry Regiment. The units were under the umbrella of the 42nd Fortress Corps of the 3rd Army, Army Group 2.

History.

Aumetz did not see significant action until June 1940, when German forces kept up a series of harassing attacks. On 19 June, the Germans set up a 37mm anti-tank gun on a mine spoil mound and opened fire against Block 3, without much effect. Bréhain's artillery replied with counter-battery fire. An advance along the nearby rail line was repelled with machine gun fire from Aumetz. Steady advances by the Germans isolated Aumetz by 23 June. The 22 June 1940 armistice brought an end to fighting. However, the Maginot fortifications to the west of the Moselle did not surrender immediately, maintaining their garrisons through a series of negotiations. Aumetz, along with Mauvais-Bois, Bois-du-Four and Bréhain surrendered on 27 June.  Aumetz appears to have been ignored by the Germans during the Occupation. With the 1944 advance of the American army through the area, the Americans used some of the "ouvrages" for experiments in tactics and weapons. The cloches of the Casemate du Gros Bois was used as firing targets and were pierced by artillery fire.  After the war, Aumetz remained government property. On 23 June 1970 Aumetz was the first Maginot "ouvrage" to be offered for sale to the public. The buyers stripped the position of all materials and equipment, leaving only bare concrete.

Ouvrage Aumetz is a small work, or "petit ouvrage" of the Maginot Line. It is part of the Fortified Sector of the Crusnes and is located near the community of Aumetz in the Moselle "département" of France. The "petit ouvrage" flanked by the "gros ouvrages" Bréhain and Rochonvillers, all facing the France-Luxembourg border. Aumetz was initially planned as a "gros ouvrage" of six combat blocks, but only three infantry blocks were built. Aumetz saw limited action during the Battle of France. In the 1970s it was the first Maginot position to be offered for sale to the public.

L'ouvrage d'Aumetz est un ouvrage fortifié de la ligne Maginot, situé sur la commune d'Aumetz dans le département de la Moselle.


Background.

At the death of Henry III of France, the Huguenot Henry of Navarre became by birthright the successor to the French throne (as Henry IV). Although he quickly declared his intention to "maintain and preserve the Catholic, apostolic and roman religion" of the country (), the major French cities sided with the Catholic League and its leader, the Duke of Mayenne (younger brother to the deceased Henry I, Duke of Guise).  At that time, the royal army was in a shambles and Henry IV could only count on barely 20,000 men to conquer a rebellious country. In order to accomplish this task, he divided his troops into three commands: Henri I d'Orléans, Duke of Longueville (1568-1595) for Picardy, Jean VI d'Aumont for Champagne and Henry IV for Normandy (where he awaited reinforcements from Elizabeth I of England). On 6 August 1589, Henry set up camp with 8,000 men at the port of Dieppe.  The Duke of Mayenne sought to take back this key strategic port from Henry's forces and to drive him from Normandy. He drew together 35,000 troops, plus Cambrésis militias, Lorraine troops led by the Marquis de Pont-à-Mousson and a contingent of Spanish troops to attack the city.  Knowing that an attack against an army of this size would be pointless, and that staying in the city of Dieppe would be suicidal, Henry (after consulting with the Duke of Longueville and the Duke d'Aumont) decided to go to the city of Arques (today called "Arques-la-Bataille") and to construct important military defenses (raising of areas, rebuilding fortifications).

The battle.

Between 15 and 29 September 1589, the troops of the Catholic League launched several attacks on Arques and the surrounding areas, but the Duke of Mayenne's forces were countered by royal artillery. The attacks were extremely deadly for both sides, and soon Henry IV's side found itself undermanned.  Henry's rescue came from the sea on 23 September: 4,000 English soldiers under Roger Williams sent by Queen Elizabeth had left England in several waves over three days. Seeing these reinforcements, the Duke of Mayenne decided to retreat, leaving Henry IV victorious.  After the battle of Arques, Henri IV snatched a short rest in a neighbouring chateau, and before riding away he scratched with his diamond the following aspiration on one of the windows: " Dieu gard de mal ma mie. Ce 22 de Septembre 1589.-HENRI

The Battle of Arques occurred on 15–29 September 1589 between the French royal forces of King Henry IV of France and troops of the Catholic League commanded by Charles of Lorraine, Duke of Mayenne during the eighth and final war (1585-1598) of the French Wars of Religion. It was a victory for Henry IV.

