Young British Artists

The Young British Artists, or YBAs—also referred to as Brit artists and Britart—is a loose group of visual artists who first began to exhibit together in London in 1988. Many of the first generation of YBA artists graduated from the BA Fine Art course at Goldsmiths, in the late 1980s, while the second generation mostly came from the Royal College of Art.
The scene began around a series of artist-led exhibitions held in warehouses and factories, beginning in 1988 with the Damien Hirst-led "Freeze" and, in 1990, "East Country Yard Show" and "Modern Medicine". However, there was a less prominent predecessor organized by artist Angus Fairhurst, featuring himself, Damien Hirst, Abigail Lane, and Mat Collishaw in a small show called "Progress by Degree" at the Bloomsbury Gallery of the University of London (Institute of Education) shortly before Freeze. Their attitudes were very much influenced by the Art Group - The Grey Organisation - which had led the way in creating a desire for change in the British Art World during the mid 1980s.
They are noted for "shock tactics", use of throwaway materials, wild-living, and an attitude "both oppositional and entrepreneurial". They achieved considerable media coverage and dominated British art during the 1990s—internationally reviewed shows in the mid-1990s included "Brilliant!" and "Sensation".
Many of the artists were initially supported and their works collected by Charles Saatchi. One notable exception is Angus Fairhurst. Leading artists of the group include Damien Hirst and Tracey Emin. Key works include Hirst's "The Physical Impossibility of Death in the Mind of Someone Living", a shark preserved in formaldehyde in a vitrine, and Emin's "My Bed", a dishevelled double bed surrounded by detritus.
The first use of the term "young British artists" was not by Michael Corris in a footnote in "ArtForum", May 1992, since Saatchi had already entitled his exhibition "Young British Artists I" in March 1992. The acronym "YBA" (or "yBa") was not coined until 1994. It has become a historic term, as most of the YBAs were born in the mid-1960s.
Origin.
YBA artists.
The core of the YBA group graduated from the Goldsmiths BA Fine Art degree course in the classes of 1987–90. Liam Gillick, Fiona Rae, Steve Park and Sarah Lucas, were graduates in the class of 1987. Ian Davenport, Michael Landy, Gary Hume, Anya Gallaccio, Lala Meredith-Vula, Henry Bond, Angela Bulloch, and Nick Fudge, were graduates in the class of 1988; Damien Hirst, Angus Fairhurst, Mat Collishaw, Simon Patterson, and Abigail Lane, were graduates from the class of 1989; whilst Gillian Wearing, and Sam Taylor-Wood, were graduates from the class of 1990. During the years 1987–1990, the teaching staff on the Goldsmiths BA Fine Art included Jon Thompson, Richard Wentworth, Michael Craig-Martin, Ian Jeffrey, Helen Chadwick, Mark Wallinger, Judith Cowan and Glen Baxter.
Gavin Turk and Mark Francis are also part of the YBA group of artists. Turk and Francis studied at Chelsea School of Art from 1986 to 1989, and at the Royal College of Art from 1989 to 1991. Turk and Francis exhibited work in the Saatchi "Sensation" exhibition at the Royal Academy.
Freeze.
A group of sixteen Goldsmiths students took part in a group exhibition of art, called "Freeze", of which Damien Hirst became the main organiser; he was still in the second year of a BA in Fine Art.
Commercial galleries had shown a lack of interest in the project, and it was held in a cheap non-art space, a London Docklands admin block (usually referred to as a warehouse). The event resonated with the 'Acid House' warehouse rave scene prevalent at the time, but did not achieve any major press exposure. One of its effects was to set an example of artist-as-curator—in the mid-1990s artist-run exhibition spaces and galleries became a feature of the London arts scene.
Other shows.
In liaison with Hirst, Carl Freedman (who had been friends with him in Leeds before Hirst moved to London and was helping to make Hirst's vitrines) and Billee Sellman then curated two influential "warehouse" shows in 1990, "Modern Medicine" and "Gambler", in a Bermondsey former factory they designated Building One. To stage "Modern Medicine" they raised £1,000 sponsorships from artworld figures including Charles Saatchi. Freedman has spoken openly about the self-fulfilling prophecy these sponsors helped to create, and also commented that not many people attended these early shows, including "Freeze".
In 1990, Henry Bond and Sarah Lucas organised the "East Country Yard Show" in a disused warehouse in London Docklands which was installed over four floors and 16,000m2 of exhibition space. Writing in The Independent, art critic Andrew Graham-Dixon said:"Goldsmiths graduates are unembarrassed about promoting themselves and their work: some of the most striking exhibitions in London over the past few months—"The East Country Yard Show", or "Gambler", both staged in docklands—have been independently organized and funded by Goldsmiths graduates as showcases for their work. This has given them a reputation for pushiness, yet it should also be said that in terms of ambition, attention to display and sheer bravado there has been little to match such shows in the country's established contemporary art institutions. They were far superior, for instance, to any of the contemporary art shows that have been staged by the Liverpool Tate in its own multi-million-pound dockland site."
Established alternative spaces such as City Racing at the Oval in London and Milch gave many artists their first exposure. There was much embryonic activity in the Hoxton/Shoreditch area of East London focused on Joshua Compston's gallery. In 1991, the Serpentine Gallery presented a survey of this group of artists with the exhibition "Broken English". In 1992, Charles Saatchi staged a series of exhibitions of "Young British Art", the first show included works by Sarah Lucas, Rachel Whiteread and Damien Hirst.
A second wave of Young British Artists appeared in 1992–1993 through exhibitions such as 'New Contemporaries', 'New British Summertime' and 'Minky Manky' (curated by Carl Freedman). This included Douglas Gordon, Christine Borland, Fiona Banner, Tracey Emin, Tacita Dean, Georgina Starr and Jane and Louise Wilson. One exhibition which included several of the YBA artists was the 1995 quin-annual British Art Show.
Revitalization of British art scene.
The Young British Artists revitalised (and in some cases spawned) a whole new generation of contemporary commercial galleries such as Karsten Schubert, Sadie Coles, Victoria Miro, Maureen Paley's Interim Art, and Jay Jopling's White Cube. The spread of interest improved the market for contemporary British art magazines through increased advertising and circulation. "Frieze" launched in 1991 embraced the YBAs from the start while established publications such as "Art Monthly", "Art Review", "Modern Painters" and "Contemporary Art" were all re-launched with more focus on emerging British artists.
Charles Saatchi's involvement.
One of the visitors to "Freeze" was Charles Saatchi, a major contemporary art collector and co-founder of Saatchi and Saatchi, the London advertising agency. Saatchi then visited "Gambler" in a green Rolls Royce and, according to Freedman, stood open-mouthed with astonishment in front of (and then bought) Hirst's first major "animal" installation, "A Thousand Years", consisting of a large glass case containing maggots and flies feeding off a rotting cow's head. (The installation was later a notable feature of the "Sensation" exhibition.)
Saatchi became not only Hirst's main collector, but also the main sponsor for other YBAs–a fact openly acknowledged by Gavin Turk. The contemporary art market in London had dramatically collapsed in mid-1990 due to a major economic recession, and many commercial contemporary galleries had gone out of business. Saatchi had until this time collected mostly American and German contemporary art, some by young artists, but most by already established ones.
His collection was publicly exhibited in a series of shows in a large converted paint factory building in St John's Wood, north London. Saatchi's Gallery inspired young artists to produce large concept artworks that would not fit in the usually small galleries in London at that time. Previous Saatchi Gallery shows had included such major figures as Warhol, Guston, Alex Katz, Serra, Kiefer, Polke, Richter and many more. In the early-1990s, Saatchi altered his focus to emerging British art.
Saatchi put on a series of shows called "Young British Artists" starting in 1992, when a noted exhibit was Damien Hirst's "shark" ("The Physical Impossibility of Death in the Mind of Someone Living"), which became the iconic work of British art in the 1990s, and the symbol of Britart worldwide. In addition to (and as a direct result of) Saatchi's patronage, the Young British Artists benefited from intense media coverage. This was augmented by controversy surrounding the annual Turner Prize, (one of Britain's few major awards for contemporary artists), which had several of the artists as nominees or winners. Channel 4 had become a sponsor of the competition, leading to television profiles of the artists in prime-time slots.
Becoming the establishment.
The consolidation of the artists' status began in 1995 with a large-scale group exhibition Brilliant! held at the Walker Art Center a respected art museum in Minneapolis, USA. The term "yBa" was already used in 1994 and later used by Simon Ford in a feature "Myth Making" in March 1996 in "Art Monthly" magazine.
Art dealer Jay Jopling began to represent YBAs Jake & Dinos Chapman, Tracey Emin, Marcus Harvey, Damien Hirst, Gary Hume, Marc Quinn, Gavin Turk and Sam Taylor-Wood, whom he married in 1998. Before Jopling, Karsten Schubert was the most important dealer of artists that were later called YBAs. Shortly after Freeze he exhibited Ian Davenport, Gary Hume, and Michael Landy in November 1988, who all exhibited in Freeze, in his gallery.
In 1997, the Royal Academy staged an exhibition of the private art collection of Charles Saatchi titled "Sensation", which included many works by YBA artists.
The exhibition was actually a showing of Charles Saatchi's private collection of their work, and he owned the major pieces. The liaison was effected by the Academy's Norman Rosenthal, even though there was strong opposition from some of the Academicians, three of whom resigned. Controversy engendered in the media about the show, particularly over Marcus Harvey's work "Myra", served to reinforce the YBAs' importance. When the show toured to New York there was further controversy caused by the inclusion of Chris Ofili's work "The Holy Virgin Mary".
The YBAs since 1992.
In 1997, Gillian Wearing won the annual Turner Prize. In 1998, Chris Ofili won the annual Turner Prize.
In 1999, Tracey Emin was nominated for the Turner Prize. Her main exhibit, "My Bed", consisting literally of her dishevelled, stained bed, surrounded by detritus including condoms, slippers and soiled underwear, created an immediate and lasting media impact and further heightened her prominence. The emergence at the same time of an anti-YBA group, The Stuckists, co-founded by her ex boyfriend, Billy Childish, gave another angle to media coverage.
In 2003, YBAs Jake and Dinos Chapman and Anya Gallaccio were nominated for the annual Turner Prize.
On 24 May 2004, a fire in a storage warehouse destroyed some works from the Saatchi collection, including the Chapman Brothers' "Hell" and Tracey Emin's "tent", "Everyone I Have Ever Slept With 1963–1995".
In 2008, YBA Angus Fairhurst committed suicide.
In the 2011 Birthday Honours List, Sam Taylor-Wood and Gillian Wearing were appointed Order of the British Empire by Queen Elizabeth II.
Elected Royal Academicians.
Several of the YBAs have been elected as lifetime members of the Royal Academy of Arts in London (founded by George III in 1768); hence they are "Royal Academicians," and may use the letters "RA" after their name to indicate this.
Doctorates.
In 2004, Gillian Wearing received an Honorary Doctorate from the University for the Creative Arts; in 2007, Henry Bond received a Doctorate from the University of Gloucestershire; in 2007, Tracey Emin received Honorary Doctorates from the Royal College of Art and London Metropolitan University; in 2010, Fiona Banner received an Honorary Doctorate from Kingston University.
Reaction.
Positive.
Richard Cork (at one time art critic of "The Times") has been a staunch advocate of the artists, as has art writer Louisa Buck, and former "Time Out" art editor, Sarah Kent. Sir Nicholas Serota has validated the artists by the nomination of several of them for the Turner Prize and their inclusion in the Tate collection.
Maureen Paley said, "The thing that came out of the YBA generation was boldness, a belief that you can get away with anything."
Speaking in 2009, Iwona Blazwick the director of the Whitechapel Art Gallery said, "The YBA moment is definitely now dead, but anyone who thinks they were a cut-off point is wrong. They began something which has continued to grow ever since. It's not over."
Negative.
In 1998, John Windsor in "The Independent" said that the work of the YBAs seemed tame compared with that of the "shock art" of the 1970s, including "kinky outrages" at the Nicholas Treadwell Gallery, amongst which were a "hanging, anatomically detailed leather straitjacket, complete with genitals", titled "Pink Crucifixion", by Mandy Havers.
In 1999 the Stuckists art group was founded with an overt anti-YBA agenda. In 2002 Britart was heavily criticised by the leading conductor Sir Simon Rattle, who was, in return, accused of having a poor understanding of conceptual and visual art.
Playwright Tom Stoppard made a public denunciation, and Brian Sewell (art critic of the "Evening Standard") has consistently been hostile, as has David Lee, the editor of "Jackdaw".
Rolf Harris, the television presenter and artist, singled out Tracey Emin's "My Bed" as the kind of installation that put people off art. "I don't see how getting out of bed and leaving the bed unmade and putting it on show and saying that's worth, I don't know £31,000 ... I don't believe it, I think it's a con."
For James Heartfield, "The 1990s art boom encouraged sloppiness. The Young British Artists preferred the inspired gesture to patient work. They added public outrage to their palettes, only to find that it faded very quickly."
Members of the group are parodied in a regular cartoon strip by Birch, titled "Young British Artists", in the British satirical magazine "Private Eye".
Feminism within the YBAs.
Female artists were distinctly a minority amongst the male dominated environment of the Young British Artists. Individuals such as Sarah Lucas, Jenny Saville and Rachel Whiteread have varied levels of neglect within their media portrayals, as well as incomparable in notoriety to male YBA peers such as Hirst.
The University of Sussex's Art Society Journal describes how feminists in the 1980s influenced the female members of the Young British Artists' artwork through the strategy of subverting feminine stereotypes. Other discourse around female YBA work include a discussion of Rachel Whiteread's sculpture practice. Whiteread has been said to disrupt the 'clear' concept of women making 'female work'. Her work "Nine Tables" attempts to exist within a third space, where the forms can't be physically gendered, but still viewed as a feminine objects. Daniel Ogilivie has expressed how Judith Butler's concept of which "…the mere act of 'doing', of casting the object, that expresses the gender and it is not any anthropomorphic association in the artwork itself," creates the feminine within Whiteread's work.
With the prevalence of feminist ideology in society and the contemporary art, critics have argued that female artists like Jenny Saville in the 1990s investigated the contrived idea of 'feminity' made by the Patriarchal Structure. While attending art school in Cincinnati, Saville's feminist passion was conceived through a realisation of gender within art history. In her own words, she discovered that, "I'd always wondered why there had been no women artists in history. I found there had been – but not reported. I realized I'd been affected by male ideas, going through a male-dominated art college". Now consciously aware of institutional patriarchy, Saville began to paint female nudes that weren't idealised. Rather than continue the recognised historical male view of female bodies, Saville created depictions of natural women with genuine flaws. Pubic hair trailing up stomachs and around thighs, discoloured skin and areas of excess flesh. Deconstructing the feminine body, Saville has stated that, "I'm not trying to teach, just make people discuss, look at how women have been made by man. What is beauty? Beauty is usually the male image of the female body. My women are beautiful in their individuality."


