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38768548#0 | Mark Bryan (artist) | Mark Bryan (born May 24, 1950) is an American painter. Bryan's work travels in two distinct directions. Satirical works of social, political and religious comment and works which take an inward track to the imagination and subconscious. Humor and parody play a large role in many of his paintings. Style elements and influences in his work include classical painting, illustration, Romanticism, Surrealism and Pop Surrealism. |
38768548#1 | Mark Bryan (artist) | Raised in the middle class suburbs of Los Angeles County during the 1950s and 60s, Bryan was immersed in the popular culture of that time and place. Low budget Sci-Fi and horror movies, Super hero comic books, Mad Magazine, surrealist art and later the psychedelic work of Zap Comix artists such as Robert Crumb and Robert Williams were all part of the esthetic and psychological mix surrounding him. These influences combined with significant political events (which included The Red Scare, Civil Rights Movement and the Vietnam War) shaped and promoted an early political awareness and continues to affect the style and content of his work. |
38768548#2 | Mark Bryan (artist) | Leaving Los Angeles in 1968 Bryan studied architecture at Cal Poly San Luis Obispo. He returned to Los Angeles in 1970 to begin study at Otis Art Institute. While completing his master's degree, Bryan shared a house and studio with Carlos Almaraz and Frank Romero. Almaraz and Romero along with Roberto De La Rocha and Gilbert Lujan founded the influential Chicano artist collective Los Four. Almaraz introduced Bryan to the Mexican Muralists’ work of the early 20th century. (Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros) This exposure reinforced his belief in the value of accessible work with social/political content. In 1974 Bryan assisted Almaraz in creating a mural backdrop for the first convention of the United Farm Workers union. |
38768548#3 | Mark Bryan (artist) | Bryan cites science fiction movies and illustration, the Surrealists, Salvador Dalí, Max Ernst and René Magritte as his earliest influences. Later influences include the American Scene painters, Thomas Hart Benton, Edward Hopper, Grant Wood and illustrator N.C. Wyeth. In addition to the Mexican muralists, influence by artists with social/political content in their work include Francisco Goya, Honoré Daumier, Gustave Doré, Thomas Nast, Otto Dix, and George Grosz. |
38768548#4 | Mark Bryan (artist) | In his work, Bryan confronts the dark side of human behavior with humor, whimsy and satire. Sarah Linn states, "A prolific painter whose work has been exhibited across California and the United States, Bryan enjoys pairing beautiful imagery with ugly subject matter, creating satirical oil paintings rife with religious and political overtones. But while his works often court controversy, they also exhibit a sly, sardonic sense of humor". Julie Riggot, Pasadena weekly, wrote "Like most great art with an important message, his work communicates, if not hope, then at least a much-needed measure of levity about the human condition.", |
38768548#5 | Mark Bryan (artist) | His most notable work is "The Mad Tea Party" which places the main players of the Bush administration at Alice's Mad Tea Party. This painting has been exhibited widely, including:
and appears in the film, Lakeview Terrace as part of the set design. |
38768548#6 | Mark Bryan (artist) | His recent work focuses less on specific individuals and heads more towards general comments on human nature, religion, environmental destruction and the pitfalls of runaway technology. |
38768548#7 | Mark Bryan (artist) | 1968-1970, School of Architecture, California Polytechnic State University, San Luis Obispo, Ca. |
38768548#8 | Mark Bryan (artist) | 1970-1972, BFA, Otis Art Institute, Los Angeles, Ca.
