Plot.

Inside a small shack, a robed figure —dubbed "God Killing Himself" in the film's credits— disembowels himself using a straight razor. After removing some of his internal organs, the character dies. A woman, Mother Earth, emerges from his mutilated remains. She brings the corpse to arousal and uses his semen to impregnate herself. Time passes and Mother Earth, now visibly pregnant, stands beside a coffin containing God's corpse. Wandering off into a vast and barren landscape, Mother Earth later gives birth to Son of Earth, a malformed convulsing man. He is soon abandoned by his mother, who leaves him to his own devices.  After an untold period of time wandering across the barren landscape, the Son of Earth encounters a group of faceless

Cast.

Members of Merhige's theater company Theatreofmaterial – which included Adolpho Vargas, Arthur Streeter, Daniel Harkins, Erik

Themes.

Critics have identified several major themes in "Begotten". In interviews, Merhige himself has acknowledged that he intentionally incorporated these themes into the film, while also inviting viewers to form their own interpretations of the film.

Death and rebirth.

Several critics have noted that "Begotten" contains an underlying theme of death and rebirth, recurring throughout most of the director's works. In an interview with Marty Mapes of "Movie Habit", Merhige stated, "I've always believed in the continuity of consciousness. I don't think the body dying means it's over. It just means that there's a transformation taking place. So what we call physical death is not something that I think is some sorrowful loss."  In her review of Merhige's third film "Suspect Zero" for the "Los Angeles Times", Elaine Dutka noted that themes of death and rebirth, that appeared throughout the director's works might have been inspired by a near-death experience Merhige had suffered during his youth at age nineteen. Author and independent filmmaker John Kenneth Muir pointed out the film's ideas of suffering, death, and rebirth,

Religion, mythology, and the occult.

Many critics have pointed out the film's incorporation of various religious and mythological themes and events from Christian, Celtic, and Slavic mythology including various Creation myths, Mother Earth, and other religious themes, on which the events that take place in the film are loosely based. Merhige himself has acknowledged that the film was deliberately arranged to appear as part of a mythology. According to film and literary scholar William E.B. Verrone, "Begotten"s core storyline was a mixture of ancient mythologies that dealt with stories and themes, such as the birth of a divine entity and their subsequent suffering through various means, citing the film as "a cryptic passion play about Earth’s birth and torture". Verrone went on to explain that the film's highly symbolic and metaphorical plot was intended to evoke a response different than that offered in more traditional cinematic offerings. Art historian Scott MacDonald pointed out that the film's highly allegorical plot represents many of the popular

Influences.

Several critics have pointed out possible influences for the film's visual style. Merhige himself has cited the theories and ideas of Antonin Artaud and Friedrich Nietzsche, which in his opinion had not been developed on film to the fullest extent, as well as the works of Bosch, Goya, Munk, Eisenstein, and Buñuel. In a 1993 interview with art historian Scott MacDonald, Merhige also listed Georges Franju's documentary short "Blood of the

Production.

Development and pre-production.

"Begotten" was written, produced, and directed by Merhige, with development for the film beginning in the mid-to-late 1980s, although some sources list the date as 1984. Merhige had studied at New York State University, and soon developed an interest in the theater after attending several performances while in Manhattan. Merhige would later state in an interview that he had been drawn towards the use of performers creating a highly visualized form of storytelling through dramatic movement to provoke, what Merhige called, "an

Filming.

Principal photography took place in the mid-to-late 1980s, over a period of three-and-a-half months in several different locations. Merhige filled multiple roles in the film's production, including work on cinematography, and special effects, the latter using a 16mm Arriflex camera on black-and-white reversal film. He had previously worked on several short film subjects before developing "Begotten". The opening sequence depicting the robed figure (listed in the credits as "God Killing Himself") disemboweling himself and Mother Earth emerging from his remains was the first to be shot. The sequence was then edited and shown to the cast and crew, whose reactions to the footage was very enthusiastic, with Merhige stating: "it proved to everyone that this "was" an important film, that there really was nothing else like it, and we were actually going to make it happen." Most of the cast and crew were paid little to nothing, with their forms of

Post production.

"Begotten" contains no dialogue, having been envisioned by Merhige as a film depicting "a time that predates spoken language—communication is made on a sensory level." Merhige had previously worked as a special effects designer for various different companies, including a brief job where he performed rotoscoping for a Disney television show, and knew how to create the visual effects needed for the film. In order to create the desired look and feel, Merhige would experiment with the reel during filming to give it an old, withered look. This included running the unshot negative through sandpaper in order to scratch it up before shooting. Still unsatisfied with the overall effect, Merhige decided to use an optical printer but was unable to find one within budget. The optical printer was constructed over a period of eight months by Merhige himself, who would use old spare parts acquired from camera stores and special effects houses where he had occasionally worked. Merhige would later use this technique — which he called "rephotography" — in his following film, "Shadow of the Vampire".  The editing process proved to be the most time-consuming, as each minute of footage generated by the optical printer took on

Release.

Distribution.

Once editing for "Begotten" was completed, Merhige spent two years trying to find a distributor willing to market and release it. Merhige screened the film to possible distributors but most refused to release the film as it did not fit into a specific genre, making it difficult to bring the film to market. Merhige later recalled, "When I first went looking for distribution, everyone laughed at me, saying 'We don't know what this is...'" Merhige then took it to a number of museums in hopes of eventually finding a distributor. In the end, only two showed

Theatrical release.

"Begotten" was shown for the first time at the Montreal World Film Festival on October 26, 1989. The film would later have screenings at the San Francisco International Film Festival, and the Berlin Film Festival in the early to mid 1990s. Its first official premiere took place at the Museum of Modern Art in the fall of 1990. New York City's Film Forum would also screen the film on June 5, 1991. It was exhibited several years later at the Stadtkino Theater in Vienna in 1992, as a part of a retrospective of American independent cinema titled "Unknown Territories".  On October 20, 2014, it was

Home media.

"Begotten" had received very limited home media distribution after its theatrical release, with current copies of the film being out of print and difficult to acquire. Initially, Merhige did not intend for the film to be released on home video, stating in an interview with Scott MacDonald that he had previously hated the concept of home video as a medium. Merhige eventually changed his mind and felt that the original soundtrack mix, with which he had not been completely satisfied, could be enhanced through the medium. The film was briefly released on VHS by World Artists Home Video

Reception.

Critical reception.

"Begotten" has received little to no attention from film critics, with most mainstream reviewers ignoring the film entirely. Merhige was initially afraid that audiences would misunderstand parts, or the entire film altogether, "When I finished the film, I felt sure it would be misunderstood and consigned to the underground again. I see it as a very serious, very beautiful work of art, but when it was first finished, I was always thinking, 'What if everybody just laughs? What if they don't see anything in it?' There is always that possibility." Reactions to the film upon

Legacy.

"Begotten" has gradually developed a cult following over the years and is considered by some to be the director's masterpiece. In their analytical book on cult cinema, film scholar Ernest Mathijs and art historian Xavier Mendik cited the reasons for the film's cult status were due to its severely limited availability, with much of its exposure being through the distribution of bootleg copies which they called a "copy-cult". The film was reportedly banned in Singapore due to its graphic and disturbing content.  "Begotten" has been included in multiple lists at various media outlets. In 2012, "Complex" included the film on its list of "50 Most Disturbing Movies". Sarah Gibson from Highsnobiety listed it in her "10 of the Most Damaged and Disturbing Movies Ever Made". It was placed at #10 on AskMen's "10 Hard-To-Stomach Horror Movies", stating that the film was "so miserable that it likely wouldn't have seen the light of day were it not for Susan Sontag". "Taste of Cinema.com" listed it at #13 in its "20 Most Disturbing Movies of All Time", summarizing, ""Begotten" possesses a haunting, atmospherically visceral quality that has yet to be surpassed... Combine Merhige's avant-garde film style with sequences of torture and unsettling imagery, and you get one of the most shocking experimental pictures of all time." It was placed at #4 on "Nylon"'s "8 Most Disturbing Horror Films Ever Made". In his article "10 Horror Movies Too Intense Even for Halloween", "ScreenRant"s Jason Wojnar ranked the film at #8, citing its unsettling imagery, unconventional narrative, and visual style "makes it hard to tell what is even happening during the unsettling events." "Entertainment Weekly" included the film in its "13 of the Most Disturbing — and Critically Acclaimed — Movies to Ever Hit Theaters", describing it as "kind of like if Alejandro Jodorowsky told the story of creation filtered through the lens of "Eraserhead"." In his book "Disorders of Magnitude: A Survey of Dark Fantasy", author Jason V. Brock listed the film at #7, and as one of his favorite Radio, Film, and/or Television Productions. Several sources have mistakenly reported that "Time" ranked "Begotten" in its top-ten list of either 1990 or 1991, but the film was not included either year.  The film's critical success also proved to be a starting point for Merhige's filmmaking career, who would go on to make the much praised "Shadow of the Vampire" and "Suspect Zero", although the latter was a critical and commercial failure. Actor Nicolas Cage, the producer of "Shadow of the Vampire", had pushed for the director's hiring after viewing a copy of "Begotten".  Merhige was later hired by singer Marilyn Manson to direct music videos for his songs "Antichrist Superstar" and "Cryptorchid", the latter utilizing imagery that was heavily incorporated from "Begotten". Manson was a huge admirer of "Begotten", which he called "one of the strangest and scariest films I've seen", and had personally contacted Merhige to ask him if he would be willing to direct the music video for his song "Cryptorchid". Manson has stated that "Begotten" was played on a loop during the entire recording for his album "Antichrist Superstar". The music video for "Cryptochid" premiered at the San Francisco International Film Festival in 1997 where it won a Golden Gate Certificate of Merit Award. It was subsequently barred from release by Interscope Records, whom Manson claimed were "appalled by it", due to its fascist iconography, namely the Nuremberg rallies, along with U.S. military footage and images of a Ku Klux Klan lynching. "Cryptorchid" was also beset with troubles and remained unreleased until it was leaked on YouTube in 2010. Merhige has since become a prominent member of the theatre, directing numerous stage plays which include "A Dream Play", an adaption of William Shakespeare's "A Midsummer Night's Dream", and "Waiting for Godot".

"Din of Celestial Birds".

"Begotten" is considered by Merhige as the start of an unofficial series. The second film in the series, a 14-minute short titled "Din of Celestial Birds", was shot in a similar visual fashion as "Begotten". As with the film's predecessor, Merhige fulfilled multiple roles during its production, functioning as the writer, director, and producer. Funding for "Din of Celestial Birds" came through the cooperation of the Q6 production group, a collective of philosophers and artists. According to Merhige, inspiration for "Din of Celestial Birds" came from silent films, such as Jean Cocteau's "Blood of a Poet" (1930), Fritz Lang's "Metropolis" (1927), and the

Influence.