Indrani Pal-Chaudhuri

Indrani is a multi-racial Indian-Jamaican-Canadian-British director and photographer.
Known by a single name, Indrani is "renowned for her iconic imagery and visionary storytelling, collaborations with Lady Gaga, Beyonce, Jennifer Lopez, Alicia Keys, Jay-Z, and Kanye West" according to Shinjini Das, Huffington Post. Her work was discovered by David Bowie and Iman (model) who commissioned her first album cover for "Heathen" and later Bowie launched her directorial debut, commissioning her first major music video, for his song "Valentine's Day" exploring the mind of a high school shooter, on his album "The Next Day".
Selected as a Clubhouse "Creator First" Finalist, her work has won 43 awards, including the Tribeca Film Festival 2019 Disruptive Innovation Award, the Max Mark-Cranbrook 2019 Global Peacemaker Award. Her editorial clients include Vogue, GQ, Vanity Fair, Harper's Bazaar, and Interview magazine. Brands such as Nike, Pepsi, L'Oréal Paris, Lancôme, Hugo Boss, Anna Sui, Skyy Vodka, and Remy Martin have hired Indrani to create advertising campaigns. Her campaign for Keep A Child Alive raised over one million dollars in under a week for families with HIV in Africa and India.
Known for her extensive human rights, diversity, women's and LGBTQIA+ empowerment work, "Wielding her visionary work like a weapon, Indrani is using her art and resources for social justice and change." A United Nations Women's Entrepreneurship Distinguished Fellow, and Max Mark-Cranbrook Global Peacemaker, she is a prolific speaker interviewed on CNN, HBO, BBC, Co-Host of the Global People's Summit at the United Nations, Organizer and Host of the Princeton University Lewis Center "Art of Anti-Racism and Social Justice" symposium, Keynote at the "Engage 2020 Innovation Conference," and at the Harvard University Kennedy School "Pride and Progress LGBTQ+ Film Symposium." She is also a Princeton University Visiting Lecturer on "Moving Millions with Art and Film for Human Rights and Social Justice."
Early Life, Model/Actor Career.
Indrani was born in Kolkata, India, in 1983, raised in the historic palace of her traditional Zamindar family, and accompanied her British mother as a volunteer with Mother Teresa and the Ramakrishna Mission. Both her parents were accountants, and her Rastafarian stepfather was a musician and counsellor. She witnessed "the devastating poverty that stood in stark contrast to her own childhood," which motivated her to someday make a difference in the area. In Canada she experienced racism with her family, and she fought by the side of her African-Canadian stepfather and her Jamaican family in court against illegal evictions, and a pharmaceutical company that knowingly sold medications that caused his debilitating diabetes.
Indrani began modeling and acting at age 14, to study photography and film with artists around the world, and became a rising star. She was featured in "Vogue", "Glamour", "Elle" and "Marie Claire", and in campaigns and commercials for Benetton in Japan, MAC Cosmetics, VH1, Luxottica, Nescafe, and many others. Her experience as a successful model/actor became a window of cultural perspective as her career took her all over the world.
Founding of Shakti Empowerment Education Foundation and South Asian Studies Program at Princeton University.
At 18, Indrani returned to India for a 6 month pilgrimage, and turned her family home into a charitable school, to give girls a better future. She named the school Shakti Empowerment Education Foundation (SEEschool.org) and currently supports over 300 students, both girls and boys, and provides women with literacy and vocational training, as well as microfinancing, and continues as the school's executive director.
After high school, Indrani met Markus Klinko, a classical harpist, who became a regular collaborator and the two began their photography careers as the photography duo known as Markus + Indrani. According to Fast Company, "When Markus Klinko and Indrani Pal-Chaudhuri teamed up...both were already stars—Klinko as a classical harpist and Indrani as a fashion model. Now they are famous for their iconic images."
Indrani received a scholarship to Princeton University where she studied cultural anthropology while advancing her career as a photographer in NYC. A passionate advocate of Indian culture, at Princeton she campaigned and reinstated the study of Sanskrit, and led a student initiative to create a program in South Asian Studies. She graduated with a magna cum laude (with High Honors) AB in Anthropology.
Photographer and Director.
Indrani has won acclaim as a photographer, a director, director of photography, and producer of films and commercials.
Films which Indrani has directed and produced have won numerous awards including the Tribeca Film Festival Disruptive Innovation Award 2019, Best Picture at the CNN 2018 Expose Awards, presented by Quincy Jones, and two gold lions at Cannes. She won first prize in four categories at the Los Angeles Independent Film Festival 2015 for "Best Picture," "Best Visual Effects," "Best Costumes" and "Best Production Design"; "Best Film," "Best Director" and "Best Design" at the London Fashion Film Festival 2015, "Best of Festival" at the Princeton Film Festival, 2015, "Best Film" at the International Fashion Film Festival Los Angeles 2015, first prize in the top four categories at the International Fashion Film Festival at the Museum of Contemporary Art, San Diego, including "Best Film," "Best Director," "Best Fashion," "Best Special Effects" and the RED Camera Award.
While Indrani was a student at Princeton, David Bowie and Iman discovered her photography and commissioned her first album cover for "Heathen" and "I am Iman" with Klinko. Indrani's fashion work was discovered by Isabella Blow, known for discovering some of the fashion world's most important figures including Alexander McQueen, Philip Treacy and John Galliano, who commissioned cover stories for the London "Sunday Times". Around the same time, Ingrid Sischy at "Interview" magazine commissioned various shoots. Indrani credits Blow, Bowie, and Iman for mentoring her and encouraging her to push her creative boundaries. Indrani helped launch the solo careers of Beyoncé and Lady Gaga, creating award-winning album covers for their solo debuts "Dangerously in Love" and "The Fame Monster" (Collector's Ed) respectively, as well as Mary J. Blige's breakthrough,"The Breakthrough" and Mariah Carey's comeback "Emancipation of Mimi" and directed their music videos. among others.
Indrani has created the branding image for clients including Pepsi, Nike, L'Oréal, Shiseido, Lancome, Jaguar, LVMH, Hugo Boss, Anna Sui, Wolford, BNP Paribas, Elizabeth Arden, Pantene, Carol's Daughter and MAC.
In 2013 David Bowie launched Indrani's directorial career with her first major music video for his "Valentine's Day", exploring the mind of a high school mass shooter, and her work and interviews are featured in the HBO / BBC Film "David Bowie: The Last Five Years." Eric Danton of "Rolling Stone" says Bowie "radiates intensity," Robin Hilton of "NPR" calls it "thrilling and intense." Francis Whatley in an interview about the HBO / BBC documentary with Michael Bonner in The Uncut describes Valentine's Day as "Indrani's video. It is compelling. I think she captured something about him – and the story around how she did it is quite interesting...She had to draw out of him that he was singing about a killer."
Her video and stills campaign with TBWA-Chiat-Day for Keep a Child Alive against AIDS in India and Africa won two gold lions at Cannes. Indrani directed a short documentary for PSI and the UN's Nothing But Nets featuring ambassador actress Mandy Moore. She directed "The Girl Epidemic" to raise awareness of the millions of girls missing in Asia due to human trafficking, child labor and female infanticide for Project Nanhi Kali with ad agency Strawberry Frog and won Best Picture at the CNN Expose award, presented by Quincy Jones. It is described by the "Huffington Post"'s Katherine Brooks as "powerful" and by Scott Goodson for "Forbes" as "brilliant and provocative!" Her short "Crescendo," curated by Pepsi's Beats of the Beautiful Game, uses football to empower girls in India and is described by Julianne Shepherd of "Jezebel" as a "Rad Feminist Short Film...A jubilant, sweet clip...(with) an underlying feminist message" and by Katherine Brooks of "The Huffington Post" as "Photographer uses football to empower girls in India" in partnership with nonprofits Sambhali Trust, Yuwa, and SEEschool.
Indrani's work has been published in over 25 books and shown in over 20 exhibitions, and her portrait of Beyonce is on permanent exhibition at the National Portrait Gallery at the Smithsonian Museum in Washington DC. In 2013 the Lincoln Center presented a week-long 30-piece public art exhibition "Icons", to accompany the release of the photobook, "Icons: The celebrity exposures of Markus and Indrani", published by Perseus Press. "Icons" is described as "the product of 18 years...a visionary tour de force" by Katie Amey for "Elle"; and "High-concept and hyperrealism commingle" by Kimberley Jones for the "Austin Chronicle".