1972-1974, MFA, Otis Art Institute, Los Angeles Ca. |
38768557#0 | Company E, 52nd Infantry (LRP) (United States) | Company E, 52nd Infantry, (LRP) was a 120 man-sized long-range reconnaissance patrol unit attached to the 1st Cavalry Division (Airmobile) in Vietnam in 1967-69. Its origin begins on January 1, 1967, as "LRRP Detachment G2," 1st Cavalry Division (Airmobile). It was then redesignated "Headquarters & Headquarters Company LRRP Detachment" in April 1967, and redesignated "Company E, 52nd Infantry (LRP)" on December 20, 1967. |
38768557#1 | Company E, 52nd Infantry (LRP) (United States) | Later, when all LRRP units were folded into the US Army Rangers on February 1, 1969, Company E was redesignated, "H Company, 75th Infantry (Ranger). |
38768557#2 | Company E, 52nd Infantry (LRP) (United States) | In November 1966 Captain James D. James, a Special Forces-trained officer, and Ranger Staff Sergeant Ronald Christopher, were selected to establish a long-range reconnaissance patrol detachment for the 1st Cavalry Division, designated "LRRP Detachment G2." This company based on other all volunteer LRP units forming in Vietnam; as well as the two already formed in Germany and the one in Italy, respectively: Company D, 17th Infantry (LRP) in V Corps, headquartered in Frankfurt; Company C, VII Corps, 58th Infantry, headquartered in Stuttgart, and the Airborne Recon Platoon, 1st Combat Aviation Company (Provisional), headquartered in Verona, Italy, which Captain James previously commanded. |
38768557#3 | Company E, 52nd Infantry (LRP) (United States) | LRRP Detachment G2 became operational on January 1, 1967, and on December 20, 1967, it was redesignated Company E (LRP), 52nd Infantry (Airborne). |
38768557#4 | Company E, 52nd Infantry (LRP) (United States) | Company E participated in some of the most notable battles of the Vietnam War and as Company H, 75th Infantry, it became the most decorated and longest serving unit in LRP / Ranger history. Company H, 75th Infantry, also lost the last two Rangers of the Vietnam War: Sgt. Elvis Weldon Osborne, Jr., and Cpl. Jeffery Alan Maurer, both killed in action June 9, 1972. In all, approximately 1,000 men served in this unit of whom 45 were killed in Vietnam and Cambodia and approximately 400 were wounded or injured on patrol, a casualty rate of 45 percent. |
38768557#5 | Company E, 52nd Infantry (LRP) (United States) | Company E was commanded by Captain Michael Gooding and his operations and intelligence section was commanded by Staff Sergeant Thomas Campbell. In January 1968 Operation Jeb Stuart commenced and Company E and the 1st Cavalry Division moved north to Camp Evans, north of Huế and up to LZ Sharon and LZ Betty, south of Quảng Trị City, near the coast in the I Corps Tactical Zone. Operation Jeb Stuart was conducted as the preliminary phase to relieve the siege of the Khe Sanh combat base and support the 3rd Marine Division's operations along the DMZ, and to clear enemy Base Areas 101 and 114, respectively in Quang Tri Province and Thua Thien Provinces. As a result, the 1st and 3rd Platoons of Company E, 52nd Infantry (LRP) were based at Camp Evans to support the 2nd and 3rd Brigades in the Thua Thien Province, 1st Cavalry Division, while the 2nd Platoon was stationed at LZ Betty (Headquarters 1st Brigade) in Quang Tri Province. |
38768557#6 | Company E, 52nd Infantry (LRP) (United States) | In the early morning hours of January 31, 1968, the largest battle of the Vietnam War, the Tet Offensive, was launched by 84,000 enemy soldiers across South Vietnam. In the 1st Cavalry Division's area of operation, the People's Army of Vietnam (PAVN) and Vietcong forces struck at Huế, south of Camp Evans. As the 3rd Brigade, 1st Cavalry Division, fought to cut off enemy reinforcements pouring into Huế, at Quảng Trị City, further north, five enemy battalions, most from the PAVN 324th Division, attacked the city and LZ Betty. To stop allied troops from intervening, three other enemy infantry battalions deployed as blocking forces, all supported by a 122mm-rocket battalion and two heavy-weapons companies armed with 82mm mortars and 75mm recoilless rifles. Captain Gooding and his 2nd Platoon, Company E, commanded by Lieutenant Joseph Dilger, directed mortar, artillery, and small arms fire against charging enemy troops from atop the LZ Betty's forty-foot water tower. |
