Biography.

Vladimir Vasilievich Galchenko, known as Vova, and his sister Olga Vasilievna Galchenko are originally from Penza, Russia, and both started juggling at a very young age. At age seven, Vova joined a circus school. Olga joined the circus school several years later. Vova Galchenko is one of two jugglers that have successfully executed a 7 club 7 up 360.  With the encouragement of their parents, Vova and Olga began performing together. In 2001, their father began filming them performing tricks and posted the videos on a website. They soon began receiving invitations to perform abroad. Vova and Olga soon became widely known in the European juggling community for their high level of technical ability, both on and off stage, especially as they were both very young. Even at the ages of 12 and 15 they were featured performers at many large juggling conventions and festivals in Europe, including the British Juggling Convention 2002, Dresden Juggling Convention 2002 and 2003, the European Youth Circus Festival 2002 and the European Juggling Convention 2003. They also performed at the Israel and Japan juggling conventions.  In 2003 they moved from Russia to the United States, where they settled in Los Angeles and began working with Jason Garfield to improve their technical skills. Also in July 2003 they travelled to the International Jugglers' Association Summer Festival in Reno, Nevada. Many expected them to win all three stage championship categories (Individual, Junior and Team). However, due to their lack of experience on a competition stage, they failed to take gold in any category, though as a team they won a silver medal, and many awards in other events.  In December 2004 they also took part in the first World Juggling Federation competition in Las Vegas, Nevada. Vova won the Advanced Clubs, Five Club Moves, Three Club 360s and Five Club 360s competitions, and came second in the only other event he entered. Olga won the Junior Clubs and came second in the Women's Advanced Clubs. Together they won the Teams Six Club and the Teams Seven Plus.  In 2005, the siblings' partnership began to splinter, in part because Olga wanted to concentrate on school. Vova began performing on his own.  In the 2006 World Juggling Federation competition in Las Vegas, Nevada. Vova and Olga won the Team Club Passing competition. This was their first performance as a pair in competition for one and a half years. Vova also competed individually and won the Endurance - Clubs, 5 Ball 360s (together with Thomas Dietz), 3 Club 360s, 5 Club 360s, 5 Ball Freestyle, 7 Ball Freestyle, 3 Club Freestyle, 5 Club Freestyle competitions.

Juggling style and records.

The Galchenko siblings are known within the juggling world as being "obsessive" about perfecting their technical skills. Penn Jillette asserts that "if you're talking about club passing, the two of them together are the best in the world. Not just the best in the world. The best there has ever been." Writing in "Time", Lev Grossman describes their performance as "beautiful--a kind of kinetic sculpture, a bravura display of human determination bringing order to the chaotic physical world." According to Jason Fagone in "The New York Times", Vova "is able to blur the transitions between tricks so completely that it often seems as if he’s not doing tricks at all".  Unlike many other jugglers, however, the siblings do not excel at performing; they do not banter on stage or veer towards comedy. This is, in part, due to Vova's almost crippling stage fright. Vova, who has earned the nickname "The Russian Robot" for his refusal to try to engage his audiences, maintains that juggling has nothing to do with artistry: "There’s nothing you can express through juggling. It’s just throwing and catching...". Because their interests lie in the technical aspects of the discipline rather than entertainment, they joined the World Juggling Federation, whose mission is to transform juggling into a sport.  Olga and Vova previously held several juggling world records for team club passing. Some of their records included:

Other endeavors.

Vova and Olga Galchenko have recently shifted their focus somewhat away from juggling in pursuit of other ambitions. The siblings studied Computer Engineering and Computer Science at rival universities in Los Angeles: Olga at UCLA, and Vova at USC. Both have had some success in their studies. Most notably, Vova has released a number of iPhone applications, one of which is geared towards jugglers. Since 2012, Vova has been working at Box.

Vladimir (born September 15, 1987), known as Vova, and Olga Galchenko (born July 31, 1990) were a brother and sister juggling team originally from Russia, active from approximately 2001 to 2009. They specialized in club juggling, particularly technical solo juggling, technical club passing and numbers club passing.

Vladimir (* 15. September 1987 in Pensa), bekannt als Vova, und Olga Galchenko (* 31. Juli 1990 in Pensa) sind ein russisches Jonglier-Geschwisterpaar.


Origin.

Wang Xin, a musician from the nearby city of Tianjin, started writing this song in late September 1950, shortly after he saw the sea of fluttering Five Star Red Flags at Tiananmen Square during the preparation period for the first National Day of the People's Republic of China, which was to be held on 1 October that year. The song had become very popular firstly in Tianjin, then spreading to Beijing. The song's lyrics and its music composition were officially published on 15 September 1951 in the "People's Daily"', being promoted widely by the Ministry of Culture of China in time for the National Day festivities.

Lyrics (original).

Our flags are waving in the wind
 With the glorious praise of victory
 Ode to our gracious motherland
 Marching toward prosperity from today
 Ode to our gracious motherland
 Marching toward the prosperity from today
 Over the mountains, across the plains
 Cross the Yangtze and Huang River
 Tis’ the dear home of ours,
 the grand and beautiful land of China
 Hail the Chinese people stand up from today
 We are united, affectionate, and strong as steel!

 Our flags are waving in the wind
 With the glorious praise of victory
 Ode to our gracious motherland
 Marching toward prosperity from today
 Ode to our gracious motherland
 Marching toward the prosperity from today
 We work tirelessly, we share bravery
 Splendid is our Five-thousands years history
 How many challenges we have encountered
 To gain today's liberation
 We love peace, we love our motherland
 But we pledge to tear any aggression

 Our flags are waving in the wind
 With the glorious praise of victory
 Ode to our gracious motherland
 Marching toward prosperity from today
 Ode to our gracious motherland
 Marching toward the prosperity from today
 People's republic is thriving
 As the oriental rising sun
 Great leader Mao is pointing the path toward victory
 Our future is bright and fruitful
 We the people will enjoy her plenteousness!  Our flags are waving in the wind
 With the glorious praise of victory
 Ode to our gracious motherland
 Marching toward prosperity from today
 Ode to our gracious motherland
 Marching toward the prosperity from today!

 translated by Bo Shi, in order to fit the lyrics with the music, the "Five-star red banner" is translated into "Our flags" instead

"Ode to the Motherland"() is a famous patriotic song of the People's Republic of China, written and music composed by Wang Shen (; 26 October 1918–October 15, 2007) during the period immediately after the founding of the People's Republic of China (1949–1951). It is sometimes honoured as "the second national anthem" of the PRC. The song was performed in the opening ceremony of the 2008 Summer Olympics.

Das Loblied auf das Mutterland () ist ein berühmtes patriotisches Lied in der Volksrepublik China. Text und Musik wurden von Wang Shen in der Zeit unmittelbar nach Gründung der Volksrepublik geschrieben. Es wird manchmal als die zweite Nationalhymne Chinas bezeichnet.


Education.

Ottendorfer was the son of a manufacturer, the youngest of six children. He was sent to live with a married sister in Brunn. There he studied the classics in the gymnasium. At the age of 20, he left to study jurisprudence at the University of Vienna, and then transferred to the University of Prague to learn the Czech language.

Revolutionary.

In 1848, he returned to Vienna, intending to finish his studies in Padua, which at that time was in the possession of Austria. However, the upheavals at that time enlisted his sympathies. Ottendorfer joined the Von der Tann volunteer corps, and briefly served in the first Schleswig-Holstein War. On returning to Vienna during the Vienna Rebellion, he found the revolutionaries in control of the government, and joined the mobile guard as a 1st lieutenant. During the storming of the city by government forces in October, he was in the battalion that was commanded by Robert Blum.  Many of his fellow revolutionaries were captured or killed. He managed to escape. He was concealed by a friendly porter in a bookstore until the excitement subsided, and then fled to the Bohemian frontier, and from there to Saxony. He subsequently became involved in the 1849 uprisings in Saxony and Baden, after the failure of which, he fled to Switzerland. He briefly considered giving himself up to the government in Vienna, but was informed that would cost him his life, and so went to the United States.

Journalism.

On his arrival in New York City, he knew Latin, Greek, Hebrew and several Slavic languages, but no English, and for two or three months after his arrival, he was able to earn no more than a bare subsistence. Then he found employment in the counting room of the "Staats-Zeitung". After the death of its proprietor, Jacob Uhl, in 1852, the management of the paper devolved to his widow, and the services of Ottendorfer became gradually more important. He became editor in 1858, and wed Jacob Uhl's widow, Anna Uhl, in 1859.  The year of his marriage, he returned to Europe, but avoided Austria, though he was assured he would not be bothered there. In 1866, he did visit Austria.  He was editor and publisher of the "Staats-Zeitung" from 1859 to 1900; his wife was business manager until her death in 1884. As the German-born population of New York City increased, his journal, in which he endeavored to reflect the sentiments of German-Americans, became one of the most widely circulated and influential in New York.

Politics.

Ottendorfer adhered to the principles of the Democratic Party, but joined no political organization, and maintained an independent position. He was an advocate of civil service reform, and active in promoting improvements in the public school system. He supported Stephen Douglas in 1860; he was a "Union Democrat" opposed to Fernando Wood's "Peace Democrats" who were Confederate sympathizers. From 1872 to 1874 he was an alderman, and in 1874 a candidate for Mayor of New York City. Several times he was a presidential elector.