An exhibition at the Pacific Design Center LA was presented by the Lucie Foundation in concert with the Month of Photography Los Angeles and the Farmani Gallery, and the Icons Exhibition of her work was presented by The Angel Orensanz Foundation for Contemporary Art NY and Bravo TV to celebrate "Double Exposure" on 16 June 2010.
"The Legend of Lady White Snake" short film, with a poem by Neil Gaiman, "The Hidden Chamber" written and directed by Indrani, is a re-imagining of an ancient Asian story, starring "fashion icon and brewery fortune heiress" Daphne Guinness in costumes by GK Reid and Alexander McQueen.
"Till Human Voices Wake Us", a short film produced by Rick Schwartz ("Black Swan", "Gangs of New York"), was written and directed by Indrani, creative directed and executive produced by GK Reid, and stars Lindsay Lohan and a dozen new actresses the team discovered through a large talent search. An inversion of a poem by T.S. Eliot "The Love Song of S. Alfred Prufrock, it is a dream within a dream, of Selkies, Celtic mythical creatures that are women on land and seals in water, who storm Manhattan to save one of their kind, and the oceans. The film reminds viewers of the magic and mysteries of the creatures of the sea, and is a plea for sustainability of the oceans.
Indrani directed a music video for Alicia Keys' New Day described as "bold and high-energy" by Jenna Rubenstein for "MTV", as well as music videos for Mary J. Blige, Mariah Carey, and Bon Jovi among others.
For "Girl Rising, India" a feature-length film for girls' empowerment, Indrani directed the Bollywood stars Freida Pinto, Priyanka Chopra, Alia Bhatt, Kareena Kapoor, Nandita Das Priyanka Chopra Sushmita Sen and Madhuri Dixit for the original Indian content, with a video and photo campaign which she also shot, that trended on Twitter when released on 29 August 2015, and became part of the Indian government's campaign Beti Bachao, Beti Padhao (translation: Save girl child, educate a girl child).
Her The Great Artist was Oscar-qualified in 2021, and selected by "The Hollywood Reporter" as one of the top 5 Oscar contenders for short live-action, winning over 19 awards. Outfest and GLAAD presented a virtual screening and panel discussion with cast and crew including Emmy-nominated transgender actress Rain Valdez. Created to destigmatize and encourage discussion on mental health through the lens of the art world, inclusive of the LGBTQ+ communities and people of color, who are often underserved and at greater risk during COVID. Partner nonprofits included GLADD, American Foundation of Suicide Prevention, National Association of Mental Illnesses CA (NAMI), National Suicide Prevention Lifeline, Movember, Kindred, Tethr, The Tramuto Foundation, and Stand with Impact.
University Lecturer, Education Foundation Director, and Social Justice Advocate.
Indrani is known for her social justice advocacy, for racial, sexual and LGBTQIA+ equality, for women's empowerment, health and environmental sustainability, and for her work against human trafficking. Due to her extensive work in these areas, Indrani is a United Nations Women's Entrepreneurship Distinguished Fellow 2018, and won the 2019 Max Mark-Cranbrook Global Peace Maker Award (past winners include Nobel Prize Laureates Bishop Desmond Tutu and Jody Williams, Mary Robinson former President of Ireland and UN High Commissioner, and Noam Chomsky).
At the age of 18, Indrani co-founded Shakti Empowerment Education, otherwise known as SEEschool.org, turning her family's palace into a foundation and school for economically challenged women and children. Providing free education to 300 children, vocational training, and microfinancing, outside her native Kolkata, India, with an emphasis on the rights of girls. She continues as executive director, "She is in charge of fundraising, advertising, and development." Pesta of The Daily Beast says "Indrani changes the fate of forgotten girls...and is fighting to give girls a better future."
Much of Indrani's work and her films focus on the empowerment of women of color, and her work as an abolitionist against human trafficking. Her "Girl Epidemic" short film, on the millions of girls missing in Asia due to child labor, female infanticide, and sex trafficking, won the CNN Expose 2018 Best Picture Award, and was created in partnership with Anand Mahindra's Nanhi Kali Foundation and ad agency Strawberry Frog. Her "Girl Rising India," raises awareness of the importance of girls' empowerment, for which she raised the funding and directed Indian stars, which became central to Prime Minister Modi's "Beti Bachao-Beti Padhao" social awareness campaign (trans: "Save the Daughter, Educate the Daughter"). Her "Crescendo" short film, which became part of Pepsi's "Beats of the Beautiful Game, shows how "sports uplift and empower girls to develop physical and mental strength, discipline, self-confidence, leadership and a sense of community." Her video and stills campaign "Digital Death" for HIV/AIDS in Africa and India, stars Kim Kardashian, Alicia Keys, Janelle Monáe, Serena Williams, Usher, and many others.
As well as working with over two dozen non-profits, Indrani was Special Advisor to the UNGMDF World Fashion Forum and Director of Relations at the UN World Film Forum 2013–2015. She is Co-Host of the Global People's Summit 2018 during the General Assembly at the United Nations, democratizing access to conversations and information that shapes the world, with the President of the General Assembly and 190 countries live. She is a United Nations Women's Entrepreneurship Distinguished Fellow and is regularly invited to speak at the United Nations Headquarters in New York.
Indrani was invited as the keynote speaker at the Princeton University Creative Arts and Humanities Symposium 2018, Princeton's Innovation "Engage 2020", organizes and hosts Princeton Lewis Center's "The Art of Anti-Racism and Social Change," and is keynote speaker at the Harvard University Kennedy School Carr Center for Human Rights Policy's Pride and Progress LGBTQ Film Symposium 2019. She is a Princeton University Visiting Lecturer on "Moving Millions with Art and Film for Human Rights and Social Justice."
Television Series and Media.
Indrani, Klinko, and creative director / producer GK Reid were the subjects of Bravo reality show called "Double Exposure" documenting their photo shoots from initial thought to hard copy. According to Troy Patterson of "Slate", "Themes include the aesthetics of desire, the symbiosis of artist and muse." The show is described by Zoë Ruderman as "like "America's Next Top Model" and "Project Runway" mixed together and on speed."
Created in the US for the Bravo network, "Double Exposure" has been syndicated in over a hundred countries.
Indrani has featured on the BBC / HBO Film "David Bowie: The Last 5 Years" and has been a guest on "America's Next Top Model, Make Me a Supermodel," and was interviewed for "E! News, Access Hollywood, Fashion Television," CNN's "Showbiz Tonight" and "Larry King Live".


O. D. Jennings


Pinto Mi Raya

Pinto Mi Raya is a conceptual art project by Monica Mayer and Victor Lerma.
In 1989, with Victor Lerma, Mayer created the ongoing conceptual project, Pinto mi Raya, whose main function is as an archive that specializes in collecting and cataloging newspaper articles on contemporary art in Mexico. The project's objective is to stimulate the art system in Mexico through various activities, workshops and performance interventions involving other practitioners such as El Balcón del CENIDIAP, De Crítico, artista y loco..., and El Mejor Amigo de los Museos. Pinto mi Raya has also hosted radio programs such as “Pinto mi Raya: Donde las Artes Visuales Suenan” (ABCradio, 1999–2000) and has actively participated in various activist actions as part of the artistic community.
The original home of Pinto Mi Raya, including its mini-gallery, was Somberete #55 in the Colonia Condesa neighborhood of Mexico City.
In the 1998 publication 'Pinto mi Raya—A Brief Story of Almost 10 Years of Applied Conceptual Art Projects', Lerma and Mayer write: "This experience allowed us to detect some of the most serious problems in our art system, and little by little we started turning into a platform from which we could launch applied conceptual art projects in order to try to find solutions for them. In other words, we seek to lubricate the art system so it runs more smoothly. We also decided to become nomads."
Conferences (selection).
Los ríos amputados. Juarez Autonomous University of Villahermosa ( Tabasco (Mexico). 5 June 2009
Publications (selection).
Items of art criticism:
Books:
Further resources (selection).
'Mujeres en Acciòn, serie documental de performance', DVD by Josefina Alcazar featuring: Andrea Ferreyra, Edith Medina, Lorena Méndez, Lorena Orozco, Lorena Wolffer, Katnira Bello, Maris Bustamante, Thereza Lopez, Monica Mayer, Elizabeth Romero, Elvira Santamaria, Ma. Eugenia Chellet, La Congelada De Uva, Diana, Olalde, Gabriela Olivo, Katia Tirado, Nina Yhared.