38768557#7 | Company E, 52nd Infantry (LRP) (United States) | After two days of intense fighting by the 1st Brigade, 1st Cavalry Division and the Army of the Republic of Vietnam (ARVN)1st Division, 900 PAVN and Vietcong soldiers were killed in and around Quảng Trị City and LZ Betty. However, across South Vietnam, 1,000 Americans, 2,100 ARVNs, 14,000 civilians, and 32,000 NVA and Vietcong lay dead. |
38768557#8 | Company E, 52nd Infantry (LRP) (United States) | In March 1968 the 1st Cavalry Division and Company E moved west to LZ Stud, the staging area for Operation Pegasus to break the siege at Khe Sanh. All three brigades participated in this vast airmobile operation, along with a Marine armor thrust from Ca Lu along Route 9. The 1st Cavalry Division deployed Company E long-range reconnaissance teams to flank its airmobile advance as the Division leapfrogged west, seizing key hilltops as fire support bases along Route 9 so the Marines could continue pushing forward. At 08:00 hours April 8, members of the 2nd Battalion, 7th Cavalry Regiment, 1st Cavalry Division, linked-up with the Marines at the combat base, ending the 77-day siege. |
38768557#9 | Company E, 52nd Infantry (LRP) (United States) | On April 19, 1968, as the 2nd Brigade continued leapfrogging west to the Laotian border, the 1st and 3rd Brigades (about 11,000 men and 300 helicopters) swung southwest and air assaulted A Shau Valley, commencing Operation Delaware. Since satellite communications were a thing of the future, a daring long-range penetration operation was launched by members of Company E, 52nd Infantry (LRP) against the North Vietnamese Army when they rappelled from six helicopters and seized "Signal Hill" the name attributed to the peak of Dong Re Lao Mountain, a densely forested 4,879-foot mountain, midway in the valley, so the 1st and 3rd Brigades could communicate with Camp Evans near the coast or with approaching aircraft. |
38768557#10 | Company E, 52nd Infantry (LRP) (United States) | On May 17, 1968, Operation Jeb Stuart III commenced in Quảng Trị and Thừa Thiên Provinces from Huế City up to the DMZ. By this date the 1st Cavalry Division had completed its mission in A Shau Valley, disrupting the flow of troops and supplies from North Vietnam through Laos, and resumed security operations in the eastern regions of these two provinces. Operation Jeb Stuart III continued until November 3, 1968, when the division moved south near Cambodia in Operation Liberty Canyon. |
38768557#11 | Company E, 52nd Infantry (LRP) (United States) | The 1st Cavalry Division would end the Vietnam War suffering more casualties than any other army division: 5,444 men killed in action and 26,592 wounded in action. Company E (LRP), 52nd Infantry Regiment, redesignated Company H (Ranger), 75th Infantry, participated in the two largest battles of the Vietnam War—the Tet Offensive and the siege of Khe Sanh—and air-assaulted into A Shau Valley, the most formidable enemy-held territory in South Vietnam. It became the most decorated and longest-serving unit in LRP/Ranger history. Company H also fought in Cambodia, and it lost the last two Rangers of the Vietnam War, Sgt. Elvis Weldon Osborne, Jr., and Cpl. Jeffery Alan Maurer on June 9, 1972. |
38768557#12 | Company E, 52nd Infantry (LRP) (United States) | Sgt. Osborne and Cpl. Maurer were on a reconnaissance mission near Tan Uyen in the Binh Duong Province about 20 miles northwest of Saigon. Led by Osborne, Team 76, was doing bomb damage assessment after an airstrike when either a rocket or command-detonated device claimed their lives. Sgt. Osborne and Cpl. Maurer were among the last US Army infantrymen killed by enemy action in the war. |