Philanthropy.

Besides other charitable gifts, Ottendorfer gave $300,000 to build and endow an educational institution in his native town in Austria. On Long Island, New York, he founded a home for aged and indigent men, and established the Ottendorfer Free Library (now the Ottendorfer Branch of the New York Public Library system which it joined in the 1890s) on Second Avenue, New York City, at an original cost of $50,000, which was augmented by annual gifts. His wife, Anna Ottendorfer, was also a noted philanthropist.

Later years.

In later life, Ottendorfer retired from active journalism on account of failing health, and spent most of his time in Europe.

Valentin Oswald Ottendorfer (26 February 1826 - 15 December 1900) was a United States journalist associated with the development of the German-language "New Yorker Staats-Zeitung" into a major newspaper.

Valentin Oswald Ottendorfer (geboren 28. Februar 1826 in Zwittau, Mähren, Kaisertum Österreich; gestorben 15. Dezember 1900 in New York City, Vereinigte Staaten) war ein deutschstämmiger US-amerikanischer Journalist und Mäzen mährischer Herkunft. Er gründete Waisen- und Krankenhäuser, Unterkünfte für Arme und Bibliotheken.


History.

Walter Crawford Kelly Jr. was born in Philadelphia on August 25, 1913. His family moved to Bridgeport, Connecticut, when he was only two. He went to California at age 22 to work on "Donald Duck" cartoons at Walt Disney Studios in 1935. He stayed until the animators' strike in 1941 as an animator on "The Nifty Nineties", "The Little Whirlwind", "Pinocchio, Fantasia, Dumbo" and "The Reluctant Dragon". Kelly then worked for Dell Comics, a division of Western Publishing of Racine, Wisconsin.

Dell Comics.

Kelly created the characters of Pogo the possum and Albert the alligator in 1941 for issue No. 1 of Dell's "Animal Comics" in the story "Albert Takes the Cake". Both were comic foils for a young black character named Bumbazine (a corruption of bombazine, a fabric that was usually dyed black and used largely for mourning wear), who lived in the swamp. Bumbazine was retired early, since Kelly found it hard to write for a human child. He eventually phased humans out of the comics entirely, preferring to use the animal characters for their comic potential. Kelly said he used animals—nature's creatures, or "nature's screechers" as he called them—"largely because you can do more with animals. They don't hurt as easily, and it's possible to make them more believable in an exaggerated pose." Pogo, formerly a "spear carrier" according to Kelly, quickly took center stage, assuming the straight man role that Bumbazine had occupied.

"The New York Star".

In his 1954 autobiography for the Hall Syndicate, Kelly said he "fooled around with the Foreign Language Unit of the Army during World War II, illustrating grunts and groans, and made friends in the newspaper and publishing business." In 1948 he was hired to draw political cartoons for the editorial page of the short-lived "New York Star"; he decided to do a daily comic strip featuring the characters from "Animal Comics". The first comic series to make the permanent transition to newspapers, "Pogo" debuted on October 4, 1948, and ran continuously until the paper folded on January 28, 1949.

Syndication.

On May 16, 1949, "Pogo" was picked up for national distribution by the Post-Hall Syndicate. George Ward and Henry Shikuma were among Kelly's assistants on the strip. It ran continuously until (and past) Kelly's death from complications of diabetes on October 18, 1973. According to Walt Kelly's widow Selby Kelly, Walt Kelly fell ill in 1972 and was unable to continue the strip. At first, reprints, mostly with minor rewording in the word balloons, from the 1950s and 1960s were used, starting Sunday, June 4, 1972. Kelly returned for just eight Sunday pages, 1972-10-08 to 1972-11-26, but according to Selby was unable to draw the characters as large as he customarily did. The reprints with minor rewording returned, continuing until Kelly's death. Other artists, notably Don Morgan, worked on the strip. Selby Kelly began to draw the strip with the Christmas strip from 1973 from scripts by Walt's son Stephen. The strip ended July 20, 1975. Selby Kelly said in a 1982 interview that she decided to discontinue the strip because newspapers had shrunk the size of strips to the point where people could not easily read it.

1989–1993 revival.

Starting on January 8, 1989, the "Los Angeles Times" Syndicate revived the strip under the title "Walt Kelly's Pogo", written by Larry Doyle and drawn by Neal Sternecky. Doyle left the strip as of February 24, 1991, and Sternecky took over as both writer and artist until March 22, 1992. After Sternecky left, Kelly's son Peter and daughter Carolyn continued to produce the strip until October 2, 1993, but interest waned. The strip continued to run for a couple months with reprints of Doyle and Sternecky's work, and came to an end on November 28, 1993.

Setting.

"Pogo" is set in the Georgia section of the Okefenokee Swamp; Fort Mudge and Waycross are occasionally mentioned.  The characters live, for the most part, in hollow trees amidst lushly rendered backdrops of North American wetlands, bayous, lagoons and backwoods. Fictitious local landmarks—such as "Miggle's General Store and Emporium" (a.k.a. "Miggle's Miracle Mart") and the "Fort Mudge Memorial Dump", etc.—are occasionally featured. The memorial dump was destroyed in an inferno caused by Owl's disastrous attempt to launch a rocket ship, in the strips from 1990-04-27 to 1990-05-18, and was under reconstruction when the strip terminated. The landscape is fluid and vividly detailed, with a dense variety of (often caricatured) flora and fauna. The richly textured trees and marshlands frequently change from panel to panel within the same strip. Like the Coconino County depicted in "Krazy Kat" and the Dogpatch of "Li'l Abner", the distinctive cartoon landscape of Kelly's Okefenokee Swamp became as strongly identified with the strip as any of its characters.  Early in the strip, human artifacts have appeared: a hi-tension wire pylon, a boxcar and such.  There are occasional forays into exotic locations as well, including at least two visits to Australia (during the Melbourne Olympics in 1956, and again in 1961). The Aussie natives include a bandicoot, a lady wallaby, and a mustachioed, aviator kangaroo named "Basher". In 1967, Pogo, Albert and Churchy visit primeval "Pandemonia"—a vivid, "prehysterical" place of Kelly's imagination, complete with mythical beasts (including dragons and a zebra-striped unicorn), primitive humans, arks, volcanoes, saber-toothed cats, pterodactyls and dinosaurs.  Kelly also frequently parodied Mother Goose nursery rhymes and fairy tales featuring the characters in period costume: "Cinderola", "Goldie Lox and the Fore-bears", "Handle and Gristle", etc. These offbeat sequences, usually presented as a staged play or a story within a story related by one of the characters, seem to take place in the fairy tale dreamscapes of children's literature, with European storybook-style cottages and forests, etc.—rather than in the swamp, per se.

Cast of characters.

Kelly's characters are a sardonic reflection of human nature—venal, greedy, confrontational, selfish and stupid—but portrayed good-naturedly and rendered harmless by their own bumbling ineptitude and overall innocence. Kelly's characters were also aware of their comic strip surroundings. He frequently had them leaning up against or striking matches on the panel borders, breaking the fourth wall, or making tongue-in-cheek, "inside" comments about the nature of comic strips in general.  It's difficult to compile a definitive list of every character that appeared in "Pogo" over the strip's 27 years, but the best estimates put the total cast at well over 1,000. Even though most characters have full names, some are more often referred to only by their species. For example, Howland Owl is almost always called "Owl" or "ol' Owl", Beauregard is often called "Houn' Dog", Churchy LaFemme is sometimes called "Turtle" or "Turkle" (see Dialogue and "swamp-speak"), etc. The following list is necessarily incomplete, but should serve as a rough beginner's guide:

Dialogue and "swamp-speak".

The strip was notable for its distinctive and whimsical use of language. Kelly, a native northeasterner, had a sharply perceptive ear for language and used it to great humorous effect. The predominant vernacular in "Pogo", sometimes referred to as "swamp-speak", is essentially a rural southern U.S. dialect laced with nonstop malapropisms, fractured grammar, "creative" spelling and mangled polysyllables such as "incredibobble" and "hysteriwockle", plus invented words such as the exasperated exclamations "Bazz Fazz!", "Rowrbazzle!" and "Moomph!" Here is an example:  Pogo has been engaged in his favorite pastime, fishing in the swamp from a flat-bottomed boat, and has hooked a small catfish. "Ha!" he exclaims, "A small fry!" At this point Hoss-Head the Champeen Catfish, bigger than Pogo himself, rears out of the swamp and the following dialogue ensues:

Nonsense verse and song parodies.

Kelly was an accomplished poet, and frequently added pages of original comic verse to his "Pogo" reprint books, complete with cartoon illustrations. The odd song parody or nonsense poem also occasionally appeared in the newspaper strip. In 1956, Kelly published "Songs of the Pogo", an illustrated collection of his original songs, with lyrics by Kelly and music by Kelly and Norman Monath. The tunes were also issued on a vinyl LP, with Kelly himself contributing to the vocals.  Traditional Christmas carols were a regular feature of Kelly's holiday strips as well—particularly "Deck the Halls": ("Deck us all with Boston Charlie; Walla Walla Wash., and Kalamazoo! Nora's freezin' on the trolley; Swaller dollar cauliflower Alleygaroo"). They are enthusiastically performed by the swamp's rotating "Okefenokee Glee and Perloo Union" Choir ("perloo" is a pilaf-based Cajun stew, similar to jambalaya), although in their childish innocence the chorus typically mangles the lyrics. (Churchy once sang a version of "Good King Wenceslas" that went: "Good King Sauerkraut look out / On his feets uneven / Beware the snoo lay 'round about / All kerchoo achievin'...")