Since its release, "Begotten" has become a minor influence on several avant-garde and experimental films, and has been cited by several artists as inspiration for some of their works.  Michael Pope's acclaimed 2001 experimental film "Neovoxer" has been compared to "Begotten", featuring a similar visual style and "impressionistic mythology". According to Panos Cosmatos the flashback sequences in his 2010 film "Beyond the Black Rainbow" were directly inspired by "Begotten". When interviewed by "SmellsLikeScreenSpirit.com", Cosmatos stated that he had wanted the flashback sequences to 'have the look and feel of an artifact that was in the process of deterioration', and "Begotten"s visual style was the perfect look for these sequences. Kyle Turner from Mubi.com compared the 2015 experimental film "Ville Marie" as being very similar to Merhige's film in terms of cinematic style, and use of reverse-exposure.  Certain scenes in Can Evrenol's 2015 surrealist horror film "Baskin" were compared to "Begotten". In an interview with Muzzeland Press, visual artist and

Begotten is a 1989 American experimental dark fantasy horror film written, produced, edited and directed by Edmund Elias Merhige. It stars Brian Salsburg, Donna Dempsy, Stephen Charles Barry, and members of Merhige's theatre company Theatreofmaterial. The film contains no dialogue and mimics the style of aged black-and-white films. Its enigmatic plot, drawn from elements of various creation myths, opens with the suicide of a Godlike figure and the births of Mother Earth and the Son of Earth, who set out on a journey of death and rebirth through a barren landscape. According to art historian Scott MacDonald, the film's allegorical qualities and purposeful ambiguity invite multiple interpretations.


Club career.

Servette.

Being a young striker he played just one year for the second team, time in which he scored seven goals in ten appearances.

Politehnica Timișoara.

He was a pacey striker, with good heading skills. After a short spell at the Servette, the young Senegalese arrived in Timișoara before the start of the Divizia A 2004–2005 season. He was one of the most spectacular players of Politehnica Timişoara and one of the club's most promising young players in 2006. In the summer of 2009, he returned to Politehnica Timişoara, but he was injured for 6 months. On 22 September he scored 1 goal in 3–1 victory in Romanian Cup against Juventus Bucureşti. Later, he got injured again.

CS Buftea.

After a mistake in his transfer clause to Dinamo Bucureşti in 2007 he was kicked out from both teams and he did not train properly for months. Politehnica Timişoara agreed to let him back into the squad in 2008, and he was loaned out to the second league club CS Buftea where he scored 9 goals in 13 games. Politehnica Timişoara's coach Dušan Uhrin, Jr. wanted him back at the team, but this did not happen, as Dušan Uhrin was sacked before the winter break.

Gloria Buzău.

Mansour returned to the Romanian first league after being loaned for the 2009 spring season to Gloria Buzău.

Personal life.

Mansour has three brothers and four sisters, two of his brothers were also footballers: Azis played at junior level in Italy for Fiorentina, Juventus and A.S. Roma and Ousmane played mostly for clubs in the Romanian lower leagues. In 2008 he got married with Adelina Ziele but got divorced after a few months. Around 2010 he met Ramona Popa who gave birth about one year later to his first child, Mouhamed.

Mansour Gueye (born December 30, 1985 in Dakar) is a Senegalese-Romanian footballer who plays as a striker for Romanian Liga III side Flacăra Horezu. He was nicknamed in Romania "Omul-Foarfecă", which means "Scissor Man", for his spectacular scissors kick goals.


Industrial practice.

Although not practiced under the name, aromatization is a cornerstone of oil refining. One of the major reforming reactions is the dehydrogenation of naphthenes into aromatics. The process, which is catalyzed by platinum, is exemplified in the conversion methylcyclohexane (a naphthene) into toluene (an aromatic). Dehydrocyclization converts paraffins (acyclic hydrocarbons) into aromatics. A related aromatization process includes dehydroisomerization of methylcyclopentane to benzene:

Biochemical processes.

Aromatases are enzymes that partially aromatize steroids. The specific conversions are testosterone to estradiol and androstenedione to estrone. Each of these aromatizations involves the oxidation of the C-19 methyl group to formic acid to allow for the formation of the aromatic system, conversions which are necessary parts of estrogen tumorogenesis in the development of breast cancer and ovarian cancer in postmenopausal women and gynecomastia in men. Aromatase inhibitors like exemestane (which forms a permanent and deactivating bond with the aromatase enzyme) and anastrozole and letrozole (which compete for the enzyme) have been shown to be more effective than anti-estrogen medications such as tamoxifen likely because they prevent the formation of estradiol.

Aromatization pathways.

Oxidative dehydrogenation.

For cyclohexane, cyclohexene, and cyclohexadiene, dehydrogenation is the conceptually simplest pathway for aromatization. The activation barrier decreases with the degree of unsaturation. Thus, cyclohexadienes are especially prone to aromatization. Formally, dehydrogenation is a redox process. Dehydrogenative aromatization is the reverse of arene hydrogenation. As such, hydrogenation catalysts are effective for the reverse reaction. Platinum-catalyzed dehydrogenations of cyclohexanes and related feedstocks are the largest scale applications of this reaction (see above).  2,3-Dichloro-5,6-dicyano-1,4-benzoquinone (DDQ) is often the reagent of choice. DDQ and an acid catalyst has been used to synthesise a steroid with a phenanthrene core by oxidation accompanied by a double methyl migration. In the process, DDQ is itself reduced into an aromatic hydroquinone product.  Sulfur and selenium are traditionally used in aromatization, the leaving group being hydrogen sulfide.  Soluble transition metal complexes can induce oxidative aromatization concomitant with complexation. α-Phellandrene (2-methyl-5-"iso"-propyl-1,3-cyclohexadiene) is oxidised to "p"-"iso"-propyltoluene with the reduction of ruthenium trichloride.  Oxidative dehydrogenation of dihydropyridine results in aromatization, giving pyridine.

Dehydration.

Non-aromatic rings can be aromatized in many ways. Dehydration allows the Semmler-Wolff transformation of 2-cyclohexenone oxime to aniline under acidic conditions.

Tautomerization.

The isomerization of cyclohexadienones gives the aromatic tautomer phenol. Isomerization of 1,4-naphthalenediol at 200 °C produces a 2:1 mixture with its keto form, 1,4-dioxotetralin.

Hydride and proton abstraction.

Classically, aromatization reactions involve changing the C:H ratio of a substrate. When applied to cyclopentadiene, proton removal gives the aromatic conjugate base cyclopentadienyl anion, isolable as sodium cyclopentadienide:  Aromatization can entail removal of hydride. Tropylium, arises by the aromatization reaction of cycloheptatriene with hydride acceptors.

From acyclic precursors.

The aromatization of acyclic precursors is rarer in organic synthesis, although it is a significant component of the BTX production in refineries.  Among acyclic precursors, alkynes are relatively prone to aromatizations since they are partially dehydrogenated. The Bergman cyclization is converts an enediyne to a dehydrobenzene intermediate diradical, which abstracts hydrogen to aromatize. The enediyne moiety can be included within an existing ring, allowing access to a bicyclic system under mild conditions as a consequence of the ring strain in the reactant. Cyclodeca-3-en-1,5-diyne reacts with 1,3-cyclohexadiene to produce benzene and tetralin at 37 °C, the reaction being highly favorable owing to the formation of two new aromatic rings:

Aromatization is a chemical reaction in which an aromatic system is formed from a single nonaromatic precursor. Typically aromatization is achieved by dehydrogenation of existing cyclic compounds, illustrated by the conversion of cyclohexane into benzene. Aromatization includes the formation of heterocyclic systems.


Life and career.

In 1974, O'Neal moved to Birmingham, Alabama, where he worked as a full-time musician. In Birmingham he worked with local jazz musicians, such as Jerry Grundhofer, Dave Amaral, Cleveland Eaton, and Ray Reach. He moved to New York City to perform with Clark Terry in 1981, and also landed a regular job at the Blue Note, accompanying such musicians as Dizzy Gillespie, Ray Brown, Nancy Wilson, Joe Pass and Kenny Burrell. He was a member of Art Blakey and the Jazz Messengers for two years from 1982 to 1983 and made his Carnegie Hall debut in 1985.  On the recommendation of Oscar Peterson, O'Neal portrayed Art Tatum in the 2004 movie "Ray", recreating Tatum's sound on the song "Yesterdays".  A 2006 DVD "Tight", captured O'Neal at the height of his powers. Included is an interview with pianist Mulgrew Miller, who stated,  In my generation of musicians there are two who are probably the most naturally talented. They both happen to be from Detroit. One is Kenny Garrett, the well-known saxophonist. The other is pianist Johnny O'Neal.

Playing style.

"There are so many outstanding things about Johnny's playing. Two or three of the most outstanding: number one, the touch. Johnny has a million dollar touch. Very few people touch the piano like that to get that kind of sound and feeling... The other thing is his feeling of swing, which is so natural."  On June 10 and 11, 2016 O'Neal was featured in "Lush Life: Celebrating Billy Strayhorn," performing with the Jazz at Lincoln Center Orchestra. He received a standing ovation.  With Art Blakey

Johnny O'Neal (born October 10, 1956 in Detroit, Michigan) is an American neo-bop jazz pianist and vocalist. His playing ranges from the technically virtuosic to the tenderest of ballad interpretations. Though unique in style, he is influenced by many jazz elders, including Oscar Peterson and Art Tatum. He has led many recording dates with musicians such as Russell Malone and many others. He was a 1997 inductee of the Alabama Jazz Hall of Fame.


History.