Steins;Gate Elite

Steins;Gate Elite is a science fiction visual novel and interactive movie video game, part of the "Science Adventure" series. It was developed by 5pb. for PlayStation 4, PlayStation Vita, Nintendo Switch, Microsoft Windows and iOS, and was released in 2018 in Japan and in 2019 internationally. It is an updated, fully animated remake of the 2009 game "Steins;Gate", using footage from the anime adaptation of the original game along with newly produced animation by White Fox.
The game was created from the desire of its planner, Chiyomaru Shikura, to evolve the visual novel genre: he was influenced by the fully animated game series "Yarudora", but as high development costs and a long production time would have prevented a full-length animated visual novel, it was decided to create a game that reused already existing animation. The game has been well-received by critics.
Overview.
"Steins;Gate Elite" is a science fiction visual novel and interactive movie game, an updated version of the 2009 game "Steins;Gate". Unlike previous games in the "Science Adventure" series, it is fully animated, using all the footage from the "Steins;Gate" anime series along with newly produced animation for story routes not adapted in the anime; the animation is played together with the script and voiced dialogue from the original game. The player reads the on-screen text and presses a button to advance the animation and text, and thereby progresses through the story. At certain points, the player makes choices which cause the story to branch, leading to different endings.
Development.
"Steins;Gate Elite" was developed by 5pb., and was planned by Chiyomaru Shikura and produced by Tatsuya Matsubara. The new animation was produced by White Fox, the studio that produced the "Steins;Gate" anime series. Shikura had for a long time thought about how to evolve the visual novel genre, as he felt it had been largely stagnant. He was influenced by the "Yarudora" series of games, which are fully animated and voice acted, liking how fully animated visual novels would have the advantage of both containing prose describing characters' internal feelings, and showing movements and expressions that are not as easily conveyed through character sprites and prose only. He did however note that making a full-length visual novel in that style would be difficult due to production costs and how long the development would take. Realizing that a project like it would have to reuse old animation to be feasible, it was decided to create a game using material from the anime adaptation of "Steins;Gate", as it already contained a large portion of the story from the original game.
There were still difficulties involved in incorporating the anime footage in "Steins;Gate Elite": In a typical visual novel, each character only talks and acts when the player pushes a button, while multiple characters can move and talk at the same time in an anime. This resulted in the anime footage having to be deconstructed, with each character's movements in a scene separated into its own individually playable animations. Because the player character uses his cell phone at several points in the game, they also had to add new animations of him taking it out. Other difficulties involved discrepancies between the original game and the anime adaptation, such as characters being in different locations for certain scenes in the anime compared to the original game; taking care of these situations alone took six months. The user interface was also redesigned to be subtle and blend in with the animation.
Release.
The game was announced at the Chiyo-ST Live 2017 Genesis event in Tokyo in May 2017, and was showcased at Sega's booth at Tokyo Game Show 2017, with a seven-minute demo available for the public to play. The full game, which is branded as a "Full Animation Adventure", was released on September 20, 2018, in Japan for PlayStation 4, PlayStation Vita and Nintendo Switch, with no differences between the three platforms. Although it had originally been announced for release on March 15, 2018, it was delayed as further improvements to the quality were deemed necessary. In March 2018, Spike Chunsoft's newly established American subsidiary announced that they would publish the game in North America and Europe for PlayStation 4, Nintendo Switch and Microsoft Windows: they were released on February 19, 2019. The English versions use the script from the English release of the original "Steins;Gate", along with Japanese audio. An iOS version was later released in Japan on October 15, 2019.
The PlayStation 4, PlayStation Vita and Microsoft Windows versions include an HD remaster of the 2013 game "", while the Nintendo Switch version includes the newly developed "8-bit ADV Steins;Gate", a "Steins;Gate" game in the style of 1980s adventure games for the Famicom console. "8-bit ADV Steins;Gate" was developed to be as true to Famicom games of the time as possible, and so the development team made use of older tools to produce it, such as using the 6502CPU to assemble assets and the 2A03 sound chip to compose the sound.
Reception.
Pre-release.
Reviewing the game's Tokyo Game Show demo, "Famitsu" wrote that they thought the game felt fresh despite how they had already played the original game and watched the anime. Because of the added animations, they thought the game gave a greater feeling of urgency than the original "Steins;Gate", and described it as feeling like they were moving the animation due to how it waits for the player to press a button before moving. "Dengeki PlayStation" were initially negative towards the idea of remaking "Steins;Gate" using material from the anime, but were positively surprised when they played the demo. "IGN" was positive to the demo, and thought the anime footage prevented the monotony one can feel when playing visual novels with static background images and character sprites.
Post-release.
The PlayStation 4, Nintendo Switch and PlayStation Vita versions of the game were the second, fourth and twentieth best-selling physical video games in Japan during their debut week, selling a combined total of 30,442 copies. The PC version was among the best-selling new releases of the month on Steam.
"Steins;Gate Elite" was well-received by critics according to the review aggregator Metacritic, and was the 10th best reviewed PlayStation 4 game and 22nd best reviewed Nintendo Switch game of the year. "Famitsu" enjoyed the combination of reading the visual novel script and watching the animation, and liked the newly produced animated sequences.
Related media.
The game's opening theme, "Cosmic Looper", the insert songs "Technovision", "Sky Clad Observer" and "A.R." as well as the first ending theme "Another Heaven" are performed by Kanako Itō. The second ending theme, , as well as the insert song "Masquerade" are performed by Yui Sakakibara. Both the opening and second ending themes were released on singles on September 19, 2018. The full "Steins;Gate Elite Original Soundtrack" album was released by Mages on March 18, 2020.
"Steins;Gate 0 Elite", a follow-up which updates the sequel "Steins;Gate 0" in the same manner as "Steins;Gate Elite" did with "Steins;Gate", was announced at the annual "Science Adventure Live" event in January 2020, and is in development by Mages.


Rash guard

A rash guard, also known as rash vest or rashie, is an athletic shirt made of spandex and nylon or polyester. The name rash guard reflects the fact that the shirt protects the wearer against rashes caused by abrasion, or by sunburn from extended exposure to the sun.
A rash guard shirt is usually worn by itself when surfing in weather too warm for a wetsuit to prevent chafing from sliding on and off of the waxed surface of the surf board. A surfboard's wax holds sand from the beach that can rub against a surfer while paddling out to the break, or legs while sitting atop one's board.
Rash guards also offer some protection from the sun (measured by its Ultraviolet Protection Factor) and slight protection against jelly fish stings and are sometimes worn under wetsuits to prevent chafing. A rash guard helps to prevent irritation caused by rapid impact with surface water and waves as well.
A rash guard by itself is used for light coverage in warm temperatures for many other watersports including surfing, canoe polo, scuba diving, snorkeling, freediving, wakeboarding, bodysurfing, bodyboarding, windsurfing, kitesurfing, kayaking, stand up paddle surfing, or swimming.
There are also lower body rash guards, which are similar to compression shorts to be worn under the surfers' boardshorts, but more specialized for surfers.
Rash guards are thought to have originated in Australia, where they are commonly referred to as "rashies" or "rashys".
Important features of a rash guard include flatlock stitching and multi-panel construction. Flatlock stitching creates a seam where the seam allowances lies flat to the garment instead of hanging loose from it. It is made by adjusting the overlock or the thread overedge stitch. Flatlock stitching increases the strength of the garment for intense exercise or recreational activities. Multi-panel construction and different material for separate body parts sewn together in panels allow the user increased mobility wet or dry versus the conventional tee shirt construction.
The combination of products used to construct a rash guard differ slightly depending on the designer. The use of nylon and spandex create a garment that is lightweight, quick drying, flexible, durable, naturally antibacterial and water wicking.
Variations.
Some variations include the following:
Swim shirts.
Swim shirts are relatively new to the consumer market, but are growing in popularity. They are generally more loose fitting and casually worn. Their primary purpose is to offer an alternative to sunscreen to protect the wearer's skin from the sun's UV radiation and possible skin cancer. Many swim shirts carry a UPF rating of 50+, which blocks out over 98% of the sun's harmful rays. Many people find that sunscreen isn't always enough because it is often not used properly and some have skin allergies or sensitivities to chemicals in sunscreens. Children's skin can be especially sensitive to the sun and sunscreens. Many children, and parents, find it is much easier to put on a swim shirt as it is loose and easily slipped on. There are also zip front rash guards available which makes slipping in and out of them even easier, especially when wet. Furthermore, it is comfortable and yet gives sun protection. Even though the name generally applies to water sports, people use swim shirts for an array of activities: swimming, boating, golfing, tennis, gardening, playing in the sprinklers, water parks, beach trips, pool play, rivers and lakes, water skiing, surfing, snow skiing, sledding, skimboarding, in mixed martial arts and Brazilian jiu-jitsu, and even as normal everyday clothing.
Rash guards for Grappling / MMA.
Rash guards are also worn for training in various grappling sports and mixed martial arts (MMA). The potential, but not proven, benefits for this include:


Generalized nondeterministic finite automaton

In the theory of computation, a generalized nondeterministic finite automaton (GNFA), also known as an expression automaton or a generalized nondeterministic finite state machine, is a variation of a
nondeterministic finite automaton (NFA) where each transition is labeled with any regular expression. The GNFA reads blocks of symbols from the input which constitute a string as defined by the regular expression on the transition. There are several differences between a standard finite state machine and a generalized nondeterministic finite state machine. A GNFA must have only one start state and one accept state, and these cannot be the same state, whereas a NFA or DFA both may have several accept states, and the start state can be an accept state. A GNFA must have only one transition between any two states, whereas a NFA or DFA both allow for numerous transitions between states. In a GNFA, a state has a single transition to every state in the machine, although often it is a convention to ignore the transitions that are labelled with the empty set when drawing generalized nondeterministic finite state machines.
Formal definition.
A GNFA can be defined as a 5-tuple, ("S", Σ, "T", "s", "a"), consisting of
where "R" is the collection of all regular expressions over the alphabet Σ.
The transition function takes as its argument a pair of two states and outputs a regular expression (the label of the transition). This differs from other finite state machines, which take as input a single state and an input from the alphabet (or the empty string in the case of nondeterministic finite state machines) and outputs the next state (or the set of possible states in the case of nondeterministic finite state machines). A DFA or NFA can easily be converted into a GNFA and then the GNFA can be easily converted into a regular expression by repeatedly collapsing parts of it to single edges until "S" = {"s", "a"}. Similarly, GNFAs can be reduced to NFAs by changing regular expression operators into new edges until each edge is labelled with a regular expression matching a single string of length at most 1. NFAs, in turn, can be reduced to DFAs using the powerset construction. This shows that GNFAs recognize the same set of formal languages as DFAs and NFAs.


R. Verman

Ratna Verman Shetty (1947 – 30 July 2019), usually credited as R. Verman, was an Indian art director.
Early life.
Born in Mangalore, Verman is an alumnus of J. J. School of Art, Mumbai. After completing his education he started his own publicity designing and cine advertising business company called ‘Takshila’. During this time his major clients were Navketan films and Verman worked on production houses of films like Jewel Thief and Guide.
Career.
While working as a publicity designer Verman became interested in art direction and worked as an assistant of noted art director Sudhendu Roy for few years before becoming a full-fledged art director. From then on Verman has worked on more than 350 films and has won the Filmfare award for best art direction twice for the films Hum and Angaar in the year 1992 and 1993.