Satire and politics.

Kelly used "Pogo" to comment on the human condition, and from time to time, this drifted into politics. Pogo was a reluctant "candidate" for President (although he never campaigned) in 1952 and 1956. (The phrase "I Go Pogo", originally a parody of Dwight D. Eisenhower's iconic campaign slogan "I Like Ike", appeared on giveaway promotional lapel pins featuring Pogo, and was also used by Kelly as a book title.) A 1952 campaign rally at Harvard degenerated into chaos sufficient to be officially termed a riot, and police responded. The Pogo Riot was a significant event for the class of '52; for its 25th reunion, Pogo was the official mascot. In 1960 the swamp's nominal candidate was an egg with two protruding webbed feet—a comment on the relative youth of John F. Kennedy. The egg kept saying: "Well, I've got time to learn; we rabbits have to stick together."  Kelly, who claimed to be against "the extreme Right, the extreme Left, and the extreme Middle", used these fake campaigns as excuses to hit the stump himself for voter registration campaigns, with the slogan "Pogo says: If you can't vote my way, vote anyway, but VOTE!"

Simple J. Malarkey.

Perhaps the most famous example of the strip's satirical edge came into being on May 1, 1953, when Kelly introduced a friend of Mole's: a wildcat named "Simple J. Malarkey", an obvious caricature of Senator Joseph McCarthy. This showed significant courage on Kelly's part, considering the influence the politician wielded at the time and the possibility of scaring away subscribing newspapers.  When "The Providence Bulletin" issued an ultimatum in 1954, threatening to drop the strip if Malarkey's face appeared in the strip again, Kelly had Malarkey throw a bag over his head as Miss "Sis" Boombah (a Rhode Island Red hen) approached, explaining "no one from Providence should see me!" Kelly thought Malarkey's new look was especially appropriate because the bag over his head resembled a Klansman's hood. (Kelly later attacked the Klan directly, in a comic nightmare parable called "The Kluck Klams", included in "The Pogo Poop Book", 1966.)  Malarkey appeared in the strip only once after that sequence ended, during Kelly's tenure, on October 15, 1955. Again his face was covered, this time by his speech balloons as he stood on a soapbox shouting to general uninterest. Kelly had planned to defy the threats made by the "Bulletin" and show Malarkey's face, but decided it was more fun to see how many people recognized the character and the man he lampooned by speech patterns alone. When Kelly got letters of complaint about kicking the senator when he was down (McCarthy had been censured by that time, and had lost most of his influence), Kelly responded, "They identified him, I didn't."  Malarkey reappeared on April 1, 1989, when the strip had been resurrected by Larry Doyle and Neal Sternecky. It was hinted that he was a ghost.

The Jack Acid Society.

In the early 1960s, Kelly took on the ultra-conservative John Birch Society with a series of strips dedicated to Mole and Deacon's efforts to weed out Anti-Americanism (as they saw it) in the swamp, which led them to form "The Jack Acid Society". ("Named after Mr. Acid?" "Well, it wasn't named "before" him.") The reference is to John Birch, who was killed 13 years before the creation (in 1958) of the organization that bears his name. The Jack Acids (the name is an obvious pun on "jackasses") modeled themselves on the only "real Americans": Indians. Everyone the Jack Acids suspected of not being a true American was put on their blacklist, until eventually everyone but Mole himself was blacklisted. The strips were collected by themselves (with some original verse and text pieces) in "The Jack Acid Society Black Book".

Later politics.

As the 1960s loomed, even foreign "gummint" figures found themselves caricatured in the pages of "Pogo", including communist leaders Fidel Castro, who appeared as an agitator goat named Fido, and Nikita Khrushchev, who emerged as both an unnamed Russian bear and a pig. Other Soviet characters include a pair of cosmonaut seals who arrive at the swamp in 1959 via Sputnik, initiating a topical spoof of the Space Race. An obtuse feline reporter from "Newslife" magazine named Typo, who resembled both Barry Goldwater and Nelson Rockefeller, arrived on the scene in 1966. He was often accompanied by a chicken photographer named Hypo, wearing a jaunty fedora with a Press tag in the hat band, and carrying a box camera with an extremely droopy accordion bellows.  By the time the 1968 presidential campaign rolled around, it seemed the entire swamp was populated by P. T. Bridgeport's "wind-up candidates", including representations of George Romney, Richard Nixon, Hubert Humphrey, Robert F. Kennedy and George Wallace as wind-up toys. Wallace also appeared as The Prince of Pompadoodle, a puffed-up, diminutive rooster chick. Eugene McCarthy was a white knight tied backwards on his horse, spouting poetry. Retiring President Lyndon B. Johnson was portrayed as a befuddled, long-horned steer wearing cowboy boots. (Earlier, in the offbeat "Pandemonia" sequence, LBJ had been cast as a prairie centaur named The Loan Arranger, whose low-hung Stetson covered his eyes like a mask.) When the material from this period was collected in "Equal Time for Pogo", the publisher wanted to edit out the strips featuring Robert Kennedy's doppelgänger, but Kelly insisted on keeping them in, to pay honor to the slain candidate.  In the early 1970s, Kelly used a collection of characters he called "the Bulldogs" to mock the secrecy and perceived paranoia of the Nixon administration. The Bulldogs included caricatures of J. Edgar Hoover (dressed in an overcoat and fedora, and directing a covert bureau of identical frog operatives), Spiro Agnew (portrayed as an unnamed hyena festooned in ornate military regalia), and John Mitchell (portrayed as a pipe-smoking eaglet wearing high-top sneakers.) Always referred to, but never seen, was The Chief, who we are led to believe was Richard Nixon. Nixon eventually made his appearance as a reclusive, teapot-shaped spider named Sam.  The hyena character would sometimes change into Nixon for a while, then back into Agnew; at the end of the character's run, Churchy wondered, 'How many of him was there?'. The hyena was dressed in the ornate uniform when President Nixon introduced a fancy new dress uniform for the White House guards. Its appearance in the strip was marked by comments such as 'You look like a wet refugee from a third-rate road company.' and 'Stand back! It's blinding! You're the head cheese in a non-existent blintz republic, right?'. In real life, public ridicule led to the abandonment of the uniform a short time later.  J. Edgar Hoover apparently read more into the strip than was there. According to documents obtained from the Federal Bureau of Investigation under the Freedom of Information Act, Hoover had suspected Kelly of sending some form of coded messages via the nonsense poetry and Southern accents he peppered the strip with. He reportedly went so far as to have government cryptographers attempt to "decipher" the strip.(reference not reliable)  When the strip was revived in 1989, Doyle and Sternecky attempted to recreate this tradition with a GOP Elephant that looked like Ronald Reagan, and a jackalope resembling George H. W. Bush. Saddam Hussein was portrayed as a snake, and then Vice-President Dan Quayle was depicted as an egg, which eventually hatched into a roadrunner-type chick that made the sound "Veep! Veep!"

Backlash, censorship and "bunny strips".

Kelly's use of satire and politics often drew fire from those he was criticizing and their supporters. Due to complaints, a number of papers censored or dropped the strip altogether, while others moved it to the editorial page.  When he started a controversial storyline, Kelly usually created alternate, deliberately innocuous daily strips that papers could opt to run instead of the political ones for a given week. They are sometimes labeled "Special", or with a letter after the date, to denote that they were alternate offerings. Kelly referred to these strips as "bunny strips", because more often than not he populated the alternate strips with the least offensive material he could imagine—fluffy little bunnies telling safe, insipid jokes. Nevertheless, many of the bunny strips are subtle reworkings of the theme of the replaced strip. As if to drive home Kelly's point, some papers published both versions. Kelly told fans that if all they saw in "Pogo" were fluffy little bunnies, then their newspaper didn't believe they were capable of thinking for themselves, or didn't want them to. The bunny strips were usually not reproduced when "Pogo" strips were collected into book form. However, a few alternate strips were reprinted in "Equal Time for Pogo" and the 1982 collection, "The Best of Pogo".

Notable quotes.

"We have met the enemy and he is us.".

The quote "We have met the enemy and he is us", seemingly a biting satire of society's sometimes disregard for others, is a homage harking back to a message sent in 1813 from U.S. Navy Commodore Oliver Hazard Perry to Army General William Henry Harrison after his victory in the Battle of Lake Erie, stating, "We have met the enemy, and they are ours." It first appeared in a lengthier form in "A Word to the Fore", the foreword of the book "The Pogo Papers", first published in 1953. Since the strips reprinted in "Papers" included the first appearances of Mole and Simple J. Malarkey, beginning Kelly's attacks on McCarthyism, Kelly used the foreword to defend his actions:  The finalized version of the quotation appeared in a 1970 anti-pollution poster for Earth Day and was repeated a year later in the daily strip. The slogan also served as the title for the last "Pogo" collection released before Kelly's death in 1973, and of an environmentally themed animated short on which Kelly had started work but did not finish due to ill health.  In 1998, OGPI (Okefenokee Glee & Perloo Incorporated, the corporation formed by the Kelly family to administer all things "Pogo") dedicated a plaque in Waycross, Georgia, commemorating the quote.