In the years of the Cold War there was always the danger that a conflict between the West (NATO) and the Eastern bloc (Warsaw Pact) could break out. The Federal Republic of Germany was endangered by its position as a border state between the two blocs. For this reason, various security measures were taken in the Federal Republic, such as the government bunker built at this time at Ahrweiler. A similar bunker for the preservation of currency reserves was built for the then of Rheinland-Pfalz at the Spechtmühle near Lorscheid in the district of Trier-Saarburg.  There was a concern that the Eastern bloc might introduce large numbers of counterfeit banknotes into West Germany to cause hyperinflation. Therefore, a reserve emergency currency was stored so that purchasing power could be maintained. For this purpose, a special series of the German Mark, the BBk II, was printed. The money stock was randomly checked every three months by a Bundesbank auditor. Apart from these auditors, nobody was allowed to enter the bunker.  In 1988, the emergency currency was destroyed and the bunker was initially left empty. In 1994, the Deutsche Bundesbank sold the investment to. Lockers for customers were installed in a vault of the bunker, but most of the complex remained untouched.  The entire facility, consisting of the above-ground plot with two large camouflage dwellings and the underground bunker and vault system, was sold in 2014 for less than 500,000 euros to a Treis-Karden entrepreneur, who repaired the bunker and turned it into a museum. The zoning plan was changed in 2015 for this purpose, but group tours have been offered since the end of 2015. Since March 2016, the bunker at Cochem is also open to individuals for guided tours as an official documentation site; a shuttle bus runs from May to the end of October from Endertplatz in Cochem to the bunker. The former camouflage homes were converted into a hotel.

Location and structure.

The 1,500-square-metre bunker was built by the Deutsche Bundesbank between 1962 and 1964 in the Cond district of Cochem, near the Hunsrück, some 30 metres below the surface. Cochem was deliberately chosen for the location because the Moselle valley offers a very good protection, for example against a nuclear blast. Furthermore, it is on the left bank of the Rhine. Frankfurt am Main is 108 km east as the crow flies and was thus closer to the inner German border and the Fulda Gap.  The above-ground part of the plant, on a 8,700 square metre site, was disguised as a training and recreational home of the Deutsche Bundesbank in a residential area. The bunker has a main and an emergency access. The bunker can be accessed via the main entrance, located at 35, Am Wald, or through the basement of the training centre. The emergency exit is located in the cooling tower in the back of the garden and is camouflaged by trees and shrubs.  To protect the bunker, a security system with sensors was installed in the walls of the vaults, which reacted to shocks and noise. When an alarm was triggered, the local police were automatically notified, but they did not know what was in the bunker. Only the director of the installation could enter the bunker and listen to noises in the vault by means of an intercom. The vault itself could only be accessed by a few employees of the Bundesbank from Frankfurt, as the associated keys were not stored on site.  In the event of a nuclear war, the bunker would have protected 80 civilians who could have survived two weeks there. In addition to the vaults, there were also sleeping and working rooms, a warning post and a radio room with a direct connection to the Ministry of the Interior. The system had its own electricity supply by diesel generators and 18,000 litres of fuel reserves; the drinking water supply was secured by means of deep well secured and a 40,000 litre tank. The air supply for breathing was ensured by a sand filter.

The Bundesbank bunker was the German central bank's bunker in Cochem (Rheinland-Pfalz) for the preservation of an emergency currency. From 1964 to 1988, the Deutsche Bundesbank stored up to 15 billion marks in the top-secret facility, to protect West Germany from a national economic crisis in the event of potential hyperinflation that might be caused by the Cold War.


The series.

Volumes edited by Richard Davis.

1. The Year’s Best Horror Stories, editor Richard Davis, Sphere Books (UK) 1971; DAW Books (US) 1972  2 (UK). The Year’s Best Horror Stories II, editor Richard Davis, Sphere Books (UK) 1972.  3 (UK). The Year’s Best Horror Stories III, editor Richard Davis, Sphere Books (UK) 1973.  2 (US). The Year’s Best Horror Stories: Series II, editor Richard Davis, DAW Books (US) 1974  3 (US). The Year’s Best Horror Stories: Series III, editor Richard Davis, DAW Books (US) 1975; Orbit Books (UK) 1976 as "The First Orbit Book of Horror Stories"

Volumes edited by Gerald W. Page.

4. The Year’s Best Horror Stories IV, editor Gerald W. Page, 1976.  5. The Year’s Best Horror Stories V, editor Gerald W. Page, 1977.  6. The Year’s Best Horror Stories VI, editor Gerald W. Page, 1978.  7. The Year’s Best Horror Stories VII, editor Gerald W. Page, 1979.

Volumes edited by Karl Edward Wagner.

8. The Year’s Best Horror Stories VIII, editor Karl Edward Wagner, 1980.  9. The Year’s Best Horror Stories IX, editor Karl Edward Wagner, 1981.  10. The Year’s Best Horror Stories X, editor Karl Edward Wagner, 1982  11. The Year’s Best Horror Stories XI, editor Karl Edward Wagner, 1983.  12. The Year’s Best Horror Stories XII, editor Karl Edward Wagner, 1984.  13. The Year’s Best Horror Stories XIII, editor Karl Edward Wagner, 1985.  14. The Year’s Best Horror Stories XIV, editor Karl Edward Wagner, 1986.  15. The Year’s Best Horror Stories XV, editor Karl Edward Wagner, 1987. 16. The Year’s Best Horror Stories XVI, editor Karl Edward Wagner, 1988.  17. The Year’s Best Horror Stories XVII, editor Karl Edward Wagner, 1989.  18. The Year’s Best Horror Stories XVIII, editor Karl Edward Wagner, 1990.  19. The Year’s Best Horror Stories XIX, editor Karl Edward Wagner, 1991.  20. The Year’s Best Horror Stories XX, editor Karl Edward Wagner, 1992.  21. The Year’s Best Horror Stories XXI, editor Karl Edward Wagner, 1993.  22. The Year’s Best Horror Stories XXII, editor Karl Edward Wagner, 1994.

The Year’s Best Horror Stories was a series of annual anthologies published by DAW Books in the U.S.from 1972 to 1994 under the successive editorships of Richard Davis from 1972 to 1975 (after a 1971-1973 series published by Sphere Books in the U.K.; the first volumes had the same contents, the U.S. second volume in 1974 drew stories from the second and third U.K. volumes, and the 1975 U.S. third volume was very different from the U.K's.; the U.S. third volume was published as a one-shot volume in the U.K. by Orbit Books in 1976), and of Gerald W. Page from 1976 to 1979, and Karl Edward Wagner from 1980 to 1994. The series was discontinued after Wagner's death. It was a companion to DAW’s The Annual World’s Best SF and The Year's Best Fantasy Stories, which performed a similar function for the science fiction and fantasy fields.


Education.

Srinivasan was born in India on February 28, 1929. Srinivasan received both bachelor's and master's degrees in science from the University of Madras, in 1949 and 1950. In 1953 he moved to the United States to attend graduate school. He earned a doctorate in physical chemistry at the University of Southern California in 1956, studying protein chemistry with chemical kineticist Sidney W. Benson. He held postdoctoral positions at the California Institute of Technology in 1956, and at the University of Rochester from 1957 to 1961.

Career.

Srinivasan has spent a thirty-year career, from 1961 to 1990, at IBM's T. J. Watson Research Center in Yorktown Heights, New York. He joined the research staff in 1961, and was promoted to "manager of fundamental photochemical research" in 1963. His research group has studied ultraviolet light and its effects on organic matter.  In 1981, Srinivasan and his coworkers determined that an ultraviolet excimer laser could be used to etch designs into polymers. The technique has since been used in the computer industry to drill polymers to create computer circuit boards and ink jet printer nozzles.  Srinivasan, physicist James J. Wynne and materials scientist Samuel Blum speculated that it might also be possible to use excimer lasers on living tissue. On November 27, 1981, Srinivasan experimented with the remains of his family's Thanksgiving turkey, and proved that it was possible to create precisely-etched patterns. An ultraviolet excimer laser pulsed at 193 nm was able to etch living tissue precisely without causing any thermal damage to surrounding area. Srinivasan named the technique Ablative Photodecomposition (APD), a type of Laser ablation.  In 1983, ophthalmic surgeon Stephen Trokel approached Srinivasan about the possibility of using APD for surgery of the cornea. The collaboration of Srinivasan, Trokel, and Bodil Braren led to development of LASIK eye surgery, a technique for reshaping the cornea to correct visual issues such as myopia, hyperopia and astigmatism. In 1995, a commercial system for laser refractive surgery was approved by the U.S. Food and Drug Administration.  Srinivasan has published over 130 scientific papers and holds at least 22 US patents. A patent application filed by Stephen Trokel in 1992, claiming a LASIK surgery technique as his sole invention, was declared invalid in 2000 by an International Trade Commission ruling that found that Srinivasan should have been included as a co-author.  In 1990, Srinivasan formed a consulting company, UVTech Associates.

Awards.

In 1997, Srinivasan was awarded the American Chemical Society's Award for Creative Invention, and the ACS North East Section's Esselen Medal.  In 1998, Srinivasan was awarded the Max Delbruck Prize in Biological Physics by the American Physical Society.  In 1999, he was elected to the National Academy of Engineering.  In 2002, he was inducted into the US National Inventors Hall of Fame.  In 2004, he received the Prize for Industrial Applications of Physics from the American Institute of Physics.  In 2011, Srinivasan, Wynne, and Blum received the Fritz J. and Dolores H. Russ Prize from Ohio University and the National Academy of Engineering (NAE) for their work, "a bioengineering achievement that significantly improves the human condition."  In 2012, Srinivasan, Wynne, and Blum were named as recipients of the National Medal of Technology and Innovation. The award was presented on February 1, 2013 by President Barack Obama, to acknowledge their work with the Excimer laser, leading to the development of LASIK Surgery.

Rangaswamy Srinivasan (born February 28, 1929, Madras, India) is a physical chemist and inventor with a 30-year career at IBM Research. He has developed techniques for ablative photodecomposition and used them to contribute to the development of LASIK eye surgery. He received the National Medal of Technology from President Obama on February 2, 2013 for his contributions to laser eye surgery.


History.

Nashville's nickname, the "Athens of the South", influenced the choice of the building as the centerpiece of the 1897 Centennial Exposition. A number of buildings at the exposition were based on ancient originals. However, the Parthenon was the only one that was an exact reproduction. It was also the only one that was preserved by the city, although the Knights of Pythias Pavilion building was purchased and moved to nearby Franklin, Tennessee.  Major Eugene Castner Lewis was the director of the Tennessee Centennial Exposition and it was at his suggestion that a reproduction of the Parthenon be built in Nashville to serve as the centerpiece of Tennessee's Centennial Celebration. Lewis also served as the chief civil engineer for the Nashville, Chattanooga and St. Louis Railroad. Originally built of plaster, wood, and brick, the Parthenon was not intended to be permanent, but the cost of demolishing the structure combined with its popularity with residents and visitors alike resulted in it being left standing after the Exposition. In 1895 George Julian Zolnay was "employed to make models for the ornamentation" for the building. Within the next 20 years, weather had caused deterioration of the landmark; it was then rebuilt on the same foundations, in concrete, in a project that started in 1920; the exterior was completed in 1925 and the interior in 1931.  Some of the most elaborate events that occurred at the Parthenon were the Spring Pageants of 1913 and 1914. These extravaganzas were theatrical productions on a massive scale. With casts of up to 500, the pageants brought in audiences from surrounding states and rail prices were lowered to encourage attendance. The entire city of Nashville reveled in the opportunity to celebrate the "Athens of the South". The 1913 performance was entitled "The Fire Regained", a play written by Sidney Mttron Hirsch, and featured a mythological story line enhanced by theatrical spectacle popular in that era. The 1914 production, "The Mystery at Thanatos", had a similarly mythological plot, but was shorter and better received. A copy of the script is on file at the Nashville Public Library. The most impressive thing about these pageants was the use of visual spectacle. Both shows featured impressive displays ranging from chariot races to huge dance numbers to thousands of live birds to set pieces that shot flames, all set against the backdrop of the majestic Nashville Parthenon.