La bataille d'Arques eut lieu du 15 au entre les troupes royales de Henri IV et les Ligueurs dirigés par Charles de Mayenne.


Geography.

With an average flow of 47m3/s, it takes its source in the Laurentides Wildlife Reserve. It has several falls, including the "chute à l'Épouvante" (Fall to the Horror) and the Martine Fall.  The main watersheds neighboring the Métabetchouane River are:  The Métabetchouane river rises at the mouth of Lac des Mâles (length: ; altitude: ). This lake is enclosed between mountains, one peak of which to the east and another to in the southwest. This lake is mainly fed by the outlet (coming from the west) of lakes Hansel, Gretel, Petit lac Matteau and lac Matteau. Its mouth is located north at: south-east of lac aux Rognons, west of Petit lac Jacques-Cartier, northeast of Batiscan Lake, east of Lac-Édouard, northeast of Beaudet station on the Canadian National railway, northwest of fire tower which was built at the top of Mont McKinney and west of the course of the Jacques-Cartier River.  From its source, the course of the Métabetchouane river descends on, with a drop of, according to the following segments:  Upper course of the Métabetchouane river (from its source) (segment of )  Upper course of the Métabetchouane river (downstream of Petit lac Métascouac) (segment of )  Intermediate course of the Métabetchouane river (downstream of Métabetchouane lake) (segment of )  Intermediate course of the Métabetchouane river (downstream of the Rivière aux Canots) (segment of )  Lower course of the Métabetchouane river (segment of )  At its mouth on the south shore of lac Saint-Jean, the Métabetchouane river forms a small lake, between the village of Chambord to the west and Desbiens to the east.  From the mouth of the Métabetchouane river on the south shore of lac Saint-Jean, the current crosses the latter on towards the northeast, then follows the course of the Saguenay River via La Petite Décharge on until Tadoussac where it merges with the Saint Lawrence estuary.

Toponymy.

Its name is of Innu origin, but cognates exist in other Cree and Anishinabe dialects. From the roots "matabi" and "djiwan" (spelled matapetshuan in the modern Innu orthography), it can be translated as "river that empties into a lake".

History.

The mouth of the river may have been a seasonal Innu camp for thousands of years and the river itself was used as a route between Lake Saint-Jean and the Quebec City region. Important archaeological excavations on the banks of the river led, in the 1960s, to the discovery of a site frequented by the Amerindians since approximately 5000 years. In 1647, Jean de Quen was the first European to visit the place but his report did not make mention of the river. Some two decades later in 1676, the first reference was made of this river as "Metabeki8an" in the second register of Tadoussac. A French trading post was erected at its mouth in 1676. That same year, Jesuits established the Saint-Charles Mission at the river's mouth. In the mid 19th century, William Price began logging along the length of the river and it was used for a long time for log driving.

The Metabetchouan River (French: Métabetchouane) is a tributary of Lac Saint-Jean in the centre of the province of Quebec, Canada. The course of this river successively crosses the regional county municipalitys (MRC) of:

La rivière Métabetchouane est un affluent du lac Saint-Jean, dans la province de Québec, au Canada. Le cours de cette rivière traverse successivement les municipalités régionales de comté (MRC) de La Jacques-Cartier, de La Tuque, de Lac-Saint-Jean-Est et du Domaine-du-Roy, respectivement dans les régions administratives de la Capitale-Nationale, de la Mauricie et du Saguenay–Lac-Saint-Jean.


History.