Other quotes.

Perhaps the second best-known Walt Kelly quotation is one of Porky Pine's philosophical observations: "Don't take life so serious, son. It ain't "nohow" permanent." Kelly's widow Selby re-used the line as a tribute, in a poignant daily strip that ran on Christmas Day 1973—two months after Kelly's death.

Personal references.

Walt Kelly frequently had his characters poling around the swamp in a flat-bottomed skiff. Invariably, it had a name on the side that was a personal reference of Kelly's: the name of a friend, a political figure, a fellow cartoonist, or the name of a newspaper, its editor or publisher. The name changed from one day to the next, and even from panel to panel in the same strip, but it was usually a tribute to a real-life person Kelly wished to salute in print.

Awards and recognition.

The creator and series have received a great deal of recognition over the years. Walt Kelly has been compared to everyone from James Joyce and Lewis Carroll, to Aesop and Joel Chandler Harris ("Uncle Remus"). His skills as a humorous illustrator of animals has been celebrated alongside those of John Tenniel, A. B. Frost, T. S. Sullivant, Heinrich Kley and Lawson Wood. In his essay "The Decline of the Comics" ("Canadian Forum", January 1954), literary critic Hugh MacLean classified American comic strips into four types: daily gag, adventure, soap opera and "an almost lost comic ideal: the disinterested comment on life's pattern and meaning." In the fourth type, according to MacLean, there were only two: "Pogo" and "Li'l Abner." When the first "Pogo" collection was published in 1951, Anthony Boucher and J. Francis McComas declared that "nothing comparable has happened in the history of the comic strip since George Herriman's "Krazy Kat"."  "Carl Sandburg said that many comics were too sad, but, 'I Go Pogo.' Francis Taylor, Director of the Metropolitan Museum, said before the "Herald Tribune" Forum: 'Pogo has not yet supplanted Shakespeare or the King James Version of the Bible in our schools.' " Kelly was elected president of the National Cartoonists Society in 1954, serving until 1956. He was the first strip cartoonist invited to contribute originals to the Library of Congress.

Influence and legacy.

Walt Kelly's work has influenced a number of prominent comic artists:

"Pogo" in other media.

At its peak, Walt Kelly's possum appeared in nearly 500 newspapers in 14 countries. Pogo's exploits were collected into more than four dozen books, which collectively sold close to 30 million copies. "Pogo" already had had a successful life in comic books, previous to syndication. The increased visibility of the newspaper strip and popular trade paperback titles allowed Kelly's characters to branch into other media, such as television, children's records, and even a theatrical film.  In addition, Walt Kelly appeared as himself on television at least twice. He was interviewed live by Edward R. Murrow for the CBS program "Person to Person", in an episode originally broadcast on January 14, 1954. Kelly can also be seen briefly in the 1970 NBC special "This Is Al Capp" talking candidly about his friend, the creator of "Li'l Abner".

Comic books and periodicals.

All comic book titles are published by Dell Publishing Company, unless otherwise noted:

Animation and puppetry.

Three animated cartoons were created to date based on "Pogo":  The "Birthday Special" and "I Go Pogo" were released on home video throughout the 1980s and 1990s. The "Birthday Special" was released on VHS by MGM/UA Home Video in 1986 and they alongside Turner Entertainment released it on VHS again on August 1, 1992.  "I Go Pogo" was handled by Fotomat for its original VHS and Betamax release in September 1980. HBO premiered a re-cut version of the film in October 1982, with added narration by Len Maxwell; this version would continue to air on HBO for some time, and then on other cable movie stations like Cinemax, TMC, and Showtime, until around February 1991. Walt Disney Home Video released a similar cut of the film in 1984, with some deleted scenes added/restored. This version of the film was released on VHS again on December 4, 1989, by Walt Disney Home Video and United American Video to the "sell through" home video market.  As of 2019, there's still no word of Warner Archive planning to release "Birthday Special" on DVD. That special (along with "I Go Pogo") have never officially been made available on DVD. Selby Kelly had been selling specially packaged DVDs of "We Have Met the Enemy and He Is Us" prior to her death, but it is unknown whether or not further copies will be available.

Licensing and promotion.

"Pogo" also branched out from the comic pages into consumer products—including TV sponsor tie-ins to the "Birthday Special"—although not nearly to the degree of other contemporary comic strips, such as "Peanuts". Selby Kelly has attributed the comparative paucity of licensed material to Kelly's pickiness about the quality of merchandise attached to his characters.

Collections and reprints.

The 45 "Pogo" books published by Simon and Schuster.

All titles are by Walt Kelly:

"Pogo" books released by other publishers.

All titles are by Walt Kelly unless otherwise noted:

"Pogo: The Complete Syndicated Comic Strips".

In February 2007, Fantagraphics Books announced the publication of a projected 12-volume hardcover series collecting the complete chronological run of daily and full-color Sunday syndicated "Pogo" strips. The series began in 2011 under the title:

Pogo is a daily comic strip that was created by cartoonist Walt Kelly and was syndicated to American newspapers from 1948 until 1975. Set in the Okefenokee Swamp in the southeastern United States, "Pogo" followed the adventures of its funny animal characters, including the title character, an opossum. The strip was written for both children and adults, with layers of social and political satire targeted to the latter.

Pogo ist die bekannteste Comicfigur des US-amerikanischen Comiczeichners Walt Kelly. Für seine Geschichten um ein anthropomorphes Opossum, die sich erst im dritten Anlauf durchsetzten, erhielt Kelly im Jahr 1951 den Reuben Award.


Plot.

Francis Bernardone (Bradford Dillman) is the son of a wealthy cloth merchant in Assisi, who gives up all his worldly goods to dedicate himself to God. Clare (Dolores Hart) is a young aristocratic woman who, according to the film, is so taken with St. Francis that she leaves her family and becomes a nun. By this time (1212 A.D.), St. Francis has a well-established reputation for his vows of poverty. The movie goes on to note miracles (such as the appearance of the stigmata on Francis's hands and feet) and other aspects of his life, up to and including his death on October 3, 1226. The funeral befitted a man loved by man and beast alike, and ended with the birds he loved doing a flyby.

Reception.

A. H. Weiler of "The New York Times" wrote that "as a motion picture dependent on the dramatic conflict and exciting incidents that surely were synonymous with the emergence of such a towering man in such tumultuous times, it is as serene and static as ancient tapestries, limp on castle walls... There are frictions here, of course, but these are gentle affairs that are not especially memorable." "Variety" wrote, "The absence of sustained dramatic friction and a reluctance to grapple with conflicts and climaxes in visual terms results in an aura of absolute serenity and a characteristic of ponderous verbosity that may be true in spirit, tone and tempo to the tale of supreme devotion being told, but is unlikely to prove sufficiently palatable to modern audience tastes." Philip K. Scheuer of the "Los Angeles Times" stated, "The treatment is reverent and apparently unusually faithful to history, the color and CinemaScope production often eye-filling and the performances, while hardly exceptional, will hardly raise dissent. But the picture's appeal is limited decidedly to the devout and to those who would seek serene affirmation of their Christian faith. It is what I call a church film, pure and simple—ecclesiastical and eclectic." Richard L. Coe of "The Washington Post" reported that "I kept regretting the firm had three million dollars to lavish on the project. The result may please those willing to settle for a saint's biography. Apart from some individual scenes of pictorial appeal, I found the attempt unimaginative and flat. There is in it none of that sense of wonder which distinguished Pierre Fresnay's memorable 'Monsieur Vincent,' a simple French essay in black and white." "Harrison's Reports" gave the film a grade of "Fair" and wrote that "Catholics and those strongly interested in religious themes will be about the only ones deriving much satisfaction from this CinemaScope-Color account of the life of St. Francis. For this superficial treatment is almost devoid of action and suspense, while being too talky." "The Monthly Film Bulletin" wrote, "With its lepers, its desert rendezvous with a sheik and its deep-seated bitterness between the hero and his irreligious rival, this expensive slab of hagiolatry might well be described as "Ben-Hur" without the chariot race. As it turns out there is precious little action or dramatic friction of any kind (Piero Portalupi's camera studiously avoids every challenging incident), only a ponderously serene screenplay and a stolidly passionless cast directed without a spark of imagination by Michael Curtiz."

Francis of Assisi is a 1961 DeLuxe CinemaScope film directed by Michael Curtiz, based on the novel "The Joyful Beggar" by Louis de Wohl. It was shot entirely in Italy. The film was a box office loss. It starred Bradford Dillman in one of his few sympathetic leading film roles (he usually played a villainous character onscreen).

Franz von Assisi ist eine US-amerikanische Filmbiografie des Regisseurs Michael Curtiz aus dem Jahr 1961, die auf dem 1958 erschienenen Roman "Der fröhliche Bettler" des deutschen Schriftstellers Louis de Wohl basiert. Der Film erzählt vom Leben des Ordensgründers Franz von Assisi, der von 1181 bis 1226 lebte und den Orden der Minderen Brüder gründete.


Career.