Current use.

As an art museum, the Parthenon's permanent collection on the lower level is a group of 63 paintings by 19th and 20th century American artists, donated by James M. Cowan. Additional gallery spaces provide a venue for a variety of temporary shows and exhibits. The main level contains a replica, completed in 1990, of the Athena Parthenos statue that was in the original Parthenon in Athens.  The statue of Athena Parthenos is a reconstruction, to careful scholarly standards, of the long-lost original: she is cuirassed and helmeted, carries a shield on her left arm and a small 6-foot-high (1.8 m) statue of Nike (Victory) in her right palm, and stands 42 feet (13 m) high, gilt with more than 8 pounds (3.6 kg) of gold leaf; an equally colossal serpent rears its head between her and her shield.  In the summertime, local theater productions use the building as a backdrop for classic Greek plays such as Euripides' "Medea" and Sophocles' "Antigone", performing (usually for free) on the steps of the Parthenon. Other performances, such as Mary Zimmerman's "Metamorphoses", have been done inside, at the foot of Athena's statue.  The Parthenon got a full makeover in 2002 with a much needed cleaning and restoration of the exterior. The exterior lighting was upgraded to allow the columns of the building to be illuminated with different colors than the facade, allowing a uniquely versatile display of effects for events.

In popular culture.

The Parthenon served as the location for the political rally in the climactic scene of Robert Altman's 1975 film "Nashville". It was also used as a backdrop for the battle against the Hydra in the 2010 film "". It features in the title and lyrics of the song "Nashville Parthenon" from the album "Etiquette", by Casiotone for the Painfully Alone, as well as the song's 2011 sequel "Goodbye Parthenon". It was used in the 2000 PBS series "Greeks: Crucible of Civilization". A poem titled "Ganymede" in Heather Ross Miller's "Celestial Navigator: Writing Poems with Randall Jarrell" features the Parthenon. The structure also figures in the climax of the Hector Lassiter novel, "Three Chords and The Truth", by Craig McDonald.

The Parthenon in Centennial Park, in Nashville, Tennessee, is a full-scale replica of the original Parthenon in Athens. It was designed by Confederate veteran William Crawford Smith and built in 1897 as part of the Tennessee Centennial Exposition.


Early life (1800–1817).

Westervelt was the eldest son of Ari and Vrowti Westervelt. Ari Westervelt was a builder by occupation. He built several houses in Franklin Street, New York, and constructed the South Church in Schraalenburgh in today's Bergenfield borough. Westervelt was born in Tenafly, New Jersey, on January 20, 1800 and was baptized at Schraalenburgh on February 16, being the first child to receive that sacrament after the completion of the new church. The Westervelts then resided at the old family homestead on Tenafly Road midway between Englewood and Tenafly. When Ari Westervelt was working on improving the riverfront, he moved, together with his infant son, to New York in 1804, to be nearer his work. It was to his father that Jacob Aaron owed his good education. His father died when Westervelt was only 14.  The sources differ as to Westervelt's further education and early career. He received additional education under the tutelage of James P. Forrester, then headmaster of the school connected with the Collegiate (Dutch) Church in New York, and was afforded greater educational opportunities under Barron & Brown, in a special course on surveying and navigation. Afterwards he went to sea, serving on ships for more than two years. He left the sea in 1817 and became an apprentice under Christian Bergh, a prosperous shipbuilder on the East River. A differing source reports that he went to sea directly after his father's death, while another states that he was already apprenticed to Christian Bergh in 1814.

Christian Bergh's shipyard (1817–1836).

Westervelt learned the "art, trade and mystery" of his profession in a most independent way—as a teenage sailor and as an apprentice to Christian Bergh, for whom he worked at the very latest from the year 1817. Such was his talent that he was in Bergh's absolute confidence. Before even graduating from his apprenticeship, Westervelt accepted an offer to start business in Charleston, where he undertook the construction of two schooners, with the help of African American slaves from planters in and around Charleston (with his employer's consent). He was so successful during those few months that he continued in business there, but he found the environment too confining for his ambitions and in 1822 he returned to New York, where he formed a partnership with Robert Carnley and his old master under the name of C. Bergh & Co. Some of the ships built by Bergh and Westervelt were "Hope" (1825), "Henry IV" (1826), "Charlemagne" (1828), "Albany" (1831), "Philadelphia" (1832), "Utica" (1833), "Westminster" (1835), and "Toronto" (1835). Christian Bergh retired a wealthy man in 1837, and was succeeded by his sons Henry and Edwin Bergh, who continued the business until just after their father's death in 1843.

Westervelt & Co. shipyard (1836–1864).

In 1836 Westervelt built at least two ships under his own name, the "Baltimore" and "Mediator", in partnership with the 22-year-old ship chandler Marshall Owen Roberts as Westervelt & Roberts. Soon after Christian Bergh's retirement, Westervelt and Robert Carnley made an extensive tour of Europe, visiting the principal shipbuilding points, where Westervelt gathered information that he subsequently put to good use. Westervelt found an inactive life disagreeable and, after a year of travel, returned to the dry docks in 1838 and resumed shipbuilding.  There are differing reports as to the start of this new chapter of Westervelt's life. On one side it is stated that Westervelt bought out his former partners Carnley and the Bergh brothers and took control of the Bergh shipyard, at the foot of Gouverneur Street and extending to Water Street and up to Scammel. Other sources state that Westervelt and William MacKay (not to be confused with Canadian shipbuilder Donald McKay) established one of a few new yards at Corlear's Hook (the block bounded by Third, Goerck and Houston Streets) in 1841 and moved to Lewis and Seventh Street in 1844. Westervelt may also have designed and built ships in connection with Edward Mills. The shipyard Westervelt & MacKay, later Westervelt & Sons (which Westervelt formed with his sons Aaron and Daniel), became prominent and prospered. Together with MacKay and his sons he built 50 steamships, 93 traditional sailing vessels and clippers, 5 barques, 14 schooners, one sloop, two lightships, and 11 pilot boats—a total of 181 vessels of 150,624 tons. The pilot boat, George W. Blunt, No. 11, was built by son Daniel Westervelt. Westervelt built more vessels of medium tonnage than any builder of his time. Some of his noteworthy sailing packets are:

Clipper ships.

Westervelt also built clippers, for example "Contest" (1852), "Hornet" (1851), N.B. Palmer (1851), "Kathay" (1853), and. Clipper bows were distinctively narrow and heavily raked forward, allowing them to rapidly clip through the waves. The first archetypal clipper, with sharply raked stem, counter stern and square rig, was, built in Baltimore in 1833 by Kennard & Williamson. For some historians, the "Rainbow" was the first true "Yankee clipper". She was built in 1845 to a new design by the American naval architect John Willis Griffiths who is said to have based his design on the owner's previous ship "Ann McKim". This type of vessel had been in demand for the China trade, but they were rather small. From the experience gained in the service of these first clippers, the builder soon found the changes that were necessary in the design for the building of larger and faster ships demanded in 1850 for the California, China and Australia clipper routes.

Westervelt's clippers.

The greatest New York clippers took shape in the yards of Westervelt and his friend William H. Webb. The "N.B. Palmer" was perhaps the most famous clipper built in the Westervelt yard, besides the "Sweepstakes". In China she was known as "the Yacht", and with her nettings in the tops, brass guns, gold stripe, and her lavish entertainment on the Fourth of July and Washington's Birthday, she well deserved the title. A full-rigged model of the "N.B. Palmer" was exhibited at The Crystal Palace, London, in 1851, and attracted much attention as a fine example of the American clipper ship. In 1858–1859 the "N.B. Palmer" with her 28-year-old Captain Hingham had tied the record of 82 days for the Shanghai to New York run. The "Sweepstakes", though black-hulled like other clippers, bore a stripe of gold, found on only a few others like the "N.B. Palmer", and was praised for her sleek lines and speed. "Sweepstakes" (which was the last clipper to be built by the Westervelt shipyard) gained celebrity for her record-breaking seventy-four-day run from New York to Bombay in 1857, and for making the trip between New York City and San Francisco in only 106 days.

The end of the clipper ship era.

The economic boom spurred on by the California Gold Rush that had brought on the era of the clipper ships had turned to bust. All the secrets of building lofty clippers had been discovered and there were too many of them in existence. The dropping freight rates now gave no incentive to build any more. The San Francisco market was so saturated that many a disgusted ship captain dumped unwanted cargo overboard in the bay before sailing on to other ports. The diary of Robert Underhill, which recorded his 1856 travels on the "Sweepstakes", revealed that Westervelt was also traveling on this voyage to San Francisco and the Orient. Underhill's entries made clear that Westervelt recognized the economic situation facing the port of New York and was seeking other possible venues for the family business.  By 1859 most of the extreme clippers had been dismasted more than once after half a decade or more of relentless hard driving. All were in a leaky condition, and most of their owners were by then in dire financial straits and could not afford expensive repairs to clippers that could not find a paying cargo to justify such expenses. Their masts were cut down, their yards shortened and their sails reduced as they were refitted and re-rigged with the new Howes rig to make them easier to handle by smaller crews. Other less fortunate clippers were discarded outright and sold for a pittance.

Steamboats and steamships.