38768557#13 | Company E, 52nd Infantry (LRP) (United States) | H Company ceased combat operations by mid-July 1972. A month later, on August 15, it was inactivated, the last US Ranger unit to serve in Vietnam. Over 1,000 men served in the First Cav LRRP/Rangers in Vietnam. More than half were wounded yet only 35 were killed in action. It is credited with the longest continuous combat tenure of any Ranger outfit in US military history. |
38768557#14 | Company E, 52nd Infantry (LRP) (United States) | In 1974 Company H (Ranger), 75th Infantry colors and lineage was passed to the 2nd Ranger Battalion, 75th Ranger Regiment. |
38768557#15 | Company E, 52nd Infantry (LRP) (United States) | Oliver Stone's movie "Platoon" (1986) was based partially on his experiences in the unit. Stone served as a rifleman in both the 25th Infantry Division and the 1st Cavalry Division. In March 1968 Oliver Stone and Gair Anderson volunteered for the 1st Cavalry Division's Long Range Reconnaissance Patrol training, but Stone was dropped from the unit after completing the course. "Platoon" depicts two soldiers from 2nd Platoon, Company E, 52nd Infantry (LRP), specifically, S/Sgt. John Barnes portrayed by Tom Berenger and Sgt. Juan Angel Elias portrayed by Willem Dafoe. Stone melds his experience as an infantryman and the characters of Barnes and Elias through the eyes of a green young soldier, Charlie Sheen. The film shows troops of Bravo Company, 3rd Battalion, 22nd Infantry Regiment in 1967/1968. |
38768557#16 | Company E, 52nd Infantry (LRP) (United States) | Sgt. Barnes honorably retired from the US Army as a Sergeant Major. Sgt. Elias was killed in action in Quang Tri Province on May 29, 1968, when a grenade he and his team were rigging as a booby trap on an enemy trail accidentally exploded causing the loss of his life and that of Cpl. Donald Robert Miller, and fellow team member, Sgt. Larry Curtis, to lose an eye. |
38768698#0 | Reality On Demand | Reality on Demand is an American science fiction-comedy web series, created by Marx Hernandez Pyle (Silence of the Belle, Book of Dallas). Pyle is also known as a cinematographer for Star Trek New Voyages and Fight Choreographer for Aidan 5. |
38768698#1 | Reality On Demand | Writer/Director Marx Hernandez Pyle had first announced the series on his column, The IndieNet and Beyond. |
38768698#2 | Reality On Demand | The online series premiered on Blip (website) on January 18, 2012. A second season is rumored to be in development, but no release date has been announced. |
38768698#3 | Reality On Demand | Pyle has been quoted as saying he was inspired to come up with web series pilots after interviewing Damian Kindler (Stargate SG-1, Sanctuary (TV series))... |
38768698#4 | Reality On Demand | "Reality On Demand was born after that interview. I wrote the outline to a TV pilot and plotted out a season arc. After returning to the United States and filming "Silence of the Belle", I dusted off the paperwork and modified the story for a more modest budget. I quickly wrote the new one hour pilot and then broke it into smaller episodes for a web series," explained Pyle. |
38768698#5 | Reality On Demand | The series makes nods to many TV shows, including Supernatural, Grey's Anatomy, Buffy the Vampire Slayer, Lost, Walking Dead, etc. |
38768698#6 | Reality On Demand | Reality On Demand follows four strangers who playtest a highly advanced virtual reality game that puts them into their favorite TV shows and movies. But when they become trapped, a fun adventure takes a dangerous turn where cancellation means death.The series is produced by Alien Jungle Bug Productions. |
38768698#7 | Reality On Demand | Unlike traditional TV series, the primary distribution channel for "Reality on Demand" is the Internet. All episodes of season one premiered on Blip, then later on YouTube and other video platforms. "Reality on Demand" joined Zombie Orpheus Entertainment (ZOE) soon after premiering. ZOE is a distribution company created by Dead Gentlemen Productions. |
38768698#8 | Reality On Demand | "Reality on Demand" won 2nd place for Best Series at Gen Con Film Festival 2012. Season one was selected to screen at 2013 LA Webfest. At LA Webfest the series won an award for Best Visual Effects. |