While in college, DeFalco "wrote for a few local newspapers, a weekly comic strip and did a few short stories", and after graduation "got in touch with the various comic book companies", which led to him beginning his comics career as an editorial assistant with Archie Comics in mid-1972. During his tenure with Archie Comics, he "initiated and developed the Archie Comics Digest Series, which is still being produced today and remains the company's most profitable publishing series". Learning fast, DeFalco was soon writing for the flagship title "Archie" as well as for other titles including "Scooby-Doo" and "Josie and the Pussycats".  He later joined Marvel Comics, with whom he would spend the next twenty years of his career. DeFalco briefly wrote for DC Comics in the late 1970s. He scripted several Jimmy Olsen and Lois Lane stories for the "Superman Family" title; the final issue of "Starfire" (Oct.–Nov. 1977); and a Cain story in "House of Mystery" #258 (May–June 1978). DeFalco then moved to Marvel, where he wrote two issues of "The Avengers" and the final five issues of "Machine Man" plus a Machine Man issue of "Marvel Team-Up", before launching "Dazzler" in March 1981. DeFalco later wrote a "Machine Man" limited series in 1984, with art by Herb Trimpe and Barry Windsor-Smith.  DeFalco was the chief designer and author for "Dazzler", and later became one of the writers for the "Spider-Man" comic book series while at the same time rising through the editorial ranks. While writing "Dazzler", he wrote a couple of issues of "Marvel Team-Up", before taking over from Dennis O'Neil as editor of that title, as well as assuming editorial duties on "Ghost Rider", "What If...?" and the Spider-Man titles, which he edited throughout the early 1980s.

G.I. Joe and Hasbro.

DeFalco worked closely with toy manufacturer Hasbro in the early 1980s, heading the creative team that "produced the backstory and dossiers that served as the basis for the of the phenomenally successful G.I. Joe toy line and ", in 1985. As part of this relaunch, Marvel produced a comic titled "" in June 1982. DeFalco personally edited the first six issues (handing over to Denny O'Neil in January 1983), as well as assorted issues of the "G.I. Joe" series' throughout the 1980s. The core "G.I. Joe: A Real American Hero" series would run for 155 issues over the next 12 years.  DeFalco was "part of the creative team that introduced the Transformers to the American public" in 1984.

Spider-Man.

In August 1983, DeFalco wrote the first four issues of the third series of "Red Sonja" and after shedding his Spider-Man editorial duties to Danny Fingeroth, he took over from Roger Stern as writer of "The Amazing Spider-Man". The two collaborated on April–May's #251-252 (the "Secret Wars" crossover issues), before DeFalco took over fully with #253, for a two-year run, chiefly in collaboration with artist Ron Frenz. Concurrent with editing Jim Shooter's "Secret Wars", DeFalco introduced Spider-Man's "black costume" in the pages of "Amazing". DeFalco co-created the Rose, Black Fox, and Silver Sable during his tenure on the series. DeFalco and Frenz were both removed from "The Amazing Spider-Man" by then Spider-editor Jim Owsley, who stated that they had chronically failed to meet deadlines. DeFalco and Frenz both state they met their deadlines more diligently than any other Marvel creative team at the time, and that Owsley caused them to miss deadlines by repeatedly changing his production schedules. Issue #285 (Feb 1987) was their final issue, after which Owsley assumed writing duties. While writing "Amazing", DeFalco continued editing various comics.

Editor-in-Chief.

After co-writing two issues of "Fantastic Four" (#301–302; April–May 1987), DeFalco took over writing duties on "Thor" with #383 in September. DeFalco became Marvel's tenth Editor-in-Chief on April 15, 1987. This change was effective in comics cover-dated November 1987. He served from 1987 to 1994, making him one of the longest serving individuals to hold that post. The only Editors-in-Chief with longer service than him were Stan Lee (1941–1942, 1944–1972), Shooter (1978–1987), and Joe Quesada (2000–2011).  Early in DeFalco's run as editor-in-chief, executive editor Mark Gruenwald remarked, "Tom does not seem to have as strong a personal vision for Marvel [as Shooter], and as a result he's more open to other people's visions. It remains to be seen if that's good or bad." In an interview with "The Comic Book Gazette", DeFalco described his experiences as Editor-in-Chief as being "A lot like those old Bullpen Bulletins comic strips, but with significantly more yelling!"  He was a key member of the management team that took Marvel public, and under his leadership, Marvel's net profits from publishing rose by over 500%. Under DeFalco's guidance, Marvel entered a phase of expansion that provided an opportunity for "new talent" to enter the comic book industry, and released a number of new titles with original characters. After clashing with the company's upper management, DeFalco resigned in 1994.  During his tenure as Editor-in-Chief, DeFalco had continued to write as well, with noted runs on "Thor" where he created the New Warriors with artist Ron Frenz and the spin-off "Thunderstrike", as well as "Fantastic Four" and Marvel children's comic imprint Star Comics.

Return to Spider-Man.

Defalco was one of the writers on the "Maximum Carnage" storyline in 1993. His resignation as Editor-in-Chief coincided with a run on "The Spectacular Spider-Man" (#215-229 Aug. 1994 - Oct. 1995), after which he returned to "The Amazing Spider-Man" in January 1996 for issues #407-439. During this time he helped co-write the Spider-Clone Saga which revealed (temporarily, at least) that Peter Parker was a clone of the original that had been active since 1975. Peter would be replaced by the original Spider-Man under the alias "Ben Reilly". Following several changes of creators and fan reaction, this was soon reversed.  DeFalco created Spider-Girl, who first appeared in an issue of "What If?" which led to him writing the MC2 line launched in 1998 including the "Spider-Girl" ongoing series which ran for 100 issues. Spider-Girl went on to star in "Amazing Spider-Girl" (30 issues) and the most recent volume, "The Spectacular Spider-Girl", making her Marvel's longest-running female star of a solo series.  In early 2009, as the Spider-Girl series was drawing to a close, DeFalco said it might be some of his last work for Marvel as he was in danger of being typecast because of his long run with the characters.  The "Spider-Girl" series was cancelled in 2010.

Other work.

DeFalco is the author of over a dozen graphic novels, several hundred comic book stories, several dozen cyber-comics, three novels and six children's books, including the best-selling Dorling Kindersley guides to Marvel comics characters. These include: "Spider-Man: The Ultimate Guide", "Avengers: The Ultimate Guide", "Fantastic Four: The Ultimate Guide" and "Hulk: The Incredible Guide". For Titan Books he has compiled three volumes in their "Comic Creators On..." series of essays and thoughts on Marvel characters (Spider-Man, the Fantastic Four and the X-Men, between 2004 and 2006).  DeFalco has personally created and developed over three dozen characters that have all been licensed for television, toys, T-shirts, posters, trading cards and other merchandise, and has written "Khan" and The Phantom for Moonstone Books.  In April 2010, Archie Comics announced DeFalco would be returning to his roots, to write a four-part storyline, "The Man from R.I.V.E.R.D.A.L.E.", beginning with Archie Comics issue #610.  DeFalco would return to DC Comics in August 2011 with a Superman one-shot, "Superman Beyond" and in 2012 as guest writer on "Nightwing" and helping on the "Ravagers" for DC's The New 52 line. DeFalco began scripting the "Superboy" series over Scott Lobdell's plots with issue #6 (April 2012) and became the full writer with issue #12 (October 2012). His "Superboy" run ended with #18, which was co-scripted by Tony Lee. He also wrote "Legion Lost" #0 and 6-18 and the final four issues (#17-20) of "Savage Hawkman".  In December 2016, Archie launched a new ongoing "Reggie & Me" series by DeFalco and artist Sandy Jarrell.

Tom DeFalco (born June 26, 1950) is an American comic book writer and editor, well known for his association with Marvel Comics and in particular for his work with Spider-Man.

Tom DeFalco (* 26. Juni 1950 in New York City) ist ein US-amerikanischer Comiczeichner und Chefredakteur. Bekannt ist er für seine Arbeiten mit Spider-Man.


Background.

In 1848, the First Schleswig War started, as Schleswig-Holstein was trying to separate from Denmark, and Denmark considered it a part of the country. The Kingdom of Prussia, the Austrian Empire and the German Confederation, sent troops to support Schleswig-Holstein in its attempt to secede from Denmark, and become a part of the German Confederation. Wishing to defeat Denmark before German, Austrian, and Prussian troops arrived, 7,000 Schleswig-Holsteinian soldiers under General Krohn occupied Flensborg on March 31, 1848.

Prelude.

Danish troops landed on the Holdnaes peninsula east of Flensborg and, worried that he would be surrounded, Gen. Krohn asked for permission to withdraw his soldiers from the settlement. His request was approved, and he planned to fall back during April 9. Danish commanders had decided their attack would start before Krohn withdrew. They decided that the left flank of the Danish army would launch a diversionary attack, whilst the right wing and cavalry would encircle the enemy, and their attacks would be supported by a naval squadron in Flensborg Fjord. The Schleswig-Holsteins were arranged according to the plan that they were going to withdraw, and were not prepared to put up a co-ordinated resistance.

Battle.

The Danish soldiers began their attack between 08:00 and 09:00 on April 9. Badly co-ordinated and without their superior commander, the Prince of Noer, who arrived two hours after the battle had started, the Schleswig-Holsteins were unable to win against the Danish forces.

Aftermath.