Some historians take the view that Westervelt built the first true American steamship that crossed the Atlantic to Europe. The Marquis Claude de Jouffroy d'Abbans from France invented and constructed the first steamboat, the so-called "Palmipède", in 1774, and a second one, the steamboat, in 1783. Robert Fulton built the first commercially successful steam paddleship in the US, the (also known as "Clermont") in 1807, using a Boulton and Watt engine.  The is usually said to be the first steamship to cross the Atlantic (in 1819). She was originally planned as a sailing ship but was changed into a steamer. Because she did not make the entire passage under steam, some dispute the "Savannah"s claim as the pioneering ocean steamer of the Atlantic. The British steamer "City of Kingston" and the, a Quebec-built craft, have been suggested as the first true steamers to make the crossing.  Three side-wheel steamers were also built in New York: the "Lion" and the "Eagle" (subsequently "Regent" and "Congress"), built in 1841 by Jacob Bell for the Spanish navy, and at about the same time the "Kamschatka" built by William H. Brown for the Russian navy. After the "Savannah", there was no steamship owned or run by an American company that navigated the Atlantic Ocean to a port in Europe until 1847.  In 1846 began inquiries regarding the building of steamships for regularly scheduled transatlantic service. Edward Mills, a novice in the shipping business, led a syndicate that received the contract for mail delivery to Le Havre and Bremen for five years. With his associates C. H. Sand, Mortimer Livingston and John L. Stephens, he founded the Ocean Steam Navigation Company in May 1846. The company was unable to attract sufficient capital to carry out its original business plan to build four ships and instead ordered two ships from Westervelt & MacKay, "Washington" and "Hermann" (1848). The Westervelt shipyard built the hull, and the engines were made by Stillman, Allen & Co. This was one of the less successful chapters in the history of the Westervelt shipyard. Both paddle steamers were said to be slow and had insufficient cargo space, and the government soon revoked the Le Havre portion of the mail contract because of the line's poor performance.  Westervelt and his associates later built very successful steamships. Through 1850 they built 8 of the 38 steamships constructed in New York until that year, including the "Franklin" and "Havre" (the first steam vessels for the Havre Line), followed by and "Rhode Island" (for the government) and "Eagle" and "Morro Castle" (for Spofford, Tileston & Company). Westervelt & Sons also built "Foong Shuey", afterwards named "Plymouth Rock", of 287 feet in length, with an engine from the Lake Erie steamer "Plymouth Rock". This vessel made the voyage from New York to Singapore in 51 days. (The all-time record for a sailing vessel on that route is 78 days.) The SS Winfield Scott built in 1850 by Westervelt & MacKay, wrecked on Middle Anacapa Island in 1853, and has been the object of numerous salvage operations since; she currently rests underwater as part of the Channel Islands National Park and Marine Sanctuary. The wreck site of the "Winfield Scott" is listed on the National Register of Historic Places.

Warships and ships for governments.

By 1855, the gold rush was over and Westervelt, like other shipbuilders, began looking for new markets to keep his yard busy, as the shipping lines that had carried almost 2.7 million emigrants across the Atlantic by sailing vessels between 1846–1855,were ordering fewer ships than before. The declining trend continued because of the outbreak of the Civil War in 1861. Between 1855 and the end of the war in 1865, only 1.4 million emigrants were conveyed from Europe to the United States.  On March 3, 1857 the U.S. Congress authorized five screw sloops of war, one of them the (the first ship so named by the U.S. Navy). It was laid down later that year by Westervelt and his sons, launched in 1858, and commissioned on January 26, 1859 with Captain (later Admiral) David G. Farragut in command. USS "Brooklyn" was active in Caribbean operations until the start of the American Civil War. In 1861 she was an active participant in the Union blockade of the Confederate States of America. She received orders for many different missions: she was one of the ships that attacked the Forts St. Philip and Jackson, and under the command of Captain James Alden, Jr. she was part of the fleet that helped to blockade Mobile Bay. During the battle of Mobile Bay, which lasted a little more than three hours, 54 of "Brooklyn"s crew were killed and 43 wounded while firing 183 projectiles. After spending the next few weeks helping reduce the Confederate land works guarding the entrance, "Brooklyn" departed Mobile Bay on September 6, 1864 and headed for Hampton Roads for service in the North Atlantic Blockading Squadron. Soon thereafter, "Brooklyn" was in the task force that arrived off Fort Fisher on January 13, 1865, and her guns supported the attack until the fort surrendered on January 15. Since this victory completed the last major task of the Union Navy during the Civil War, "Brooklyn" sailed north and was decommissioned at the New York Navy Yard on January 31, 1865. Admiral Farragut declared "Brooklyn" to have been the most efficient man-of-war in the American navy.  Besides the "Brooklyn", also built at the Westervelt shipyard were the gunboats, and the revenue cutter, all of which performed efficient blockading services during the war. Westervelt also built many vessels for foreign governments, among these the frigate "Hope" in 1825 for the Greek government, "Guadalquiver" for Spain, and "Eusiyama" for Japan. Westervelt was awarded the Order of Isabella the Catholic by the Queen of Spain for the preparation of models and plans for three Spanish frigates.

Postwar slump and closure (1861–1868).

The most successful year for Westervelts's yard was 1858 when 12 ships were built (aggregating 14,081 tons). At the outbreak of the Civil War, Westervelt was one of the richest shipowners in the country. He was a supporter of the Union cause. President Abraham Lincoln esteemed his judgment highly, and entrusted him with the purchase of many of the river craft which were altered to suit the demands of blockading and transport service. Westervelt accepted nothing for such service, but contented himself with the profits accruing from his shipyard. It was during this period that his fortune shrank very much faster than it had been accumulated. Steamer after steamer was wrecked, burned or captured by Confederate cruisers, until at the close of the war he was almost bankrupt. During one year alone his losses from marine casualties amounted to $500,000.  After the end of the Civil War in 1865, the U.S. government auctioned off the hundreds of ships it had requisitioned during the war at firesale prices, depressing the market and leaving American shipyards with no work. The result was that most American shipyards, along with marine engine specialists, failed. Not only the Westervelt shipyard, but the whole shipbuilding industry in New York was badly affected by the slump, being practically wiped out in the ensuing years. As the demise of shipbuilding after the war afforded him little opportunity to recover from his losses, the firm was dissolved in 1868, with no large surplus of assets. By this time Westervelt had constructed 247 ships with his partners, more than any other American shipbuilder in his day.

Dock Commissioner (1870–1879).

When the Dock Department was created in 1870, Wilson G. Hunt prevailed upon Westervelt to accept the duties of Superintendent of the Department. His management was characterized by prudence, sagacity and honesty. When William Frederick Havemeyer became Mayor in 1873, Westervelt was appointed a Commissioner of Docks and at the same time elected President of the Board of Dock Commissioners (which position he also held at the time of his death), and as such made tremendous improvements in piers and docks. His chief engineer, whom he selected in July 1870, was General George B. McClellan, and his secretary General was Louis Fitzgerald. In 1875 George S. Greene Jr. became the new chief engineer.  As Dock Commissioner, Westervelt followed in the footsteps of his father by continuing to improve the riverfront.  In 1873 the draughtsmen and engineers in the office of the Engineer-in-Chief were engaged in the preparation of maps and drawings to show the grants of land under water, around, and adjoining the island of Manhattan which had been made by either the state or Municipal governments from 1696 till 1873. They were also been engaged in the preparation of plans for a proposed exterior bulkhead wall which was planned to be built all around the city.  A new dock system was also proposed of which the main feature was a wide river street encircling the waterfront to afford ample accommodation for the movement of freight and its transportation by rail. The new river and sea wall was to be constructed of granite and a Beton concrete, composed of Portland cement and broken stone. From this wall projecting into the river were a series of piers constructed of wood, iron, and stone. The large concrete blocks used in the construction of the new river wall were manufactured at the yards of the Dock Commission in Gansevoort Street, Manhattan. Two to three blocks, of forty to fifty tons each, were made daily. Westervelt was closely involved in these improvements.

Political career.

Start in politics (1840–1852).

Westervelt was politically an ardent but not very active Democrat. In 1840 he was elected to the Common Council, in which he served for two years as an Alderman from the thirteenth ward. Westervelt stepped back from active political involvement for a couple of years, but remained a shrewd observer of current affairs and recognized nuisances and the needs of the people of "his" town. He witnessed sharply increasing taxes between 1850 and 1852 and the establishment of a reform movement that began to decry excessive government spending. Grand jury revelations of widespread corruption on the common council heightened such concerns. Reformers mobilized and ran the Democratic incumbents out of office, electing in their place a combination of Whigs and reform Democrats committed to "economy" in government. In November 1852 Westervelt was nominated for Mayor of the city by reformist representatives of the Democratic party. The mayoralty election was held at the same time as the presidential election, and the Democrats were successful in both.

Election as Mayor (1853–1855) and political goals.

Westervelt was elected by a majority of 10,000, the largest ever received by a candidate up to that time (being nearly as much indebted to Whigs as to Democrats for his seat), against the most popular member of the Whig party, Alderman Morgan Morgans, carrying his own ward by a majority of nearly 1,000, and only a few votes behind the electoral ticket for President Franklin Pierce. The new mayor inherited the bad financial situation of the city, corrupt politicians, and an ailing police system. In his first message to the Community Council he declared the subjects he planned to deal with first, and that according to him, needed the attention of the council:

Mayor Westervelt and the police.

Westervelt's term was marked by many reforms of the city's police. One of the most controversial was his attempt to enforce a police uniform.  In 1844, New York City's population of 320,000 was served by an archaic police force, consisting of one night watch, one hundred city marshals, thirty-one constables, and fifty-one municipal police officers. On 7 May 1844, the state legislature approved a proposal that authorized creation of a city police force, along with abolition of the nightwatch system. Under Mayor William Havemeyer, the NYPD was reorganized on May 13, 1845, with the city divided into three districts, with courts, magistrates, and clerks, and station houses. Within eight years this system showed weaknesses. "The New York Times" wrote in 1853, "Our police are inefficient. Worse has been said of them." Another publication delineated the situation much more precisely:  It was Mayor Westervelt's stated aim to sort out the bad seed. In 1853 an administrative body was created, called the Board of Police Commissioners, consisting of Mayor Westervelt, the recorder and the city judge. Apart from the fact that the chief of police was selected by the Mayor with the Board's approval, the Board had full powers of appointment and dismissal of all members of the force and was charged with general administrative duties.  In nothing was the undisciplined attitude of the police more clearly shown than in their refusal to wear uniforms. "Un-American", "undemocratic", "militarism", "King's livery", "a badge of degradation and servitude"—ideas of this kind formed the basis of opposition against Westervelt's wish to put policemen in uniform, mainly from the force itself and an influential number of citizens who deemed it "unrepublican" to put the servants of the city in livery. On June 24, 1854 there was a large, angry meeting of 1,000–1,500 policemen. The objects of the meeting were stated in a notice posted prominently in the streets and published in the morning papers:  Westervelt's position was clear: that a uniform incites a high degree of chivalrous sentiment, that it involves a "pride of cloth", and that the wearer knows that if he disgraces it he disgraces himself and the profession in which he serves. Westervelt earned many party enemies by his determined policy to keep appointments to the police force, which were then a large part of the patronage appertaining to the mayoralty, free from political influence.