Bernard Lewis (entrepreneur)

Bernard Lewis (born 10 February 1926) is the English entrepreneur behind the River Island fashion brand and clothing chain.
Early life.
He was born on 10 February 1926, and educated at the Jewish Free School, and Northern Polytechnic Institute. He helped in his parents’ greengrocer as a child and from that experience gained skills like learning how to price stock, understand what customers wanted and reduce waste. He served in the RAF from 1944 to 1945.
Career.
Lewis opened his first fruit and vegetable shop in the North London area (on Holloway Road) at the age of 20 and began selling clothing, primarily blouses and skirts, then dresses, in the 1940s. His first clothes shop was in Mare Street, Hackney.
During the 1970s, he launched a chain of clothing stores, later called Chelsea Girl.
Lewis also founded Lewis Separates.
He founded the Lewis Trust Group with his elder brother David and younger brother Geoffrey, but the latter two left in 1977.
Lewis is estimated to be worth £1,030m (€1,484m). In 2015, he was at position 83 on the Sunday times Rich List.
River Island is now run by his nephew, Ben Lewis.
Personal life.
His "right-hand man in the 1970s" was Leonard, his elder son from his first marriage. In 1968, he married Jennifer Oldham, née Johnston, who modeled and acted under the name Jenny Meredith. She died in 1975.
In 1981, he married Vanessa Bracey who had been a buyer for Chelsea Girl since 1970, and whom he had been in a relationship with since 1972. They have two sons, Sam and Jacob.


Deirdre Clancy

Deirdre Clancy (born 31 March 1943) is a British costume designer. She has won the Olivier Award for Best Costume Design twice. She also won the BAFTA Award for Best Costume Design for "Mrs. Brown".
She started working in the London theatre in the 1960s and has worked on more than 150 theatre, opera and ballet productions around the world.
In 2000 the University of Central England conferred a doctorate on her. Her work has been the subject of a doctoral thesis by Dr Amela Baksic at Louisiana State University.
She is married to composer Maxwell Steer.


United Visual Artists

United Visual Artists (UVA) is a London-based art practice founded in 2003 by British artist Matt Clark (b.1974). UVA's diverse body of work integrates new technologies with traditional media such as painting, sculpture, performance, and site-specific installation. The practice has an open and inclusive approach to collaboration. While Clark leads the UVA team, the plural use of the word "Artist" in its designation refers to the many collaborators with whom Clark works.
Drawing from sources ranging from ancient philosophy to theoretical science, the practice explores the cultural frameworks and natural phenomena that shape our cognition, creating instruments that manipulate our perception and expose the relativity of our experiences. Rather than material objects, UVA's works are better understood as events in time, in which the performance of light, sound and movement unfolds.
UVA has been commissioned internationally by institutions including the Barbican Curve Gallery, London, England; Manchester International Festival, Manchester, England; Royal Academy of Arts, London, England; Serpentine Gallery, London, England; The Wellcome Trust, London, England; Towner Gallery, East Sussex, England; Victoria & Albert Museum, London, England; YCAM, Tokyo, Japan, and others. Previous group exhibitions include Blain|Southern London, England; Riflemaker London, England; Bryce Wolkowitz, New York; Seoul Museum of Art, Seoul, Korea; and Power Station of Art Shanghai, China.
UVA has collaborated with artists including choreographer Benjamin Millepied and the Paris Opéra Ballet, filmmaker Adam Curtis, and musicians Massive Attack, Battles, and James Blake. Most recently UVA collaborated with Christopher Bailey for the Autumn/Winter 2018 fashion runway show at Burberry.
Collections.
UVA's work is represented in public and private collections including the Fondation Cartier, France and MONA, Australia. Public works are sited internationally in Toronto, Dubai, Philadelphia and London.
Notable works.
Our Time (2016).
"Our Time" is a large-scale installation consisting of 21 pendulums, each with two light sources that trace light paths across space and respond to sounds, echoes and prompts from within an intricately designed program. The work joins a series of kinetic sculptures that began with "Momentum" (2013), an installation designed as a "spatial instrument" that reveals the relationship between expectation and perception in physical space.
The work seeks to investigate the subjective experience of the passing of time. "How long is a moment? At what rate does time actually pass?"
Our Time was originally commissioned by Dark Mofo before being acquisitioned by MONA, Tasmania.  The work was later used in Christopher Bailey's final runway show for Burberry.
Momentum (2013).
"Momentum" was originally commissioned by the Barbican Centre for its unique 90m long Curve gallery.  It was the first in a series of kinetic sculptures created by the studio.
Using light, sound, and movement UVA transformed the Curve into a spatial instrument, installing a sequence of pendulum-like elements throughout the gallery to create an evolving composition of light and sound. The pendulums projected shadows and planes of light across the 6 metre-high walls and curved floor of the space.
Visitors each had a unique experience of the work according to their movement, and the movement of the pendulums. Momentum is one of the gallery's most popular exhibitions to date with over 77,500 visitors, an average of 717 visitors per day.
Volume (2006).
UVA's large-scale installation Volume first appeared in the garden of London's V&A museum in 2006 and has since toured far as Hong Kong, Taiwan, St. Petersburg, Paris and Melbourne.
The work consists of a field of 48 luminous, sound-emitting columns that respond to movement. Visitors are encouraged to weave a path through the sculpture, creating their own unique journey in light and music.
Volume won a Yellow Pencil at the D&AD awards and featured in the London Design Museum's "Design of the Year" show in 2008.
Personnel.
Matt Clark founded UVA in 2003 together with Chris Bird and Ash Nehru. Around 2010, Chris and Ash turned their focus to D3 - a software tool originally developed for UVA projects, and at the end of 2017 they both moved on from UVA as directors to pursue their personal interests.


Roba Stanley

Roba Stanley (February 11, 1908 - June 8, 1986) was a country music singer who has been said to be the first woman to record country music. Others have pointed out that Samantha Bumgarner and Eva Davis recorded a session (including solos) three months before Roba recorded. However, she can still be said to be among the earliest of the women who recorded early country music. She was the daughter of Robert Morland Stanley, an old-time fiddler who recorded with her on some of her records.
Early life.
Stanley was born as Roba Mary Stanley. Stanley's father was an old-time music fiddler and she was exposed to the music in the home.
Stanley learned to play the guitar and sing in the home and by 1923 (at age 15) went with her father to square dances.
Their home was "a mecca" for early country music near Atlanta, due to her father's prowess as a fiddler. He was the winner of the Georgia Old-Time Fiddlers Convention in 1920. Among the friends he brought to the house was Fiddlin' Johnny Carson, whom Roba remembered playing music with at her house.
Career.
Music.
Recording.
Roba recorded for Okeh Records in 1924 and 1925, performing solo and as part of her family's Stanley Trio. She also made records with Bill Patterson.
Of her four July 1924 recordings, two were labeled "Roba Stanley and Bill Patterson" and the other two were "The Stanly Trio". With Patterson she made "Devilish Mary" and "Mr. Chicken". With the trio she made "Nelie Grey" and "Whoa Mule!"
She recorded three more in December 1924, "All night long" (Roba and her father Bob Stanley), "Little Frankie" (with Bill Patterson), and "Railroad Bill" (with her father Bob Stanley and with Bill Patterson).
Her last record, in July 1925, was solo. She made "Old Maid Blues" and "Single Life".
Performing.
She performed live on Atlanta's WSB radio for a year. She went on to perform off the air with other Georgia musicians, including Gid Tanner and her father Bob Stanley (himself a fiddler, winner of one of the Georgia Fiddler's Conventions).
Family.
Her music career ended when she married Frank Ellsworth Baldwin and moved to Florida with him. She was no longer near a recording studio and her husband did not like her performing in public, so she gave away her guitar.
Age when she first recorded.
Either 14 or 16 years old.
There has been some concern over her age at the time she recorded. One article that mentioned the concern said she was either 14 or 16, and probably was called the latter to avoid child labor laws. Another says that research revealed her to be born in 1910; however the research itself was not identified.
Evidence for age 16 at recording time.
Census records indicate that she would have been 16 at the time she recorded in 1924. From the census, we know she was born between January 17 and April 28 of 1908. That would make her 16 in the July 1924 recording session. Additionally, her family listed her birth date as February 11, 1908, which supports the census data.
Census specifics.
Roba was listed as being two years old in the April 25, 1910 U.S. Census and eleven years old in the January 16, 1920 Census. She had not reached her birthday in the 1920 calendar year when the census was taken. She would have been 12 if the 1920 census was taken in the same month as the previous census.


Amanda Harlech

Amanda Jane Harlech, Baroness Harlech ("née" Grieve; May 1958) is a British creative consultant and writer with a long association with the couturiers John Galliano and Karl Lagerfeld. She was named to the International Best Dressed List Hall of Fame in 1997.
Early life.
Amanda Jane Grieve was born in 1958 in north London, the daughter of Alan Grieve, a solicitor and director of the Jerwood Foundation and his first wife, Anne Dulake. She grew up in Regent's Park where one of her childhood companions was Jasper Conran.
She was educated at South Hampstead High School and Marlborough College before studying English at Somerville College, Oxford University, specialising in the work of Henry James.
Personal life.
On May 16, 1986, she married Francis Ormsby-Gore, 6th Baron Harlech, adopting the surname 'Harlech'. The couple had two children:
Harlech and her husband were divorced on 31 August 1998. She now lives in Shropshire, with a base at the Hôtel Ritz Paris for the city's fashion shows.
Career.
Harlech worked with John Galliano during his years as an independent couturier. When Galliano joined Dior in 1996, she joined Karl Lagerfeld at Chanel. She also works as a consultant at Fendi.
Harlech has collaborated on two books – "Palazzo" and "Sicily" – and has expressed the desire to write more in the future.
In November 2011, Harlech appeared in Karl Lagerfeld's film "The Tale of a Fairy" and the Patricia Mazuy film "Sport de Filles" with Marina Hands, Bruno Ganz and Josiane Balasko.
In December 2011, Harlech curated the Krug-sponsored "Happiness" exhibition at the Royal Academy of Arts, London. The exhibition, which raised funds for the Royal Academy Schools, consisted of artworks donated by celebrities.
In May 2013, Harlech appeared in Karl Largerfeld's film "Once Upon A Time", featuring Keira Knightley.
In September 2013, Harlech is seen in the Fendi film" Invito Pericoloso ."
In February 2014, Harlech, with Dominic Jones, started a jewellery collection called Harlot & Bones.
In 2015 Harlech curated the first and only retrospective of Karl Lagerfeld's fashion career. Featuring work from Fendi, Chloe, Chanel and his namesake brand 'Karl Lagerfeld: Modemethode' exhibited 28 March to 13 September 2015 at The Art and Exhibition Hall of the Federal Republic of Germany – in short, the Bundeskunsthalle. Creative team included - Steidl , Sam McKnight, Michel Gaubert & Chris Sutton
She made a brief appearance in the Karl Lagerfeld-directed "Once and Forever", starring Kristen Stewart, Geraldine Chaplin, and Jérémie Elkaïm.