Thirty-five Schleswig-Holsteins died as a result of the battle, whilst Denmark lost the lives of 16; 138 Schleswig-Holsteins were wounded, and so were 66 Danes; and 923 Schleswig-Holsteins were captured to no Danish prisoners.

The Battle of Bov (German : Bau) was a battle between troops fighting for Schleswig-Holstein, and those for Denmark, which happened on the 9 April 1848 in the area of Flensborg in Denmark, during the First Schleswig War. Denmark won the engagement. It was the first battle of the First Schleswig War.

Die Schlacht von Bau war das erste große Gefecht während der Schleswig-Holsteinischen Erhebung. Es fand am 9. April 1848 bei Bau im Herzogtum Schleswig statt.


History.

Rumors that PortAventura World would be investing in a new Bolliger & Mabillard or Dive Coaster roller coaster emerged in late 2010. In May 2011, speculation that the park was planning to build a hypercoaster that would pass over Dragon Khan arose. Land clearing also began in the summer of 2011. Shambhala was announced to the public on 24 October 2011; the layout of the roller coaster was leaked 2 days earlier. The last piece of track was installed in mid-April 2012 following a signing event and the placement of the several country flags on the track. Testing of the ride began in the same month. Following the completion of testing, a ribbon cutting ceremony was held on 12 May 2012 before opening to the public the same day. Over 300 workers from countries such as Germany, France, Hungary, Poland, Switzerland, and United States of America took part in the construction of Shambhala.  At the time of opening, the roller coaster held records for tallest, longest drop, and fastest hypercoaster in Europe, though all three records have since been surpassed by Hyperion at Energylandia. These records were held by Silver Star at Europa-Park prior to Shambhala's opening.

Ride experience.

After departing from the station, the train makes a 90 degree turn to the right, then begins to climb the tall chain lift hill. Once the train reaches the top of the lift, the train drops back down to the ground at a 77.4 degree angle reaching speeds of up to as it passes through a tunnel and races past the drop off Dragon Khan's midcourse brakes. Following the first drop, the train then makes a slight left turn into the first of five camelback hills before dropping again and entering a figure-8-like helix, also known as an ampersand turn. On the return trip, the train goes over a very small hill (speed hill); at the same time, passing through a trim brake which isn’t activated. Immediately after, the train enters the second camelback hill, followed by a slight left turn, then crossing under Dragon Khan's first drop to enter a splashdown element. Unlike other coasters featuring a splashdown (Diamondback, Sheikra, etc), Shambhala’s train never hits the water. The splash is created by a series of water jets that shoot up when the train passes, creating the splashdown effect. The splashdown is followed by another set of camelback hills. Following these hills, the train passes through the mid-course brake run. Finally, after making a banked downward left turn, the train passes over the final hill before entering the final brake run leading directly back to the station where the next riders board. One cycle of the ride lasts about three minutes.

Characteristics.

Trains.

Shambhala operates with three steel and fiberglass trains. Each train has eight cars with two rows that seat two riders each for a total of 32 riders per train; each seat has its own individual lap-bar restraint. This configuration allows the ride to achieve a theoretical hourly capacity of 1,680 riders per hour. Riders also experience up to 3.8 times the force of gravity. The structure of the trains are colored gold and cyan, the lap bar restraints are cyan, and the seats are black.

Track.

The steel track of Shambhala is approximately long, the height of the lift is, and covers an area of about 14,000 m. The roller coaster has no inversions though it does feature five camelback hills, each at least tall, a splashdown, and inclined figure eight element.  Including the supports, the total weight of the roller coaster is approximately. 4,000 m of cement was used for the foundations that hold up the supports and some are as deep as. The track is white with cyan rails while the supports are grey.

Theme.

Inspired by both Nicholas Roerich stories and the Kingdom of Bhutan, Shambhala is named and themed around the story that within the Himalayas there is a lost world (Shambhala) that is impossible to access and is the source of happiness. As guests walk through the themed queue and board the train, they go on an expedition to find this land.  The roller coaster is located in the China section of PortAventura Park.

Reception.

Following the opening of Shambhala, "Kirmes & Parks" magazine named the roller coaster as the best European attraction introduced in 2012. Patrick Purcell from "Mirror" said that the roller coaster lived up to its hype and that, "It is also one of the smoothest roller coasters I've encountered." Sophie Castle from Travel Channel UK praised the height of Shambhala and said that, "Shambhala is definitely an opportunity that shouldn’t be missed." Ethan Williams from the "Daily Mail" gave the roller coaster a five out of five for its speed, surprise factor, and fear factor. He also liked the amount of airtime the roller coaster gave. In 2013, Shambhala was featured on Travel Channel's television series Insane Coaster Wars: World Domination.  The ride appeared in "Amusement Today's" Golden Ticket Awards for the first time in 2018, ranking 45th in the top steel roller coasters category.

Shambhala: Expedición al Himalaya is a steel hypercoaster roller coaster located at PortAventura Park in Salou and Vilaseca, Spain. Manufactured by Bolliger & Mabillard, it was the tallest () and fastest hypercoaster () in Europe until Hyperion opened at Energylandia in Poland on 14 July 2018. It also has the second longest drop of any roller coaster in the continent (). The height record was beaten in April 2017 by Red Force, which was also opened in PortAventura World's new theme park Ferrari Land, this coaster reaches a height of. Shambhala is named and themed after the inaccessible land in the Himalayas: Shambhala. It was announced to the public on 24 October 2011, and opened to the public on 12 May 2012.

Shambhala in PortAventura (Salou, Katalonien, Spanien) ist eine Stahlachterbahn vom Modell "Hyper Coaster" des Herstellers Bolliger & Mabillard, die am 12. Mai 2012 eröffnet wurde. Mit einer Höhe von 76 m war sie bis zur Eröffnung der 112 m hohen Red Force im April 2017 die höchste Achterbahn Europas. Der Name der Bahn wurde an das Königreich Shambhala angelehnt.


History and features.

The font was first introduced in October 2010 with the release of Ubuntu 10.10 in four versions Regular, Italic, Bold, Bold Italic in English. With the release of Ubuntu 11.04 in April 2011, additional fonts and expanded language coverage were introduced. The final development is intended to include a total of thirteen fonts consisting of:  The monospace version, used in terminals, was initially planned to ship with Ubuntu 11.04. However, it was delayed and instead shipped with Ubuntu 11.10 as the default system monospace font.  The font is fully Unicode compliant and contains Latin A and B extended character sets, Greek polytonic, and Cyrillic extended. In addition, it has become the first native operating system font to include the Indian rupee sign. The font has been designed primarily for use on screen displays, and its spacing and kerning is optimised for body copy sizes.

Usage.

The Ubuntu Font Family is the default font for the current and development releases of the Ubuntu operating system and is used for the Ubuntu project branding.  The Ubuntu Font Family has been included in the Google Fonts directory, making it easily available for web typography, and as of April 26, 2011 it is included for use in Google Docs.  Ubuntu Monospace was prominently used in the 2014 video game "Transistor".  Ubuntu bold-italic is also used in the bitcoin logotype, alongside the bitcoin symbol.

Ubuntu Font Licence.

The Ubuntu Font Licence is an "interim" license designed for the Ubuntu Font Family, which has used the license since version 0.68. The license is based on the SIL Open Font License.  The Ubuntu Font Licence allows the fonts to be "used, studied, modified and redistributed freely" given that the license terms are met. The license is copyleft and all derivative works must be distributed under the same license. Documents that use the fonts are not required to be licensed under the Ubuntu Font Licence.  Fedora and Debian have reviewed this license and converged on interpreting it as non-free due to incomplete or ambiguous use and modification permissions.

Ubuntu is an OpenType-based font family, designed to be a modern, humanist-style typeface by London-based type foundry Dalton Maag, with funding by Canonical Ltd. The font was under development for nearly nine months, with only a limited initial release through a beta program, until September 2010. It was then that it became the new default font of the Ubuntu operating system in Ubuntu 10.10. Its designers include Vincent Connare, creator of the Comic Sans and Trebuchet MS fonts.

Die Ubuntu Font Family ist eine Sammlung freier, vom Stil her zusammenpassender, serifenloser Schriftarten, die im Auftrag von Canonical entwickelt wurde.


Expulsion of Vikings.

Alan was the second son of Count Ridoredh of Vannes. He succeeded his uncle Pascweten in Vannes when the latter died, probably in the middle of 876, and contended for leadership of Brittany with Judicael of Poher. Alan represented the power bloc of southeastern Brittany while Judicael represented western Breton interests. Eventually he and Judicael made peace in order to fight the Vikings. Judicael died in the Battle of Questembert in 888 or 889, after which Alan gained sole leadership of Brittany. In 890, Alan defeated the Vikings at Saint-Lô, chasing them into a river where many drowned.

King of Brittany.