Mayor Westervelt's influence on tourism.

By the early 1850s New York had grown to sufficient size and prominence that the city decided to host a major exhibition of the type that London had pioneered in 1851. Such early exhibitions were forerunners of the later world's fairs. The Exhibition of the Industry of All Nations opened during the term of Mayor Westervelt on July 14, 1853, in a sparsely developed part of the city. Fortieth and Forty-second streets bounded the fair's four-acre site to the immediate west of the Croton Distributing Reservoir—today's Bryant Park. Within New York's Crystal Palace, designed by Karl Gildemeister, four thousand exhibitors displayed the industrial wares, consumer goods, and artworks of the nation. Westervelt was President of the Exhibition, which set off one of the first major tourism booms in New York; many hotels were built to handle the influx of visitors. Over one million people visited the Crystal Palace Exhibition, which closed on November 1, 1854 (in spite of its popularity, the exhibition's sponsors lost $300,000 on the venture). The structure remained standing after the fair, and was leased for a variety of purposes before being destroyed by fire on October 5, 1858.

Controversial opinions.

Proposed reduction of Central Park.

Mayor Westervelt did not shy away from unpopular decisions if he considered them to serve the general good. In 1853 the New York legislature designated a area from 59th to 106th Streets for the creation of the planned Central Park, though the land alone cost over $5 million. At the time, the city's finances were declining, and Westervelt was concerned about overspending and the state's regulatory overreach in its decision to designate such a large area. There were several competing proposals to curtail the park, but no decision was made until March 1855, when the city's board of councilmen voted 14-to-3 to trim both the lower thirteen blocks (from 59th to 72nd Streets) and four hundred feet from each side of Central Park. However, on March 23, 1855, the new Democratic Mayor, Fernando Wood, vetoed the measure.

Riots.

The New York Draft Riots, the worst riots in United States history with respect to lives lost, took place during the Civil War in 1863, when immigrant factory workers forcibly resisted the federal government's military draft. In the United States, the period from 1820–1870 was generally characterized by conflicts on the domestic front, such as the police riots and the riots of the Know-Nothing movement. It was during Westervelt's term as mayor that some of the first Know-Nothing riots occurred. This nativist American political movement was empowered by popular fears that the country was being overwhelmed by Irish Catholic immigrants, who were often regarded as hostile to American values and controlled by the Pope in Rome. This body of thought was often propagated by street preachers. One of the most ambivalent characters was Reverend Mr. Parsons, who had been in the habit of regularly preaching on the wharves, in shipyards and other "obscure" places along the East and North Rivers. On December 11, 1853 he planted himself upon a pile of timber in the Westervelt & MacKay shipyard. His voice traveled far, and in the course of half an hour there was an assemblage of some ten thousand people. As a result of his speech a serious riot occurred and on the orders of Mayor Westervelt the preacher was taken into custody. Some Know-Nothinger hastened to the station house with the intention of liberating him. Finding no redress there, five thousand excited men marched to 308 East Broadway and surrounded the residence of Mayor Westervelt. Finding that he was absent from home, they contented themselves with daubing a large cross on the door.  The feelings of the members of this movement against the participation of foreign-born citizens in municipal affairs had grown very bitter, and Westervelt set himself so sternly against them that his house was mobbed again. Probably due to the paucity of support for his reformist efforts during his term, but also because he applied himself more and more to the business of shipbuilding again, Westervelt declined a renomination, which for him was equivalent to an election, and was succeeded as Mayor by Fernando Wood. In 1857 Westervelt became a member of the New York State Assembly for Rockland County.

Genealogy of the Westervelt family.

Ancestors.

Westervelt, as his name indicates, came from old Dutch stock. The name was known in the Netherlands at a very early period, and although the family members were not of nobility, they had been extensive property owners for many generations. The earliest mention of the Westervelts that has been recorded is of a Dirk van Westervelt and his family who resided in and around the town of Harderwijk for many years. Some individuals sharing that name appear to have been early inhabitants of Zwolle, and their descendants are still to be found there, known by the name Westerveld.  In the middle of the 17th century a few Westervelts lived in Meppel, situated a few miles from the eastern shore of the Zuiderzee, in the province of Drenthe and three miles east of Zwolle. Amongst them were two brothers, Willem and Lubbert Lubbertsen van Westervelt, both farmers and cattle raisers, who with their wives and children decided to move to the New World. They left Amsterdam on board ("Hope") on April 8, 1662. On their arrival on May 24, 1662, New Amsterdam (which later became New York City) was suffering from a prolonged drought as no rain had fallen for eighty consecutive days. Lubbert settled near Hackensack, New Jersey and was one of the promoters of the Dutch Church organized there in 1686. Willem was a member of the Reformed Protestant Dutch Church in New Amsterdam (1667), whilst his son lived at New Utrecht on Long Island. This son sold his lands in 1706 and is supposed to have moved to New Jersey, where the family has been numerous and prominent for the past 300 years. William Lubbertsen van Westervelt with his wife and six children, and Lubbert Lubbertsen van Westervelt, with his wife and four children, became the progenitors of the "van Westervelt/Westervelt" family in America, and were at one time the second largest family in Bergen County, New Jersey. Jacob Aaron Westervelt was a seventh-generation descendant of Lubbert Lubbertsen van Westervelt.

Descendants.

Westervelt married Eliza M. Thompson in New York City on April 25, 1825. They had eight children:

Jacob Aaron Westervelt (January 20, 1800 – February 21, 1879) was a renowned and prolific shipbuilder who constructed 247 vessels of all descriptions during his career of over 50 years. From 1853 until 1855 he was Mayor of New York City.


Early years.

Born in St. Louis, Missouri, Frann was a child model and appeared in commercials for a local television station while she attended Nerinx Hall High School. At the age of 18, she was voted Missouri's "Junior Miss". She went on to win the 1961 national title of America's Junior Miss and earned a college scholarship to study drama at Northwestern University. As America's Junior Miss, she starred in a Jam Handy educational film ("Prom: It's a Pleasure") extolling the etiquette and fun of the high school prom. While attending Northwestern, Frann worked as a weather reporter for the NBC station in St. Louis. After a year, she dropped out of Northwestern and moved to Chicago where she co-hosted a morning show on an ABC affiliate. While working as a host, Frann worked in local theatre productions and began working in television and films. In 1964, Frann made her television debut in an episode of the "Kraft Suspense Theatre". That same year, she appeared in the television movie "Nightmare in Chicago" starring Carroll O'Connor. In 1966, Frann made her film debut in the low budget musical drama "Nashville Rebel", starring Waylon Jennings.

Career.

After receiving an offer to host another morning show, Frann realized she wanted to pursue a career as an actress rather than a broadcaster. In 1968, she moved to Los Angeles where she stayed with her best friend, actress Joan Van Ark. Shortly after her arrival, Frann won a role on the NBC crime drama series "My Friend Tony". After winning the role, Frann's agent told her that he felt she should change her name to something more appealing. Frann adopted the stage name "Jennifer Douglas," a name she picked from the phone book. After "My Friend Tony" was canceled after one season, Frann returned to using the name "Mary Frann" (which she had gone by since high school) as her professional name.  For the next five years, Frann continued to work in television and also worked in theatre in Los Angeles and New York. In 1974, she landed the role of Amanda Howard on the daytime soap opera "Days of Our Lives". She would remain on the show until 1979. While on the series, Frann also made guest appearances on "Quincy, M.E.", "The Rockford Files", "Fantasy Island", "The Mary Tyler Moore Show" and "WKRP in Cincinnati". In 1978, Frann was nearly cast as Sue Ellen Ewing on the CBS prime-time drama "Dallas". Producers later decided to cast actress Linda Gray. In 1982, she starred on the short-lived series "King's Crossing" with Linda Hamilton. That series was canceled after one season due to low ratings. Later that year, she landed her most memorable role as Joanna Loudon, the wife of Vermont inn owner Dick Loudon (Bob Newhart), in the sitcom "Newhart". The series, which aired from October 1982, to September 1990, was a hit with audiences and was nominated for 25 Emmys and five Golden Globes. Shortly after filming the series finale, Frann was cast as "Clementine Duke" in the miniseries "Lucky/Chances". The series was based on two of Jackie Collins' novels, "Lucky" and "Chances". The role was a dramatic departure from Frann's work on "Newhart" and surprised audiences. She later told the "Los Angeles Times", "I thought it would be outrageous, flamboyant, glamorous. I wanted to remind people that I was capable of playing many different roles."  During the run of "Newhart", Frann continued acting in various projects. In 1985, she co-starred in the TV movie "Gidget's Summer Reunion", and in 1988, she appeared in "Dance 'til Dawn" with Alyssa Milano, Christina Applegate and Kelsey Grammer. Frann also co-hosted the Miss USA and Miss Universe pageants of 1986 and 1987, and acted as hostess for the Macy's Thanksgiving Day Parade and the Rose Parade.  Her last acting role came in the series "". Due to the sporadic airing of the series, the episode she was in, "The Curse of Hampton Manor," aired two years after her death.

Personal life.

Frann was married once, in 1973, to T.J. Escott. They separated in 1982, divorced the following year, and had no children.

Charity work.

Frann was active as a volunteer fund-raiser and was involved with charitable works. She was a member of the Celebrity Action Council, a volunteer group of celebrity women who served the women's outreach of the Los Angeles Mission, for seven years. The night before her death, she had attended a meeting at the Mission.

Death.

On September 23, 1998, Frann died in her sleep at her home in Beverly Hills, California. Her body was discovered by her publicist and her longtime partner Jonathan Cookman Jr. An autopsy later determined that she died of a heart attack and also suffered from an undiagnosed scarring of the heart muscle tissue. Her remains are interred in the Holy Cross Cemetery in Culver City, California.

Mary Frann (born Mary Frances Luecke, February 27, 1943 – September 23, 1998) was an American stage, film and television actress. Frann is best known for her role as Bob Newhart's wife, Joanna Loudon, on the CBS sitcom "Newhart", which aired from 1982 to 1990.


Background.