Complaints Choir

Complaints Choir is a community art project that invites people to sing about their complaints in a choir together with fellow complainers.
The first Complaints Choir was organized in Birmingham (UK) in 2005, followed by the Complaints Choirs of Helsinki, Hamburg and St. Petersburg in 2006. The project was initiated by artists Tellervo Kalleinen and Oliver Kochta-Kalleinen. A video installation consisting of the documentation of the public performances of the four choirs were shown at Kiasma (Helsinki, Finland), S.M.A.K. (Ghent, Belgium) and Museum Fridericianium Kassel (Germany) among other venues. When the video clips of the choirs were distributed through online magazines and video sharing websites, the idea spread quickly to many other countries. To date additional Complaints Choirs have been organized in Bodø (Norway), Poikkilaakso primary school (Helsinki, Finland), Budapest (Hungary), Chicago (Illinois, United States), Juneau (Alaska), Gabriola Island (Canada), Melbourne (Australia), Jerusalem, Singapore, Breslau (Poland), Hong Kong, Philadelphia, Durham, North Carolina, Enschede (Netherlands, as part of its international Grenswerk art festival) and Tokyo (Japan).
In 2006 in Singapore, a complaints choir that was to be in a festival was prohibited from performing by the government. The Singapore government's Media Development Authority refused to issue a permit because some members of the choir were foreigners and some of the lyrics touched upon "domestic affairs". Reuters quoted the festival organizer as saying, "Our conductor is Malaysian, so how could the choir go ahead without him?"
The name 'Complaints Choir' is a literal translation of the long-established Finnish expression "valituskuoro"; English has the expression "a chorus of complaints".
One of the complaints mentioned in the Helsinki version was the fact that the Finns were always beaten by the Swedes in the Eurovision Song Contest. A few months later, Finland won the contest for the first time, with Sweden coming fifth.


Skip Williams

Ralph Williams, almost always referred to as Skip Williams, is an American game designer. He is married to Penny Williams, who is also involved with the games industry. He was the co-creator of "Dungeons & Dragons" 3rd Edition and the longtime author of the "Sage Advice" column for "Dragon Magazine".
Career.
Born in Lake Geneva, Wisconsin, Williams was informally acquainted with many of the people who developed and influenced the original "Dungeons & Dragons" game, going to school with Gary Gygax's son Ernie and participating in a gaming group that Gary used to playtest some of the "AD&D" rules. Williams started out working as a part-time clerk in TSR's Dungeon Hobby Shop in 1976. Williams first worked for TSR in an administrative capacity, working as a cashier, in shipping, and doing various office tasks. Williams directed the Gen Con game fair from 1980-1983. Williams was laid off after a time but continued to work for TSR in a freelance role, performing odd jobs; it was in this circumstance in 1987 that he came to write "Sage Advice" in the pages of "Dragon" - Williams recalls that "Dragon" editor Roger E. Moore simply couldn't find anyone else willing to regularly write the column. Williams held the position until 2004. In 1989, Williams joined the RPGA staff for a few years before becoming a roleplaying game designer for TSR. From 1990 to 1992 he was also Associate Editor of "Polyhedron" magazine.
When TSR was purchased by Wizards of the Coast, he moved from Wisconsin to Washington. Williams was promoted to Senior Designer, and worked on the 3rd Edition design team with Monte Cook and Jonathan Tweet. Cook, Tweet, and Williams all contributed to the 3rd edition "Players Handbook", "Dungeon Master's Guide", and "Monster Manual", and then each designer wrote one of the books based on those contributions. Williams also worked on the new edition of the Forgotten Realms campaign setting. Although he was released from Wizards of the Coast in 2002 and has since moved back to Wisconsin, he continued to produce "D&D" and d20 material on a freelance basis up until 2005. His publications from this time include "Cry Havoc!" published by Monte Cook's Malhavoc Press and "Races of the Wild" from Wizards of the Coast. He has appeared as the author of the "Ask The Kobold" column for "Kobold Quarterly".
In 2015, he agreed to write scenarios for the Kickstarter "Dungeon of the Day",<ref name="kickstarter.com/projects/1059822030">https://www.kickstarter.com/projects/1059822030/dungeon-of-the-day</ref> a Megaton Games production.
Williams and his wife Penny live in rural Wisconsin in a century-old farmhouse surrounded by several acres of abandoned farmland.


Flag of Mercia


Xurban collective

Xurban collective (stylized as xurban_collective, 2000-2012) was an international art collective founded in 2000. Core members of the group are Guven Incirlioglu and Hakan Topal, whose transatlantic collaborations took the form of media projects and installations. xurban_collective's projects instigate the questioning, examination, and discussion of contemporary politics, theory, and ideology, utilizing documentary photography, video, new media and text. The collective focuses specifically on areas of regional conflicts, military spatial confinement, urban segregation and neoliberal exclusion strategies. In September 2012 xurban_collective members concluded their collaboration to focus on their personal projects, artistic research and production.
Members.
Guven Incirligioglu (1960) studied architecture; photography and art theory (Ph.D.) and has exhibited since the 1980s in group shows and has held one person exhibitions in New York, Ankara, Istanbul, Sarajevo, Sofia and other locations working mostly with photography, photo-mechanical materials and new media. Since 1990, he was a lecturer in art and design in various schools in Turkey, including Bilkent University, Ankara, and Istanbul Bilgi University and is currently a faculty member at Economy University's Faculty of Art and Design in Izmir.
Hakan Topal is an artist and scholar living and working in New York City. He is a graduate faculty at the School of Visual Arts’ Fine Arts Department and teaching at the New Media and Art + Design departments at SUNY’s Purchase College. Trained as a civil engineer (B.S.), he continued his studies in gender and women’s Studies (M.S.) and sociology (M.A.). He received his Ph.D. in sociology from the New School for Social Research, New York with a concentration of urban sociology and sociology of arts. His dissertation titled "Negotiating Urban Space: Contemporary Art Biennials, The Case of New Orleans". In 2010, he was the guest editor of the ArteEast Quarterly Journal’s Silence issue, finished a documentary film project on a major late 18th-century Austro-Bavarian sculptor, Franz Xaver Messerschmidt, commissioned by Neue Galerie New York. Topal is working on an upcoming book project about the idea of collateral damage and condolence payments in globalized wars, supported by Prince Claus Fund.
Over the last decade, xurban_collective collaborated numerous other cultural producers, including Ali Demirel, Mehmet Ali Üzelgün, Atif Akın, Elif Akşit, Akın Gülseren, Jillian McDonald, Bülent Öztürk and Mahir Yıldırım.
Exhibitions.
xurban_collective exhibited internationally including projects in institutions such as the 49th Venice Biennial (2001), the 8th International Istanbul Biennial (2003), PS1/MoMA (2005), Apexart (2004), Exitart (2005) and ZKM – Center for Art and Media, Karlsruhe (2004). xurban_collective participated in the "Political/Minimal" show curated by Klaus Biesenbach (MoMA, New York). Most recently, xurban_collective is exbitited at TBA21-Vienna (2010), The National Contemporary Art Museum, Athens (2010) and Arter-Istanbul (2011) and participated in ROUNDTABLE: The 9th Gwangju Biennale, which took place September 7 – November 11, 2012 in Gwangju, Korea.