After the death of Judicael, Alan ruled all of Brittany as it had been during the time of Salomon. He ruled not only the Breton territories of Léon, Domnonée, Cornouaille, and the Vannetais, but also the Frankish counties of Rennes, Nantes, Coutances, and Avranches, as well as the western parts of Poitou (the so-called "pays de Retz") and Anjou. In the east his rule extended as far as the river Vire. He was the first Breton ruler to rule this entire territory without great opposition within the west and the last to rule the whole bloc of Franco-Celtic countries. His strongest opponent was Fulk I of Anjou, who disputed control of the Nantais with him, though Alan seems to have had the upper hand in his lifetime. His power base remained in the southeast and he was powerful and wealthy in land in around Vannes and Nantes.  According to the "Anglo-Saxon Chronicle", after the death of Carloman II in 884, Charles the Fat succeeded to all of West Francia save Brittany, thus making Brittany an independent kingdom; but this does not seem to have been true. A charter datable to between 897 and 900 makes reference to the soul of "Karolus" on whose behalf Alan had ordered prayers to be said in the monastery of Redon. This was probably Charles the Fat, who, as emperor, probably granted Alan the right to be titled "rex". As emperor he would have had that prerogative and he is known to have had contacts with Nantes in 886, making it not improbable that he came into communication with Alan. Charles also made a concerted effort to rule effectively in the entirety of his empire and to make former enemies, with dubious ties to the empire, like the Viking Godfrid, men of standing in return for their loyalty. Throughout his reign, Alan used Carolingian symbols of regalia and Carolingian forms in his charters. Alan augmented his power during the weak reigns of Odo and Charles III.

Death and Succession.

Alan I died in 907. The succession was disputed and Count Gourmaëlon of Cornouaille seized the throne. Brittany was soon overrun by Vikings, who defeated and slew Gourmaëlon in battle in 913/914 and held the region until 936 when Alan I's grandson Alan II returned to Brittany from exile in Æthelstan's England, vanquished the Vikings, and succeeded in reestablishing Christian rule. However, Brittany's geographic territory was never as extended as in Alan I's time and no future Breton rulers were called kings until the Breton Ducal crown was merged with the French crown in the 16th century (q.v. List of rulers of Brittany).

Reputed connection with House of Rennes.

According to an 11th-century genealogy composed for the Count of Anjou, Alan I's son, Pascweten the Younger, was the father of Judicael Berengar, whose son was Conan I of Rennes, founder of the House of Rennes.

Children.

By his wife Oreguen, Alan had the following children:

Alan I (; died 907), called the Great, was the Count of Vannes and Duke of Brittany ("dux Brittonium") from 876 until his death. He was probably also the only King of Brittany ("rex Brittaniæ") to hold that title by a grant of the Emperor.

Alain I. der Große (bretonisch: "Alan Veur", französisch: "Alain le Grand"; † 907) war ein Fürst der Bretonen im späten 9. und frühen 10. Jahrhundert.


Life.

Born in Bressay, Shetland, Scotland, Sir Robert Hamilton was the son of Rev. Zachary Macaulay Hamilton and his first wife Anne Irvine (née Croockshank). He was educated at Grammar School.  Robert was educated at University and King's College, Aberdeen, where he graduated MA in March 1854. In 1855, he migrated to London and entered the civil service as a temporary clerk at the war office. In the same year he was sent to the Crimea as a clerk in the commissariat department. In 1857, he was employed in the office of works, and in 1861 he was selected to take charge of the finance of the education department, the work of which was then rapidly growing in bulk and complexity. In 1869, on Lord Lingen's recommendation, Hamilton was appointed to the yet more difficult post of accountant to the board of trade, and in this capacity he successfully reorganised the board's financial department ; from 1872 to 1878 he was assistant-secretary to the board of trade. In 1872, he was appointed assistant-secretary and in 1874 secretary of Playfair's civil service inquiry commission ; in this capacity he spent some time at Dublin Castle with a view to its reorganisation. In 1878, he became accountant-general of the navy, and was the first to simplify the naval estimates so as to make them intelligible to the public. In 1879 he was appointed a member of The Earl of Carnarvon's royal commission on colonial defenses, and in May 1882 he was made permanent secretary to the admiralty.  On the murder of Thomas Henry Burke in that month, Hamilton was lent by the admiralty for two successive periods of six months each to the Irish government as under-secretary of state for Ireland. He was then made permanent under-secretary and C.B. ; on 12 January 1884 he was created K.C.B., and in the following year honorary LL.D. of Aberdeen. While in Ireland, Hamilton became convinced of the advisability of home rule from an administrative point of view, and he is said to have had some share in influencing both his chief, Earl Spencer, and W. E. Gladstone in the same direction. The persistent rumour that he drafted Gladstone's first home rule bill in 1886 was quite incorrect, but his sympathies with home rule were naturally regarded as a cause of his removal from the under-secretaryship in November 1886 by the conservative ministry which had succeeded the liberal ministry in the preceding July on the rejection of Gladstone's home rule proposals by the House of Commons. He was at once appointed governor of Tasmania, and was succeeded as under-secretary by Major-general Sir Redvers Buller. In 1887, he presided over the meeting of the Australian federal council held at Hobart.  He was very much in favour of the advancement of the Australian colonies, and encouraged industrial development, and road and railway works to be undertaken during his time in office. He was also strongly in favour of Australian federalism, and presided over the Federal Council of Australasia held in Hobart in 1887, 1888, and 1889. In 1887 he hosted an extravagant gala balls to mark Queen Victoria's golden jubilee in 1887, and was the president of the Royal Society of Tasmania. He helped to found the University of Tasmania, and promoted the establishment of schools, technical colleges and museums in Tasmania.  Hamilton remained governor of Tasmania until 1893 ; on his return he was appointed royal commissioner to inquire into the working of the constitution of Dominica. In 1894, on Mr. Morley's nomination, he was placed on the commission appointed to inquire into the financial relations between England and Ireland, and in November of the same year he was made chairman of the board of customs.  He died at 31 Redcliffe Square, South Kensington, on 22 April 1895, and was buried at Richmond, Surrey, on 26 April 1895.

Recognition.

Portraits in oils by Tennyson Cole of Sir Robert and Lady Hamilton, were purchased by subscription amongst leading citizens and presented to the Tasmanian Art Gallery in 1890.

Family.

On 18 August 1863 he married Caroline Jane Ball, and they had three sons and daughter. Their second son Robert William Hamilton who became Liberal MP for Orkney & Shetland. Caroline died in 1875. Their daughter Anne married Theyre à Beckett Weigall, a prominent Australian judge, and was the mother of the author Joan Lindsay.  On 4 July 1877, he married Teresa Felicia, with whom he had a further two sons and one daughter.

Sir Robert George Crookshank Hamilton KCB, (30 August 1836 – 22 April 1895) was the sixth Governor, and the Commander-in-Chief of the then British colony of Tasmania from 11 March 1887, until 30 November 1892, during which time he oversaw the ministries of two Tasmanian premiers, Sir Philip Fysh (30 March 1887 to 17 August 1892) and Henry Dobson (17 August 1892 to 14 April 1894).

Sir Robert George Crookshank Hamilton (* 30. August 1836 auf Bressay, Shetlandinseln; † 22. April 1895 in London) war ein britischer Verwaltungsbeamter und von 1887 bis 1892 Gouverneur von Tasmanien.


Action.

The four lovers Hermia (Christine Delaroche), Helena (Claude Jade), Lysander (Michel Ruhl), and Demetrius (Dominique Serina) have fled to a forest near Athens to escape from their parents' marriage plans. The situation is a bad one, because Helena's beloved Demetrius is in love with Hermia. Since Helena wants to win over Demetrius, she reveals the escape plan. The four wander through the thicket in the kingdom of the elves. There, the elf couple Oberon (Jean-Claude Drouot) and Titania (Christiane Minazzoli) are arguing furiously. Hoping to solve the lovers' romantic problems, the spirit Puck drops a magical potion into the eyes of the young man he believes to be Demetrius. The potion's effect is to make the man fall in love with the first being he sees upon awaking. But Puck is mistaken: the sleeping man was Lysander. Now both Lysander and Demetrius are competing for the same woman, Hermia, who previously nobody had loved. Hermia's jealousy is reawakened. Standing between the envious Hermia and her amorous suitors, Helena begins to despair. While the young people argue, a troupe of craftsmen become lost in the woods. The magical potion is applied to the sleeping Titania in order to play a trick on her: she falls in love with Bottom, one of the lost troupe, who has been magically given a donkey's head. Oberon ends the general confusion by sending the quartet of Athenian lovers to sleep again...

Background.

"Le Songe d'une nuit d'été" is an early work of video art. Director Jean-Christophe Averty, who was at the time the most successful TV director in France, had his actors, who were mostly internationally known movie stars like Claude Jade, Christine Delaroche, Jean-Claude Drouot and Marie Versini, perform in front of a blue screen. The Athenian forest and the palace are conjured up by a mixture of frescoes and psychedelic colours. At the same time, the relative sizes of the actors are changed, so that for example they can walk in front of a closeup of their partner, or appear to walk out of paintings on vases. Averty exploited all of the technical tricks that were available at the time.  The troupe of craftsmen includes the comedy duo Michel Modo and Guy Grosso, who are best known as Berlicot and Tricart from The Troops of St. Tropez-films with Louis de Funès.

Critical reception.

Maurice Clavel from the "Nouvel Observateur" celebrated the work as a perfectly harmonious and aesthetic piece, and compared the ecstasy of images with a galaxy. He counted the fast-paced performance of the actress Claude Jade as Helena as another miracle of the movie. "Le Monde" called the TV movie a "masterpiece", and "France Soir" called it an epoch-making date and a revolution in the history of direction. Responding to the premiere on German TV, a critic at WDR remarked: "Rather than being accused of having too few ideas, Averty has created a colourful phantasmagoria against which categories like arts, crafts, or kitsch fail."