Hepworth was born in Lambeth, in present-day South London. His father, Thomas Cradock Hepworth, was a famous magic lantern showman and author. Cecil Hepworth became involved in the early stages of British filmmaking, working for both Birt Acres and Charles Urban, and wrote the first British book on the subject in 1897. With his cousin Monty Wicks he set up the production company Hepworth and Co. (also known as "Hepwix" after the word mark in its trade logo), which was later renamed the Hepworth Manufacturing Company (officially: Hepworth Film Manufacturing Company), and then Hepworth Pictures. In 1899 they built a small film studio in Walton-on-Thames, Hepworth Studios. The company produced about three films a week, sometimes with Hepworth directing. He was associated with Percy Stow from 1901-1903 who specialized in trick films.  His film "Rescued by Rover" (1905), co-directed with Lewin Fitzhamon and starring a collie in the title role, was a huge financial success. The film is now regarded as an important development in film grammar, with shots being effectively combined to emphasize the action. Hepworth was also one of the first to recognize the potential of film stars, both animal and human, with several recurring characters appearing in his films.  By 1910, Hepworth was also the inventor of Vivaphone, an early sound on disk system for adding sound to motion pictures. The device used phonograph records to record and play back the sound. Hepworth's vivaphone was distributed in Britain and also in the United States and Canada.  The company continued making popular films into the 1920s, despite Hepworth's now unchanging and increasingly old-fashioned film style. Boosted by the international success of "Alf's Button" (1919), the company went public to fund a large studio development. He failed to raise the necessary capital and, also suffering the box office failure of "Comin' Thro the Rye" (1923), the company went into receivership the next year. All of the original film negatives in Hepworth's possession were melted down by the receiver in order to sell the silver, and his feature films have been considered lost for many decades. However, an original 35mm. print of his 1920 film "Helen of Four Gates" was located in a film archive in Montreal, Quebec, Canada in 2008.

Cecil Milton Hepworth (19 March 1874 – 9 February 1953) was a British film director, producer and screenwriter. He was among the founders of the British film industry and continued making films into the 1920s at his Walton Studios. In 1923 his company Hepworth Pictures went into receivership.

Cecil Hepworth (né le à Lambeth, dans le Grand Londres, en Angleterre et mort le à Greenford, Royaume-Uni) est un réalisateur, producteur de cinéma, acteur, directeur de la photographie et scénariste britannique.


Background.

Contrary to some sources, which erroneously claim she was born Ann Marvak (rather than Francis), her parents' marriage registration and census records from 1925 and 1930 confirm that their names were Philip Ward Francis (1900–1974) and Edith (née Albertson) Francis (1901–1995). Francis was born in Ossining, New York, on September 16, 1930.  She entered show business at a young age, working as a model at age five to help her family during the Great Depression. She made her Broadway debut at the age of 11.

Film.

Francis made her film debut in "This Time for Keeps" (1947). She played supporting roles in the films "Susan Slept Here", "So Young, So Bad", and "Bad Day at Black Rock"; her first leading role was in "Blackboard Jungle" (1955). Her best-known film role is that of "Altaira" in "Forbidden Planet" (1956), an Oscar-nominated science-fiction classic.  Francis was the star of a provocative 1960 movie about a high-priced call girl, "Girl of the Night". In 1965, she had a leading role in the William Conrad film noir "Brainstorm". In 1968, she played the role of Georgia James in the feature film "Funny Girl" and in the following year, played Nancy Ingersoll (the wife of Jerry Lewis's character) in the comedy "Hook, Line & Sinker". She also co-starred in "Impasse", an adventure film starring Burt Reynolds.  Her distinctive physical features were her blonde hair, striking blue eyes, and a small mole just to the right of her lower lip. The mole was even written into the script of one of her films.

Television.