WHLX

WHLX is an American radio station, licensed to Marine City, Michigan at 1590 kHz, with a power output of 1,000 watts day, 102 watts night. Its programming is also simulcasted on FM Translator W224DT, licensed to Port Huron, Michigan at 92.7 mHz, with an effective radiated power of 125 watts.
The station currently broadcasts an Adult album alternative/Americana format branded as "92.7 WHLX The Hills".
History.
The station started as WSDC in 1951, then WDOG and later became WSMA with country music.
Early years.
The history of this station dates back to December 1947, when Radio St. Clair applied for a construction permit for the station to be built in Algonac, Michigan, about 15 miles south of Marine City, and to operate at a power of 500 watts. The permit was amended the following year to change its proposed city of license from Algonac to Marine City. The year after that, the land on which to build the transmitter facility along Marine City highway was selected, and the license was amended to reflect a power increase from 500 to 1,000 watts, and to adopt a two-tower directional antenna pattern.
WHLX went on the air on December 10, 1951 with the call letters WSDC, operating from its transmitter facility at 5300 Marine City Highway, on the outskirts of Marine City. Doing business as Radio St. Clair, Inc., Jerry Coughlin served as the station's first president and general manager.
By 1954, Coughlin had turned the duties of general manager to sales director John Bell and renamed the station WDOG. Fred Cale assumed sales and management duties by 1960.
Failed Move Attempt.
In November 1963, Radio St. Clair applied for a construction permit to move the station closer to Detroit. The proposed site was located at 2676 Ten Mile Road in Warren, currently the site of Central Industrial Park. Radio St. Clair also petitioned for a power increase from 1,000 to 5,000 watts as well as a modified directional antenna system that would have included a three-tower system. The FCC returned the application a year later, on the grounds of frequency overlap restrictions. Radio St. Clair requested a waiver, which was denied as was the construction permit for the move.
First sale.
In November 1966, Radio St. Clair agreed to sell WDOG to Sommerville Broadcasting Company, owned by Richard S. and Letty J. Sommerville, which was approved by the FCC in February 1967. Later that year, the station, which up to that point, had been licensed to operate only from sunrise to sunset, was granted pre-sunrise authority of 500 watts, which allowed it to sign on two hours prior to local sunrise.
Sommerville also renamed the station WSMA, and adopted a country music format. It maintained this format and call sign for the next 26 years.
A disadvantage that the station had for much of its history was its geographic separation from more profitable markets. Located about 12 miles from any kind of urban sprawl, it had difficulty attaching itself to another community for more profit potential, as retail business in tiny Marine City was unable to provide a steady source of revenue, even during AM's halcyon years. For a time, WSMA maintained a small sales office in Port Huron, across the street from competitors WHLS and WSAQ. Despite the challenges, WSMA produced a modest profit during its early years.
The Port Huron office closed when the station began to fail in the late 1980s, not long after coming under the control of a new owner.
Those failures arose out of an overall lack of dependability of the station, often shutting down operations at sunset (even after being granted nighttime power authorization), and sometimes not going on air at all during holidays and some weekends.
Second sale.
On May 17, 1987, Richard S. Sommerville, who by this time owned WCEN-AM/FM in Mount Pleasant, sold WSMA to Frink, Inc., under a land contract agreement to pay for the station in monthly installments of $1,845. However, in a letter to the FCC dated November 7, 1990, Washington attorney Earl Stanley stated that Sommerville resumed control of WSMA after Frink Inc. failed to meet its financial obligations, prompting a foreclosure civil action in the Circuit Court of St. Clair County.
Frink Inc. was declared in default on May 7, 1990, and was given 180 days to bring its monetary obligations to Sommerville from that date. Frink was required to pay more than $30,000 in unpaid promissory note payments and real estate taxes, according to court papers, putting its total amount owed to more than $150,000. The debts were not satisfied, and as of November 3, 1990, the 181st day of the notice, Sommerville recaptured the license, and assumed the role of trustee.
Reborn: WIFN-AM.
Hoping to restore WSMA to its former glory, broadcasters David Barr and Rick Schremp formed Barr/Schremp Communications in 1993 and took control of WSMA that year. Coincidentally, Barr's father William was the former owner of WATC AM 900 & WZXM FM 95.3 (now 101.5 WMJZ) in Gaylord, 220 miles north of Detroit, before selling it in 1986.
Barr/Schremp Communications changed the station's call letters to WIFN, and began a gradual phase-out of the country music format in favor of personality talk. Under the new format, the station bore such talents such as G. Gordon Liddy, Larry King, Chuck Harder and Sports Byline USA. Ken Hawk and Dave Haze handled news duties, with Marty Simmonds serving as sports director. The station experienced an increase in revenue under the new format and owners.
Barr and Schremp dissolved their partnership two years after taking control of WIFN, with Schremp pursuing other interests. In 1997 Barr sold the station to Hanson Communications, then-licensee of WPHM-AM and WBTI-FM in Port Huron, one of WIFN's longtime competitors. Given multiple job offers after the sale, Barr then moved north to Traverse City, where he assumed a promotions and marketing role with country music powerhouse WTCM.
"Real Country".
Following completion of the sale in late 1997, country music returned with "Real Country" via satellite from the ABC/SMN radio network, after a brief period of simulcasting with CHR/Hot AC sister station WBTI 96.9 FM. WIFN became WHYT (picking up the calls dumped by Detroit's 96.3 FM, now WDVD) under the "Real Country" format. Hanson Communications also moved the station's on-air operations from its longtime location at 5300 Marine City Highway to its main base of operations at 2379 Military Street in Port Huron.
Most administrative functions were handled by the existing staff of Hanson Communications, and Hanson's sales force dedicated their same aggression to selling WHYT as they did their two other properties.
By 2000, Hanson Communications sold 1590 WHYT to Liggett Communications (now Radio First). Liggett, who was also in the process of acquiring Hanson's competitor, WHLS-AM and WSAQ-FM, decided to co-locate all five stations at 808 Huron Street, which was the main base of operations for WHLS and WSAQ, and had enough space for expansion, unlike the Military Street facility.
WHLS simulcast.
Recognizing the opportunity to extend WHLS's signal to the southern Thumb area of Michigan, Liggett Communications abandoned the "Real Country" format and moniker, and simulcast WHLS's programming. WHYT changed its call letters to WHLX, to more closely match that of its sister station. The move allowed WHLS to be heard as far south as Warren, Michigan in Macomb County and as far north as Sandusky, Michigan in Sanilac County. Its directional covers most of Macomb County, eastern Lapeer County, and most of Lambton County Ontario.
The station very briefly simulcasted WPHM Port Huron in late December 2017 but had reverted to the WHLS simulcast by mid-January 2018
WBTI simulcast.
On August 31, 2018, WHLX started simulcasting WBTI. With WBTI simulcasting on WHLX, Liggett Communications has a WBTI on 3 frequencies as WHLX now has the translator W224DT transmitting on 92.7 in Port Huron. This has extended WBTI's reach from northern Lexington area down to Marine City/Algonac.
92.7 The Gift.
On November 11, 2018, WHLX started airing a Christmas music format, branded as 92.7 The Gift, Port Huron's Christmas Station.
92.7 WHLX The Hills.
On March 1, 2019, WHLX launched an adult album alternative/Americana format, branded as "92.7 The Hills".
Technical.
WHLX covers the southern portion of St. Clair County and much of Macomb County, Michigan. WHLX broadcasts with 1,000 watts during the day and 102 watts after sunset to protect other larger AM radio stations. WHLX has a two-tower directional pattern pointed towards the north from a transmitter site located along Marine City Highway.


Safari boot

Safari boots usually have high uppers to provide ankle support much like combat boots and typically made from the likes of leather or canvas and in brown/tan colours suited to the arid outback environments.
Safari boots were in fashion during the late 1980s and early 1990s. Camel Trophy released the range of 'Adventure Boots' as well as various brands such as Travel Fox who made the 'world tour boot' with a side pocket.


Feminist Internet (collective)

Feminist Internet is an art activist collective devoted to making the internet a more feminist space. Feminist Internet was a project that began out of University of the Arts London in September 2017. It began as a two-week studio project where 16 people came together to imagine how they could build a more feminist internet. The collective is made up of spatial designers, graphic designers, activists, artists, poets, writers, journalists, video makers, performers, art directors, photographers, and researchers. They campaign for eradicating online violence against women, trans people, LGBTQ+ people, disabled people and other minorities and promote gender equality, equal rights & justice for all. Feminist Internet is non-profit collective supported by UAL Careers and Employability, the Teaching and Learning Exchange and UAL Futures, bringing UAL students, staff and industry together across disciplines to invent better futures.
Work and events.
The Feminist Internet organises a range of events including seminars, panel discussions, reading groups, performances and other interventions to spread the word about gender equality and the internet. Previous events have included a seminar series at University of the Arts London on topics such as feminisms and the future of work, technology and representation, technological feminisms and biocapital and the female body. They have also hosted a 'Digital Clinic' at London arts venue Somerset House in December 2017 and a 'Geekender' in March 2018 at The Photographers' Gallery in London. The Feminist Internet have collaborated with organisations such as Glitch!UK and Amnesty International and people like Charlie Craggs.
Manifesto.
The Feminist Internet's work is defined by their eight-point manifesto.


Trench boot

The trench boot, sometimes known as the "Pershing boot," was an American combat boot used in the latter stages of World War I, made for the cold mud of trench warfare. For the WWI British Army trench boots, see Ammunition boot.
Introduction.
The 1917 Trench Boot was an adaptation of the boots American manufacturers were selling to the French and Belgian armies at the beginning of World War I. In American service, it replaced the Russet Marching Shoe. The boot was made of tanned cowhide with a half middle sole covered by a full sole, studded with five rows of hobnails. Iron plates were fixed to the heel. It was a great improvement, however it lacked waterproofing, leading to trench foot.
Improvements.
In January 1918, Harry Lovejoy Rogers, Quartermaster General of the United States Army, met with a board of officers at American Expeditionary Forces Headquarters to make recommendations in order to improve the footwear of soldiers. The findings of the board were sent to General of the Armies John J. Pershing, who approved the proposed changes. He cabled the study to the War Department for action. Shortly thereafter, the improved 1918 trench boot, also called the "Pershing boot", was first issued to personnel. It used heavier leather in its construction and had several minor changes from the 1917 Boot, including a thicker sole and improved waterproofing. Due to the boots' greater size, they were known as "little tanks" by the soldiers who received them.


Fred Hole

Fred Hole (8 May 1935 – 4 February 2011) was an English art director. He was nominated for an Academy Award in the category Best Art Direction for the film "Return of the Jedi".