"Le Songe d'une nuit d'été" (A Midsummer Night's Dream) is a French TV film from 1969. It is based on "A Midsummer Night's Dream" by William Shakespeare, and was directed by Jean-Christophe Averty.

Ein Sommernachtstraum (frz. "Le songe d'une nuit d'été") ist ein französischer TV-Film aus dem Jahr 1969 nach dem gleichnamigen Stück Ein Sommernachtstraum von William Shakespeare in der Regie von Jean-Christophe Averty.


Background.

The Romans were mining copper ore in the Coniston area 2000 years ago, and there is evidence that copper was being extracted from the area as long ago as the Bronze Age. Green slate has also been quarried in the area for at least 500 years and there has been a tourist industry for some 200 years. By the middle of the 19th century the copper mines and the slate quarries at Coniston were flourishing, the mines employing 400 men and the quarries were producing an average of 2,000 tons of slate a month. Around this time the Coniston mines were the largest copper mines in the north of England.  Before the railway was built, materials had to be transported in horse-drawn carts to Coniston Water, by barge on the lake, and then again by cart to Broughton-in-Furness. The public had to travel on a horse-drawn "omnibus". In 1848, hoping for an increase in tourism, J. G. Marshall demolished his inn at the head of the lake and replaced it with a "handsome hotel". The Furness Railway had opened their line from Barrow-in-Furness to Kirkby-in-Furness in June 1846 and its extension to Broughton in February 1848. The Whitehaven and Furness Junction Railway opened its line from Whitehaven in 1849 and this reached Broughton in October 1850. Also in 1849 the Furness Railway paid £550 (equivalent to £ in ), to improve the road from Ambleside to Broughton (now the A593).

Planning and building.

In November 1849 the railway engineer John Barraclough Fell proposed building a railway with a gauge of 3 ft. 3in. from the copper mines at Coniston to link with the Furness Railway at Broughton. John Robinson McClean, engineer of the Furness Railway, reported this to the Earl of Burlington (later to be Duke of Devonshire), the company's chairman, recommending that the line should be of standard gauge. However no further action was taken at that time. Interest in the line revived in 1856, and the route was surveyed by George Sanders to plans drawn up by McClean and his assistant, Frank Stileman.  The Coniston Railway Act received Royal Assent on 10 August 1857. The line was initially run as a separate business, although it was closely associated with the Furness Railway, having the same chairman (the Duke of Devonshire) and general manager (James Ramsden). A company was established with a capital of £45,000 (equivalent to £ in ). Tenders were invited and the contract for building the line was awarded to Child & Pickles. Work on building the line started in January 1858, but the contractors became bankrupt in August of that year. The Furness Railway took over responsibility for completing the line. The line was inspected on 25 May 1859 and again on 14 June by Colonel Yolland, the inspecting officer from the Railway Department of the Board of Trade. He identified a number of improvements to be made before he could sanction the opening of the line. The line was opened on 18 June 1859 although the buildings at Coniston railway station were not completed until the end of the year. These buildings were designed by the Lancaster architect E. G. Paley in Swiss chalet style. The extension of the line to the copper mines did not open until 1860. In 1862 the Coniston Railway was amalgamated with the Furness Railway, the Act being placed on the Statute Book on 7 July.

Route.

The line ran for 8.5 miles from Coniston to Broughton-in-Furness. At Broughton-in-Furness it joined the Whitehaven and Furness Junction Railway to Foxfield where lines led in one direction towards the west coast of Cumberland (as it then was) and in the other direction via the Furness Railway to Barrow-in-Furness. There were stations at Coniston and Broughton-in-Furness, with intermediate stations at Torver and Woodland. An extension from Coniston to Copper House (for the copper mines) was opened in 1860. From Broughton-in-Furness the line rose steeply, initially up a gradient of 1 in 49, to Woodland. From Woodland it continued to rise, with a maximum gradient of 1 in 77, to Torver. Just after Torver station it reached its highest level and then descended towards Coniston, with a level section just before Coniston station.

Subsequent development.

From the outset trains ran from Coniston to Broughton-in-Furness and on to Foxfield and most trains went further, terminating at Kirkby-in-Furness. On weekdays there were four trains each way every weekday and two on Sundays. During the winter months there were only three trains on weekdays. By 1907 there were eight trains each day between Foxfield and Coniston. The "Fleetwood Boat Train" had a connection with the steamer service between Fleetwood and Barrow. Towards the end of the First World War workmen's trains ran between Coniston and the shipyards at Barrow. In August 1930 there were ten trains running each way on weekdays. In the summer of 1939 a direct train was introduced from Blackpool Central to Coniston. After the Second World War there continued to be about nine trains a day on weekdays. On Tuesdays and Thursdays a through train travelled from Blackpool. Initially on Sundays there were usually two trains a day each way, although by 1922 there were four trains. After the Second World War there were usually only three trains each way on Sundays.

Steam yachts.

"Gondola".

From the outset of the railway the company were aware of its potential for tourism. In an attempt to attract more tourists to use the line it bought a steam yacht, the "Gondola". This was made by the Liverpool firm of Jones, Quiggin and Company at a cost of £1,200 (£ in ), transported in sections by rail, and assembled on the slipway close to Coniston Hall. It was launched on 30 November 1859 and began to run a regular service the following June. "Gondola" was long and was registered to carry 200 passengers. In 1900 alterations were made at a cost of £35 (£ in ), removing the smoking room and providing more accommodation for second-class passengers. The boat was taken out of service in 1936. Its engine was removed and sold in 1944, the boat itself was used as a houseboat, and then sunk in the winter of 1963–64. It was later re-floated and acquired by the National Trust in 1978. It was divided into sections and taken to Vicker's shipyard at Barrow-in-Furness for rebuilding. "Gondola" was reassembled at Coniston and resumed service in 1980.

"Lady of the Lake".

Such was the success of "Gondola" that the company commissioned another boat, the "Lady of the Lake". This was manufactured by Thorneycroft of Southampton in 1907 and was registered to carry 400 passengers. It cost £5,600 (£ in ), was long and had a maximum speed of 11.5 knots. The boat was taken out of service at the outset of the Second World War and broken up for scrap in 1950.

Locomotives.

From the start, locomotives were supplied by the Furness Railway. Originally these were of two types, 0-4-0 locomotives built by Bury, Curtis, and Kennedy, of which "Copperknob" is an example, and 2-2-2 well tanks built by Sharp Brothers and Company. In the 1870s and 1880s the passenger trains were hauled by 2-4-0 locomotives built by Sharp, Stewart and Company, which were later replaced by 4-4-0 locomotives, which were later converted into 2-4-2T locomotives. For the purpose of economy, the railway developed a "steam rail motor car" which ran between 1905 and 1915. Meanwhile, the 2-4-2T locomotives were being helped out by 0-6-2T locomotives. In 1915 a 4-4-2T locomotive designed by Pettigrew was introduced.  From 1934 motor trains were introduced, powered by L&YR Class 5 2-4-2T locomotives designed by Aspinall. From 1935 Fowler 2-6-2T locomotives were used on the line. During the Second World War the Aspinall tanks were replaced by Webb 2-4-2T tanks. The final locomotives regularly used on the line were Ivatt 2-6-2T locomotives. Trains on the Blackpool to Coniston service were usually hauled by a Stanier Class 5 locomotive, although on one occasion in July 1957, it was hauled by Jubilee 45678 "De Robeck". In August 1954 an experimental three-car diesel train was introduced but this was unsuccessful.

Closure and today.

In 1957 there were eight trains each day and a survey showed that an average of only 18 passengers were carried on each of these trips. It was estimated that if the line were closed about £17,000 (£ in ), would be saved each year. The line was closed for passenger trains on 6 October 1958. On 27 August 1961 an enthusiast's train ran on the line pulled by Fowler 4F 44347. Freight services ended on 30 April 1962 and the track was lifted and the other railway structures were removed. The Coniston footbridge was dismantled and re-built at Ravenglass for the Ravenglass and Eskdale Railway. Most of the land was sold to farmers along the route. Part of the track bed was used for a new water main constructed in 1974. Other parts of the track bed were converted into footpaths. Most of the bridges were demolished. The station buildings at Torver, Woodland and Broughton, and two of the crossing cottages, were sold to be used as private houses. Coniston station was demolished in 1968 and its site used for industrial units and houses. "Gondola" continues to run a service during summer months, calling at Coniston Pier, Brantwood and Monk Coniston.

The Coniston Railway was a railway in Cumbria, England, linking Coniston and Broughton-in-Furness, which ran for over 100 years between the middle of the 19th to the middle of the 20th century. It was originally designed for the transport of slate and copper ore from the mines near Coniston to the coast and later developed into a line for tourists to the Lake District. The line opened in 1859 and closed in 1962.

Die Coniston Railway war eine Eisenbahn in Cumbria, England, die Coniston mit Broughton-in-Furness für über 100 Jahre verband. Die Line wurde 1859 zum Transport von Kupfererz und Schiefer eröffnet und später ausgebaut um Touristen in den Lake District zu bringen. Die Strecke wurde 1962 geschlossen.