The concert was part of Columbia Records' push to promote Springsteen in the UK and Europe following the success of his third album, "Born to Run" (1975) in the US. The large amount of publicity accompanying these appearances, especially the one in London, famously caused Springsteen to pull down from the front of the Odeon a promotional poster proclaiming "Finally London is ready for Bruce Springsteen and The E Street Band."  This performance marked the European concert debut of Springsteen and the E Street Band, kicking off a four-date mini-tour which also featured shows in Stockholm, Sweden and Amsterdam, the Netherlands, as well as a second concert at the Hammersmith Odeon on November 24 that was added due to the huge ticket demand for the first London gig.  In the liner notes, Springsteen himself writes that after the show had been recorded, "I'd paid no attention to it. I never looked at it... for 30 years." In his autobiography, "Born to Run", he reveals that during and after the concert he experienced an angst-ridden sense of doubt as to performing in general, and his performance that evening in particular. However, in the same book, he recognizes that "whatever happened, that first night at the Hammersmith Odeon became one of our 'legendary' performances", despite calling the return gig on November 24 at the end of the European tour "a blaze of a show" by comparison.  After The Rising Tour, Springsteen had an inkling to dig into film of the early part of his career, the vast majority of which remained "a blank spot," with little or nothing ever released. He found the film and the 24-track audio recordings. The two-and-a-half-hour concert film was spliced together from 32 reels of silent 16-mm footage, digitally restored frame by frame in a painstaking process that took editor Thom Zimny a full year to complete. Bob Clearmountain, a veteran of several Springsteen projects, mixed the audio for the CD and film.  Actor, writer and Monty Python member Michael Palin was in attendance and devoted an entire diary entry (dated "Tuesday, November 18, 1975") to the concert and his first impression of Springsteen and the band. He notes that the hype by CBS Records was met with a certain scepticism by the ticket-buying public. He notes that the concert did not start until 45 minutes after the scheduled start time, that the PA system made it difficult for him to make out the lyrics, but Springsteen and the band "kept the evening alive – and he did three encores." Contemporary and later reports seem to agree with Bruce Springsteen that the first performance on November 18 was in fact the inferior one, and was outshone by the repeat concert at the same venue on November 28 at the end of the European shows. This view may deem to have been borne out by the respective number of encores; three on November 18 and nine on November 28.  The album debuted on the "Billboard" 200 album chart on March 18, 2006 at number 93 with sales of approximately 12,000 copies sold. It spent two weeks on the chart. "Hammersmith Odeon '75", with the exception of some songs on the "Live/1975-85" box set, stands so far as the only full-length, official release that gives a snapshot of Springsteen and the E Street Band in concert at this early point in their musical career.

Track listing.

All songs by Bruce Springsteen, except where noted.

Disc two.

Note

Hammersmith Odeon, London '75 is a concert video and the fourth live album by Bruce Springsteen and The E Street Band, released in 2006. It is a full-length recording of their performance on November 18, 1975 at the Hammersmith Odeon in London, during their Born to Run tours. It was first released as a DVD on November 14, 2005 as part of the "Born to Run 30th Anniversary Edition" package, and then several months later on February 28, 2006 released as an audio CD. The album was reissued on vinyl for the first time for Record Store Day on April 22, 2017.


Biography.

Lawrence was born in Bayside, Queens, New York, in 1820. He was a descendant of John Lawrence and John Bowne, both Quakers and pioneer English settlers of Queens, NY.  Lawrence moved to Louisiana in 1843 and engaged in the planting and refining of sugar. He served in the Louisiana State House of Representatives for some time and then successfully contested the re-election of Jacob Hale Sypher. Lawrence then served for one day in Congress but was not reelected. He died at Magnolia Plantation, Plaquemines Parish, Louisiana in 1878.

Contested election.

The voting in the 1872 election was characterized by a number of irregularities, with Sypher initially being declared the winner and returned to Congress while Lawrence appealed the election results. Lawrence's belated replacement of Sypher, after courts intervened to nullify the original results and instead deliver the seat to Lawrence, marked the first time since the Civil War that a Democrat had defeated a Republican for a seat in Congress from Louisiana.  The 1874 voting in which Lawrence failed "re-election" to the seat had already been held before he was seated for the term to which he had, by the later court-order, been elected in 1872. Thus, under the congressional calendar in effect at the time, Lawrence was able to serve for one day of the 1873–1875 term to which he had, in the end, been elected. On the following day—March 4, 1875—he was succeeded by Randall Lee Gibson, a Democrat who had defeated him during the preceding autumn.

Effingham Lawrence (March 2, 1820 – December 9, 1878) was an American politician known for serving for the shortest term in congressional history, serving for just one day in the U.S. House of Representatives.


Orbit and classification.

"Perth" is a member of the Flora family (), a giant asteroid family and the largest family of stony asteroids in the main-belt. It orbits the Sun in the inner main-belt at a distance of 1.8–2.7 AU once every 3 years and 5 months (1,242 days). Its orbit has an eccentricity of 0.19 and an inclination of 5° with respect to the ecliptic.  The asteroid was first identified as at Crimea–Nauchnij in October 1969. The body's observation arc begins at Nauchnij with its identification as in October 1979, more than seven years prior to its official discovery observation at Anderson Mesa.

Physical characteristics.

"Perth" is an assumed S-type asteroid, which corresponds with the overall spectral type of the Flora family.

Rotation period.

In February 2008, a rotational lightcurve of "Perth" was obtained by a collaboration of astronomers in a photometric survey of the Flora region. Lightcurve analysis gave a rotation period of 5.083 hours with a brightness variation of 0.28 magnitude (). Other photometric observations at the Palomar Transient Factory in October 2010, and by Wiesław Wiśniewski in December 1993, gave a period of 5.087 and 5.2 hours with an amplitude of 0.92 and 1.09, respectively ().

Diameter and albedo.

According to the survey carried out by the NEOWISE mission of NASA's Wide-field Infrared Survey Explorer, "Perth" measures 4.80 kilometers in diameter and its surface has an albedo of 0.335, while the "Collaborative Asteroid Lightcurve Link" assumes an albedo of 0.24 – taken from 8 Flora the Flora family's largest member and namesake – and derives a diameter of 4.18 kilometers based on an absolute magnitude of 14.06.

Naming.

This minor planet was named after the Australian Perth Observatory for its many contributions to astronomy including the "Perth 70 meridian catalogue", the co-discovery of the rings of Uranus, and observational work on Comet Halley both in 1910 and 1986. The observatory was founded near the city of Perth in 1896, and moved to Bickley in 1965. The observatory is known for its astrometry and photometry on small Solar System bodies. The official naming citation was published by the Minor Planet Center on 17 August 1989 ().

3953 Perth, provisional designation, is a stony Florian asteroid from the inner regions of the asteroid belt, approximately in diameter. It was discovered on 6 November 1986, by American astronomer Edward Bowell at the Anderson Mesa Station near Flagstaff, Arizona. The asteroid was named for the Australian Perth Observatory.


History.

In 1979, The Hongkong and Shanghai Banking Corporation bought a Vancouver-based acceptance company that financed machinery and equipment for small companies operating in British Columbia. In 1981, The Hongkong and Shanghai Banking Corporation incorporated Hongkong Bank of Canada (HBC), in Vancouver as a chartered bank effective July 1, 1981, under the Bank Act of Canada using the acceptance company as a base for the new bank. HBC had a few retail branches primarily focused on Asian-Canadians whose primary business centred on commercial enterprises. HBC opened branches in major cities in western Canada and in Toronto and Montreal but growth was slow. HBC sought to grow by acquisition, but the first three attempts to buy an existing institution were unsuccessful. HBC acquired the assets of Bank of British Columbia on November 27, 1986, which had essentially failed. This acquisition gave HBC an additional $2.6 billion in assets and 41 branches in British Columbia and Alberta propelling it overnight from the 20th largest to 9th largest bank in Canada.  On May 20, 1988, HBC amalgamated with Midland Bank Canada, gaining many new corporate banking relationships, combined assets of $472 million, and expanding to Eastern Canada. It acquired Lloyds Bank Canada on May 29, 1990, thereby adding another $4.4 billion in assets and 53 branches. Lloyds Bank had acquired Continental Bank of Canada in 1986. Continental Bank began in 1973 as Niagara Finance Company, later became IAC Limited, and then Continental Bank.  By October 31, 1990, HBC's assets were $10.2 billion and its branch network had doubled with most of its newly acquired branches located in Ontario and Quebec. The acquisition of Lloyds also made the company Canada's largest foreign bank and a bilingual operation with branches in eight Quebec communities. On April 30, 1993, HBC acquired ANZ Canada consisting of one office in Toronto, which it combined with the existing HBC branch at 70 York Street. ANZ had acquired Grindlays Bank Canada with its 1984 acquisition of Grindlays Bank, but management sold the component to HBC to focus on expansion in the Asia-Pacific area. The purchase of ANZ made HBC the seventh largest bank in Canada with branches in every province except Prince Edward Island. HBC acquired the single-office Metropolitan Trust Company of Canada on August 1, 1995.  HBC acquired Barclays Bank Canada on August 31, 1996. Barclays had re-entered Canada in 1979 and developed a diversified but modest range of activities. In 1985, Barclays bought the assets of Wells Fargo Bank (Canada), consisting of its operations in Alberta and Florida, so that Wells Fargo could re-focus on its home market. In 1993, Barclays Bank Canada closed its Edmonton branch and the following year, it closed six additional branches in Vancouver, Calgary, Winnipeg, London, Montreal and Halifax, retaining only its head office. Barclays' Canadian operations lost approximately $120-million between 1992 and 1996.  In response to the growing north-south trade occasioned by the adoption of the 1994 North American Free Trade Agreement (NAFTA), HBC acquired the Seattle, Washington and Portland, Oregon branches of Marine Midland Bank in 1996. This move into the United States seemed a natural expansion that followed the business interests of many of the bank's customers. HBC acquired National Westminster Bank of Canada on May 1, 1998, which had assets of C$844.5 million. NatWest had entered Canada in 1982. On June 21, 1999, HBC changed its name to HSBC Bank Canada, consistent with the HSBC Group's strategy of creating the global brand, HSBC. On December 3 of that year, it acquired Prenor Trust Company of Canada.  In 2000, HSBC Bank Canada acquired Republic National Bank of New York (Canada) after HSBC acquired the parent bank. Republic had entered Canada in 1982, and was an amalgamation of several banks. Republic's purchases included Bank Leumi Le Israel (Canada) in 1993; Israel-based Bank Hapoalim (Canada) in 1994; and Israel Discount Bank of Canada's in 1996. On April 1, 2001, HSBC Canada acquired CCF Canada after HSBC Holdings acquired CCF Canada's parent company, Crédit Commercial de France (CCF). CCF had just acquired Crédit Lyonnais Canada. Credit Commercial de France (Canada) had entered Canada in 1982 when it established an office in Montreal. Société Genérale (Canada) acquired it in 1990. CCF had returned to Canada in 2000. In 2002, HSBC Holdings merged its Canadian and US operations to create a North American transnational bank. HSBC Bank USA of New York, with assets of US$87 billion, and HSBC Canada, with assets of C$34 billion, share some operating resources but remain separate units. On June 1, 2004, HSBC Bank Canada completed its acquisition of Intesa Bank's Canadian unit, which had 11 branches and total assets of C$1.1 billion.  On September 20, 2011, HSBC Canada sold its full-service brokerage division, HSBC Securities (Canada) Inc., to National Bank Financial Group for C$208 million.