Flag of Sweden

The flag of Sweden () consists of a yellow or gold Nordic cross (i.e. an asymmetrical horizontal cross, with the crossbar closer to the hoist than the fly, with the cross extending to the edge of the flag) on a field of light blue. The Nordic cross design traditionally represents Christianity. The design and colours of the Swedish flag are believed to have been inspired by the present coat of arms of Sweden of 1442, which is blue divided quarterly by a cross pattée of gold, and modelled on the Danish flag. Blue and yellow have been used as Swedish colours at least since Magnus III's royal coat of arms of 1275.
Specifics.
State flag and civil ensign.
The dimensions of the Swedish flag are 5:2:9 horizontally and 4:2:4 vertically. The dimensions of the Swedish flag with a triple-tail are 5:2:5:8 horizontally and 4:2:4 vertically. The colors of the flag are officially established through the Natural Color System to be NCS 0580-Y10R for the shade of yellow, and NCS 4055-R95B for the shade of blue. They are also specified to Pantone "PMS 301 C/U" for blue and "PMS 116" or "PMS 109 U" for yellow. The square-cut Swedish state flag is identical to the civil ensign. The Swedish law does not regulate the design of the Swedish pennant, but it is recommended that its color scheme should correspond with that of the flag.
Military ensign.
The triple-tailed flag () is used as a military ensign (). Its overall ratio, including the tails, is 1:2. The flag is also used as the Swedish naval jack (). The jacks are smaller than the ensigns, but they have the same proportions. The Swedish swallowtail flag was originally the King's personal emblem, or the emblem representing a command conferred by the King. It was at first two-pointed, but by the mid-17th century, the distinctive swallowtail with tongue appeared. The flag is also flown by the defence ministry, while civil ministries fly square flags.
Sovereign's flag.
The Swedish royal flag () is still identical to the triple-tailed military flag, but usually includes in its centre a white field with the greater or the lesser coat of arms with the Order of the Seraphim, which has the King as its Grand Master. The King personally decides about the specific use of the royal flag.
History.
Mythology.
According to early modern legend, the 12th-century King Eric IX saw a golden cross in the sky as he landed in Finland during the First Swedish Crusade in 1157. Seeing this as a sign from God he adopted the golden cross against a blue background as his banner.
It has been suggested that the Swedish origin legend is chosen to counter a parallel origin story for the Danish flag, also recorded in the 16th century.
According to this theory, the Swedish flag was created during the reign of King Charles VIII, who also introduced the coat of arms of Sweden in 1442. The national coat of arms is a combination of King Albert's coat of arms of 1364 and King Magnus III's coat of arms of 1275, and is blue divided quarterly by a golden cross pattée.
Other historians claim that the Swedish flag was blue with a white cross before 1420, and became blue with a golden cross only during the early reign King Gustav I, who deposed King Christian II in 1521.
Early history.
The exact age of the Swedish flag is not known, but the oldest recorded pictures of a blue cloth with a yellow cross date from the early 16th century, during the reign of King Gustav I. The first legal description of the flag was made in a royal warrant of 19 April 1562 as "yellow in a cross fashioned on blue". As stipulated in a royal warrant of 1569, the yellow cross was always to be borne on Swedish battle standards and banners. Prior to this, a similar flag appeared in the coat of arms of King John III's duchy, which is today Southwest Finland. The same coat of arms is still used by the province.
Triple-tailed flag.
A royal warrant of 6 November 1663, regulated the use of the triple-tailed flag, to be used only as a state flag and military ensign. According to the same royal warrant, merchant ships were only allowed to fly square-cut city flags in their respective provincial colours. In practice, however, the merchant fleet began using a square-cut civil ensign of the state flag. In a government instruction of ship building of 1730, this civil ensign should have the same proportions and colors as the state flag, with the notable difference of being square-cut. In 1756, the use of pennants by private ships was prohibited.
Blue ensign.
A royal warrant of 18 August 1761, stipulated that an all blue triple-tailed flag to be used by the archipelago fleet, a branch of the army tasked with defending the archipelago along the Swedish coastlines. The commander of the fleet also had the right to order the use of the ordinary war ensign instead of the blue ensign when that was "appropriate". The blue flag was used until 1813.
Union between Sweden and Norway.
Union flags of 1815 and 1818.
On 6 June 1815, a common military ensign was introduced for the two united kingdoms of Sweden and Norway. This flag was identical to the former triple-tailed military ensign of Sweden, with a white saltire on red to be included in the canton. Proposed by the Norwegian Prime Minister and unionist Peder Anker, the white saltire on a red background was supposed to symbolise Norway, as the country had previously been united with Denmark and initially continued to use the same flag as an independent country, but with the national arms in the canton.
Norwegian ships continued to use the Danish civil ensign distinguished with the national arms in the canton north of Cape Finisterre, but had to fly the Swedish civil ensign in the Mediterranean to be protected from pirate attacks. A common civil ensign for both countries was introduced in 1818, on the pattern of the naval ensign, but square-cut. This flag was optional for Swedish vessels, but compulsory for Norwegian ones in distant waters. In 1821, Norway adopted a new national civil ensign, identical to the present flag of Norway.
Following the adoption of a separate Norwegian flag, a royal regulation of 17 July 1821, stipulated that ships of both kingdoms use the common square-cut civil ensign (with the saltire included) in "distant waters" ("i.e." beyond Cape Finisterre). In "distant waters", they had the right to use any of the square-cut civil ensigns of their respective countries, or the uniform Union civil ensign. This system was in force until 1838.
Union flags of 1844.
A royal resolution of 20 June 1844, introduced new flags and heraldry to denote the equal status of the two kingdoms within the union. Both countries were granted civil and military ensigns on the same pattern, their respective national flags with the addition of a union mark in the canton, combining the flag colours of both countries. The naval ensign was based on the traditional triple-tailed Swedish model. In addition, the new union mark was to be used as the naval jack and as the flag for the common diplomatic representations abroad. The warrant also stipulated that the merchant fleet use their respective countries' square-cut civil ensigns, including the new union mark. Also, royal ensigns were introduced for both countries, their respective naval ensigns with the union mark, with the addition of the union arms at the center of the cross.
The new union flags were well received by the Norwegians, who had demanded their own military ensign since the union was formed. In Sweden, however, the new union mark in particular became quite unpopular and was contemptuously nicknamed the "Sillsallaten" (Swedish) or "Sildesalaten" (Norwegian) after a colorful dish of pickled herring, decorated with red beets and apples in a radial pattern. It is believed that the name was first used in a speech by Lord Brakel in the Swedish House of Lords in Stockholm.
During the 19th century, a number of regulations were issued regarding the use of Swedish flags. The military ensign was also to be used by civil government ships and buildings, such as the Customs, Harbor pilots and the Royal Mail. For this use, the military ensign would have a white field included with a golden marker: For the Harbor pilots (as of 1881, based on a proposal of 1825) an anchor with a star; for the Customs (as of 1844) the letter "T" topped a royal crown; for the Royal Mail (as of 1844) a postal horn with a royal crown. On 7 May 1897, an alternate State flag was introduced. This double-tailed flag was used by government owned ships and buildings, which did not fly the triple-tailed military ensign.
During the late 19th century, increasing Norwegian dissatisfaction with the union led to the demand for a return to the "pure" flag of 1821 without the union mark. Opponents of the union began to use this flag several years before it was officially recognised. During the 1890s, two consecutive sessions of the Norwegian parliament voted to abolish the mark, but the decision was overruled by royal veto. However, in 1898, when the flag law was passed for the third time, the king had to sanction it. On 12 October 1899, the union mark was removed from the Norwegian civil ensign. As the Norwegian military ensign according to the constitution of 1814 was to be a union ensign, the union mark remained on military flags until the dissolution of the union with Sweden. "Pure" military ensigns were hoisted on fortresses and naval vessels on 9 June 1905.
The union mark, however, remained a part of the Swedish flag until 1905, when a Law of 28 October 1905, stipulated the exclusion of the union mark as of 1 November 1905.
Flag of 1906.
On 1 November 1905, the triple-tailed flag also became the Swedish naval jack. The Flag law of 22 June 1906 further regulated the use and design of the flag, specifying the colors as "ljust mellanblå" (light medium blue) and "guldgul" (golden yellow), a departure from the previously common darker shade of blue. The Swedish state flag became identical to the square-cut civil ensign, and all private use of the triple-tailed flag was prohibited.
Royal flag.
The king and queen use a royal flag with the greater national coat of arms. Other members of the royal house use a royal flag with the lesser national coat of arms. On naval ships the flag of the king is raised together with a split pennant with the greater national coat of arms. Likewise the flag of the heir apparent is raised together with a split pennant with the lesser national coat of arms on naval ships.
The Swedish Marshal of the Realm ("Riksmarskalken") has published a series of decisions regarding the royal flag of Sweden. In a decision of 6 April 1987, rules are defined on how to fly the royal flag at the Royal Palace of Stockholm.
Under King Carl XVI Gustaf, king since 1973, the plain triple-tailed flag has flown at the Royal Palace only once. This occurred on 2-3 July 1988, when the King went on a private visit to Wuppertal, Germany; at the same time, the Duke of Halland, his uncle and the only person in the line of succession, was on a private visit to Sainte-Maxime, France. The Government therefore ordered the Speaker of the Riksdag, Ingemund Bengtsson, to serve as Regent "ad interim" for two days.
Private use of the State flag.
There have been a few notable exemptions regarding the prohibition of private parties to use the State flag. All these privileges were terminated in accordance with the new specific flag regulation of 22 June 1906.
Use outside Sweden.
The flag of Sweden appears in coat of arms of Finland's province Southwest Finland.
The flag of Wilmington, Delaware in the United States is modelled after the Swedish flag in remembrance of the short-lived colony of New Sweden, with the cross affixed with the seal of the city. The flag of Philadelphia, Pennsylvania, which also lies within historic New Sweden, is a vertical triband rather than a Nordic Cross, but the blue and yellow colours of the flag were chosen to commemorate the Swedish settlement of the region. The flag of Verona (Italy) resembles the flag of Sweden in colours and features. The former flag has a symmetric yellow cross, although the similarities between the two flags may be historically unrelated. According to a legend, the Argentine football team, Boca Juniors' flag and colours were inspired by the flag of Sweden.
The seal of the Municipal Council of Shanghai International Settlement incorporated the 1844 Swedish civil ensign.
Rules for displaying the Swedish flag.
When used from a stand-alone flagpole, the size of the flag is recommended to have a width equalling a fourth of the height of the pole. When used from a flagpole extending from a building, the flag is recommended to have a width equalling a third of the height (length) of the pole.
The times and rules for raising and lowering the Swedish flag are as follows:
If the flag is no longer in presentable condition it should be discarded by burning in a respectful manner or returned to the manufacturer for disposal.


Hildegard Korger

Hildegard Korger (born 18 June 1935 in Reichenberg, Czechoslovakia now Czech Republic) is a master calligrapher, scholar and professor at the Hochschule für Grafik und Buchkunst Leipzig. She is author of the "Handbook of Type and Lettering"("Schrift und Schreiben") which is considered by many to be one of the most definitive and complete books ever written on the subject of type and lettering arts. It is dedicated to her former teacher, the Leipzig typographer Albert Kapr (1918–1995). She is a member of Association Typographique Internationale.


Javier Esparza

Francisco Javier Esparza Estaun (born 27 April 1964 in Pamplona, Spain) is a Theoretical Physicist specialising in Computer Science. He is a professor at the Technische Universität München.
Biography.
Javier Esparza Estaun received his Master of Science degree in Theoretical Physics from the University of Zaragoza (1987). He earned his Doctoral degree (PhD) in Computer Science (1990, on free-choice Petri nets) from the same university. He habilitated 1994 at the University of Hildesheim on the subject of Petri net unfoldings.
After his habilitation, he was employed as an Associate Professor at Technische Universität München (1994–2001). He was then successively Chair of Theoretical Computer Science at the University of Edinburgh (2001–2003) and Chair of Software Reliability and Security at the Universität Stuttgart (2003–2007). Since 2007, he holds the Chair for Foundations of Software Reliability and Theoretical Computer Science, again at Technische Universität München.
Professional activities.
During his habilitation and in the period afterwards, Javier Esparza's focus was on concurrency theory and the theory of Petri nets. He made important contributions to Petri net structure theory and to the unfolding approach, initially proposed by Kenneth L. McMillan, and he is the co-author of two books on these subjects.
He has also made contributions to the automata-theoretic approach to software model checking, to program analysis, and to the verification of infinite-state systems. More recently, his work has focused on the verification of parametrised and stochastic systems. He has published over 250 peer-reviewed scientific papers in the aforementioned fields, as well as lecture notes on an algorithmic approach to automata theory. Multiple software verification tools have been developed by his group, such as Mopedand jMoped, Rabinizer, Strix, and Peregrine.
He received an Advanced Grant from the European Research Council in 2018 and has been Principal Investigator of more than 20 research projects, most of them collaborative in an international context. He has frequently been invited as a speaker at Computer Science conferences and has served as a Chair or a member of various professional Program, Steering and Selection Committees.
Awards and honours.
Javier Esparza has been awarded an honorary doctorate in Informatics from the Masaryk University of Brno, Czech Republic, in 2009, and he is an elected member of Academia Europaea since 2011. He received the CONCUR "Test-of Time Award" 2021 for his paper "Reachability Analysis of Pushdown Automata: Application to Model-checking" (co-authored with Ahmed Bouajjani and Oded Maler); the "Best Paper Award" for his paper "Parameterized Analysis of Immediate Observation Petri Nets" (co-authored with Mikhail A. Raskin and Chana Weil-Kennedy) at the Petri nets 2019 conference; multiple times a "Best Teaching" prize at the Technische Universität München; and the "Dissertation Prize" of Universidad de Zaragoza (1990).