Francis found success in television and was a frequent guest star in 1960s, 1970s, and 1980s made-for-TV movies and series programs. She guest-starred on "The Untouchables" as the title character in "The Doreen Maney Story", and starred twice in "The Twilight Zone" (in "The After Hours" and in "Jess-Belle"). She also appeared in two episodes of "Alfred Hitchcock Presents" (in "Hooked" and in "Keep Me Company") and three episodes of "The Alfred Hitchcock Hour".She also appeared in 1961 on an episode of Route 66 (“Play it Glissando”) as Jan Johnson  Francis also appeared in two episodes of the Western series "The Virginian", two episodes of "Columbo" ("Short fuse" & "A Stitch in Crime") and in the episode "Incident of the Shambling Man" on the CBS western, "Rawhide". She was cast in an episode of Gene Kelly's drama series, "Going My Way", based on the 1944 film of the same name. During 1964, she guest-starred in two episodes, "Hideout" and "Rachel's Mother", of "The Reporter", and made two successive appearances in "The Man from U.N.C.L.E."  In 1965, Francis was cast as "Honey West", a sexy private investigator who drove a Cobra and had a pet ocelot; the character was initially introduced on the ABC series "Burke's Law", and then spun off as a series. She made a guest appearance in a 1967 episode of "The Fugitive". She appeared in the 1967 episode, "The Saucer," in "The Invaders". Appears in Mission Impossible 1969, The Double Circle, Gillian Colbee. She guest-starred in a 1973 episode, "Murder In The Doll's House", of "Barnaby Jones".  At the start of the final season in 1971 of "My Three Sons", Francis played bowling-alley waitress Terri Dowling, who marries character Laird Fergus McBain Douglas of Sithian Bridge, Scotland, and returned to his homeland as royalty. (Fred MacMurray played the dual character roles of Steve Douglas and Fergus McBain Douglas in this four-part story arc.) She appeared twice as a guest star on "Columbo", once as the manipulated lover of the murderer ("Short Fuse", 1972), and once as the murder victim ("A Stitch in Crime", 1973).  In 1974, she appeared as Ida, the madame of a bawdy house on the series "Kung Fu" in the episode "Night of the Owls, Day of the Doves". In 1975, she appeared as Abby in an episode of "Movin' On" titled "The Price of Loving". In 1976, she appeared as Lola Flynn in an episode of "Wonder Woman", entitled "Beauty on Parade". In 1977, she appeared as Lieutenant Commander Gladys Hope, the head nurse in two episodes of the World War II series "Baa Baa Black Sheep". She portrayed Melissa Osborne in the episode "How Do I Kill Thee?" of "The Eddie Capra Mysteries" in 1978.  During the 1980–81 season of "Dallas", Francis had a recurring role as Arliss Cooper, the mother of Mitch and Afton Cooper. She later played "Mama Jo" in the first few episodes of the 1984 TV-detective series "Riptide". In that same year, she guest-starred in the premiere episode of "Murder, She Wrote", credited as Anne Lloyd Francis; she went on to guest-star in two more episodes during the show's run. In December of 1984 and again credited as Anne Lloyd Francis, she guest-starred in a Christmas-themed episode of "The Love Boat" playing the mother of Kim Lankford's character, 'Carol' in the storyline, "Noel's Christmas Carol." She appeared on episodes of "Matlock" and "The Golden Girls".  In 1996, she appeared in the "Wings" episode "The Lady Vanishes", as Vera, a 1940s gun moll-type character. In 1997 in "Home Improvement" episode "A Funny Valentine" as Liddy, Tim Allen's highschool classmate's mother. She guest-starred in 1998 on "The Drew Carey Show" as the mother of Drew's girlfriend Nicki in the episodes "Nicki's Parents" and "Nicki's Wedding". Francis' final television acting role was in "Shadows", a 2004 episode of "Without a Trace".

Personal life.

Francis was married to United States Air Force pilot Bamlet Lawrence Price, Jr. from May 1952 through April 1955, and to Robert Abeloff from 1960 through 1964; she never remarried after divorcing Abeloff.  Francis was a Democrat and supported Adlai Stevenson's campaign during the 1952 presidential election.  Francis and Abeloff had one daughter, Jane Elizabeth Abeloff (born March 21, 1962). Francis later adopted Margaret "Maggie" West in 1970, one of the first adoptions granted to an unmarried person in California.  In 1982, Francis published an autobiography, "Voices from Home", subtitled "An Inner Journey". On its book cover, she wrote that the book "is my spiritual expose. It is about our essence of being, the inner workings of mind and spirit which contribute to the growth of the invisible and most important part of us."  Francis studied flying toward the end of the 1960s, eventually earning her pilot's certificate.

Reception.

In 2005, "TV Guide" ranked Francis number 18 on its "50 Sexiest Stars of All Time" list.

Death.

Anne Francis was diagnosed with lung cancer in 2007. She kept her followers informed of her progress on her website. She died on January 2, 2011, aged 80, from complications due to pancreatic cancer at a retirement home in Santa Barbara, California. She was cremated and her ashes scattered at sea.

Anne Francis (also known as Anne Lloyd Francis; September 16, 1930 – January 2, 2011) was an American actress known for her role in the science fiction film "Forbidden Planet" (1956) and for having starred in the television series "Honey West" (1965–1966), which was the first TV series with a female detective character's name in the title. She won a Golden Globe Award and was nominated for an Emmy Award for her role in the series.

Anne Lloyd Francis, née à Ossining (État de New York) le, et morte à Santa Barbara (Californie) le, est une actrice américaine. Elle est connue en particulier pour avoir joué dans le film de science-fiction "Planète interdite", sorti en 1956.