Divisions.

Operating divisions of HSBC:

Membership.

HSBC Canada is a member of the Canadian Bankers Association (CBA) and registered member with the Canada Deposit Insurance Corporation (CDIC), a federal agency insuring deposits at all of Canada's chartered banks. It is also a member of:  Effective March 15, 2010, BMO Bank of Montreal ceased accepting deposits at its ATMs from HSBC customers and resumed charging a convenience fee after five years of an ATM sharing agreement with HSBC Bank Canada. HSBC continues as a member of The Exchange Network. This was a decision HSBC took as part of a restructuring of its personal banking strategy. Instead, HSBC will rebate the convenience fee charged to its HSBC Premier qualified customers to a maximum of $2.00 per instance for using any ATM in Canada.

HSBC Bank Canada (), formerly the Hongkong Bank of Canada (HBC), is a bank in Canada that is a subsidiary of British banking giant HSBC - one of the largest banking groups in the world. HSBC Canada is the seventh largest bank in Canada, with offices in every province except Prince Edward Island, and is the largest foreign-owned bank in the country. Corporate headquarters are in the financial district of Vancouver, British Columbia. HSBC Bank Canada's Institution Number (or bank number) is 016.


Playing career.

Kozek played collegiately at the University of North Dakota from 2005 to 2009. He helped UND capture the WCHA championship in 2006, followed by a trip to the NCAA Frozen Four, where the Fighting Sioux were defeated by Boston College. In 2007, UND again made it to the NCAA Frozen Four and again fells short in the semifinal against Boston College. Kozek reached a third NCAA Frozen Four with North Dakota in 2008, but for the third consecutive year the Fighting Hawks did not get passed BC in the semis. Kozek was named to the WCHA All-Academic Team his junior year.  After his NCAA career, Kozek played for the Chicago Wolves in the American Hockey League, seeing action in five games of the 2008-09 season. He then signed a deal with the Atlanta Thrashers and was assigned to their affiliate, the Chicago Wolves, where he made 126 AHL appearances. On March 7, 2011, Kozek was sent by the Thrashers on loan to the Hershey Bears, affiliate of the Washington Capitals, in exchange for Capitals prospect Josh Godfrey.  In the following season, Kozek embarked on his career abroad, first agreeing to a one-year stint in the Asia League Ice Hockey with the Nikko Ice Bucks. He then moved to the more competitive Austrian top-flight EBEL with Dornbirner EC for the 2012-13 campaign. He led the league in goalscoring that season, chipping in with 38 goals (plus 20 assists) in 54 games. After one year at Dornbirn, Kozek moved to EBEL rivals EHC Linz prior to the 2013-14 season. He led the Austrian top-flight in goals scored in 2012-13 and 2015-16.  In April 2016, Kozek penned a deal with the Nürnberg Ice Tigers of the German top-tier Deutsche Eishockey Liga (DEL).

Andrew Kozek (born May 26, 1986) is a Canadian professional ice hockey player. He is currently playing with EC KAC in the Austrian Hockey League (EBEL). Kozek was drafted 53rd overall by the Atlanta Thrashers in the 2005 NHL Entry Draft.


Early life.

Rafferty was born in Newry, Northern Ireland. He won the Boys Amateur Championship aged 15, qualified for the Open Championship at age 16, and played in the 1981 Walker Cup aged 17. He tied for first place with Peter McEvoy in the 1980 English Open Amateur Stroke Play Championship for the Brabazon Trophy. According to Rafferty, as an amateur he and future pro Philip Walton had the best handicaps in the country.

Professional career.

Rafferty was briefly one of the best professional golfers in Europe. Between 1987 and 1993, he won 12 official tournaments around the world: five in Australia, seven in Europe. He led the 1989 European Tour Order of Merit and qualified for the 1989 Ryder Cup team. By the early 1990s, he came close to breaking the then-record for consecutive cuts made on the European Tour. He also spent over 100 weeks ranking inside the top 25 of the Official World Golf Ranking between 1989 and 1993.  Rafferty joined the European Tour in 1982. He first year was solid (if unremarkable) with one top ten and 48th ranking on the Order of Merit. His second season, in 1983, inaugurated an excellent stretch that lasted throughout the 1980s. In eight straight seasons, he finished in the top 30 of the Order of Merit and recorded at least six top-10s per year.  He struggled at coming through down the stretch, however. He recorded an astonishing 62 top-10s before his first European Tour victory. This included a playoff loss to compatriot David Feherty at the 1986 Lancia Italian Open.  He had better luck winning down under, however, recording two wins on the 1987 Australasian Tour. The second victory was at the New Zealand Open where he defeated defending PGA Championship winner Larry Nelson in a playoff. He was the first European to win New Zealand's national open since the 1920s. He also won the 1988 Australian Match Play Championship, defeating Australian Michael Clayton in the finals.  After knocking on the door for years, Rafferty would finally win in Europe in 1989. He avenged his 1986 playoff loss at the Italian Open with a one stroke win over Sam Torrance. This would be Rafferty's best season, as he would win an additional two events and record a 15 top-10 finishes. At the end of the year he won the Volvo Masters, the most prestigious win of his career, defeating Nick Faldo by one shot. He would go on to win the European Tour Order of Merit. He would also finish atop the 1989 Ryder Cup standings and play in his only Ryder Cup that year at The Belfry. Although Rafferty did not play great (he lost both team matches he played) he won his singles match against defending Open Championship winner Mark Calcavecchia on the 18th hole for a 1up win. This tight win proved indispensable as the European team struggled on the last day and only barely retained the cup with a 14–14 tie.  In 1990 was another great season for Rafferty. He won the Coca-Cola Classic, PLM Open, and Ebel European Masters Swiss Open, recorded two runner-ups, and had 12 top-10s in 30 official tour events. His excellent play earned him a special foreign invitation to play the Masters for the first time. In the spring he reached his career peak of #16 in the Official World Golf Ranking after a tie for 6th at the Belgian Open. He also qualified for the U.S. Open and PGA Championship; he was the first Irish pro to play in the U.S. Open since the 1940s.  The remainder of the early 1990s would see Rafferty vacillate between brief stretches of greatness and longer stretches of mediocrity. Although he recorded six official top-10s, including a distant runner-up finish at the European Pro-Celebrity pro-am, 1991 was a bit of a letdown. For the first time in five years, Rafferty did not win an official international event. He missed a European Tour cut for the first time in years at the Spanish Open. His play at the majors was especially weak. He missed the cut at the Masters, abruptly withdrew from the U.S. Open in the middle of the second round, and failed to qualify for the Open Championship for the first time since the beginning of his career. His withdrawal from the U.S. Open was particularly contentious and he was fined by the European Tour. By the end of season he was in danger of leaving the top 50 in the world rankings.  The beginning of the 1992 season suddenly saw Rafferty go on perhaps the hottest stretch of his career. He finished no worse than second place in five consecutive worldwide events: a victory at the Daikyo Palm Meadows Cup for his final win in Australia; a tie for second at the European-sanctioned Johnnie Walker Classic in Bangkok, Thailand; a playoff loss to Seve Ballesteros at the Dubai Desert Classic; a runner-up to American legend Tom Watson at the Hong Kong Open; and finally a victory at the Portuguese Open. His world ranking would peak again at #16 after his win in Portugal.  The culmination of this period also marked the beginning of a slow decline that would persist to the end of his career. In the heart of the season, playing in more challenging European and American events, Rafferty could not keep up, missing the cut in most of the events he played and, when he made the cut, usually finishing near the bottom.  1993 marked a brief return to form. After recording some high finishes in minor European and South African events in late 1992/early 1993, Rafferty recorded a number of top-10s in the middle of the 1993 European season. This would culminate with a victory at the 1993 Hohe Brucke Austrian Open. Rafferty would finish the season ranked inside the global top 50.  The 1994 season, however, would mark the beginning of the end of his career as a touring professional. His victory in Austria would be his last. He recorded only two top-10s in 26 European events and failed to finish in the top 50 of the Order of Merit for the first time.  Rafferty maintained full-time status for three more years and recorded a spate of top 10s but could come close to matching his 1980s heyday. In 1997 broken bones in his left hand severely affected his play. After the 1997 season, he failed to enter the top 100 of the Order of Merit again. He would retire as a touring professional after the 2003 season.

Personal life.

Rafferty is married to Claire and has two adult children, Jonathan and Emma. Though from Northern Ireland, he now lives in Ascot, England.  In 1987, while playing on the Australasian Tour during the European Tour offseason, he lived with the family of Australian pro Ian Baker-Finch. During this time, Rafferty became a connoisseur of Australian wine. He remains a noted wine collector.  Rafferty now plays few tournaments, and is involved in broadcasting, where he works as a commentator and analyst, and golf course design. He regularly appeared on Setanta golf's coverage.

Legacy.

Rafferty is known for prefiguring the rise of professional golf Northern Ireland. He and David Feherty were the first Northern Irish golfers to win consistently on the European Tour. Shortly after they retired golfers like Graeme McDowell, Rory McIlroy, and Darren Clarke would go onto greater success, winning major championships.  Although never a household name, Rafferty was one of the best European golfers during the 1980s and early 1990s. He won 12 official worldwide tour events between 1987 and 1993. By comparison, Nick Faldo, the best European golfer of that era, won 17 tour events during that timespan. Paul Azinger, the most victorious American golfer during that timespan, won only one more event than Rafferty during these years.

Professional wins (14).

European Tour wins (7).

European Tour playoff record (1–4)

PGA Tour of Australasia wins (5).

PGA Tour of Australasia playoff record (1–0)

Results in major championships.

CUT = missed the half-way cut
 WD = Withdrew
 "T" indicates a tie for a place

Team appearances.

Amateur  Professional

Ronan Patrick Rafferty (born 13 January 1964) is a Northern Irish professional golfer who formerly played on the European Tour.