38768857#0 | Joanna Rubin Dranger | Joanna Rubin Dranger (born 1 March 1970 in Stockholm as Anna Joanna Dranger) is a Swedish author, cartoonist, children's book's artist and illustrator best known for her graphic novels "Miss Scaredy-Cat and Love" and "Miss Remarkable and Her Career". |
38768857#1 | Joanna Rubin Dranger | Rubin Dranger is a professor in illustration at the Department of Design, Craft and Arts of the University College of Arts, Crafts and Design ("Konstfack") in Stockholm, where she shares responsibility for the MA programme in Visual Communication. |
38768957#0 | Don Buckey | Donald Charles Buckey (born November 9, 1953) is a former American football wide receiver in the NFL for the New York Jets. |
38768957#1 | Don Buckey | Buckey was the seventh player taken in the twelfth round of the 1976 NFL Draft directly before his twin brother Dave Buckey. Don is the receiving half of NC State's Buckey Twins. Don was a member of the 1975 College Football All-America Team and the NC State Wolfpack football team. |
38768957#2 | Don Buckey | Buckey played four years at North Carolina State University for head coach Lou Holtz, setting career receptions and receiving yardage records while playing with twin brother quarterback Dave. He led the team in receptions in 1973, ’74 and ’75 and his 102 career catches for 1,735 yards rank him fifth and fourth, respectively, on the all-time N.C. State list. He caught five touchdown passes in 1974, including two against Duke, and had a career-high 34 receptions and gained 551 yards in 1975. Don’s 17 yards per catch and total 1735 receiving yards put him fourth on the school’s career rankings in both categories. He started on the 1974 Atlantic Coast Conference championship team and was named first team All-ACC and first team All-American by the Football Writers Association in 1975. |
38768957#3 | Don Buckey | With his brother, Dave, he appeared on the cover of Sports Illustrated magazine (October 30, 1972) They also played in four post-season bowl games, including two Peach Bowls, a Bluebonnet Bowl and a Liberty Bowl. He also played in the Hula Bowl and the Japan All-Star games. |
38768957#4 | Don Buckey | The New York Jets drafted him in the twelfth round and he played one year in the National Football League in Lou Holtz’s only year as a coach. At 6’0", Don gathered in five passes good for 36 yards in limited duty as a wide receiver in 1976. |
38768957#5 | Don Buckey | Don and his twin Dave Buckey are both members of the Summit County, Ohio Hall of Fame, the Kenmore High School (Akron, OH) Wall of Fame, and the Atlantic Coast Conference (ACC) Legends class of 2013. |
38768957#6 | Don Buckey | The Buckey twins played on two City Series championship teams for head coach Richard Fortner at Kenmore High School (Akron, OH) and played together in the Ohio-Pennsylvania Big 33 All-Star Game in 1972. |
38768957#7 | Don Buckey | Don earned a Sport Pilot Certificate in 2006, currently owning and flying N293CT, a 2006 Flight Design CTsw light sport aircraft. |
38768957#8 | Don Buckey | His family includes: Father, Carroll. Mother, Jessie. Brothers, Jim, Dan, and twin Dave. Sister, Carolyn McDaniel. He married Elaine Hartofelis Buckey, in May 22, 1976. They have had no children. |
38768957#9 | Don Buckey | He is currently retired and living in The Villages, FL. |
38769159#0 | Jonah (TV series) | Jonah is an Australian television drama series which aired for 20 episodes starting from 15 October 1962 on the Seven Network. Produced during an era when commercial television in Australia produced few dramatic series, "Jonah" was a period drama, and was inspired by the success of ABC's period drama mini-series like "Stormy Petrel". The episodes still exist. |
38769159#1 | Jonah (TV series) | The National Film and Sound Archive describes the series as a "historical drama series about Jonah Locke, a merchant trader in the early Australian colony". |
38769160#0 | FIS Freestyle World Ski Championships 2013 – Men's dual moguls | The men's dual moguls competition of the FIS Freestyle World Ski Championships 2013 was held at Myrkdalen-Voss, Norway on March 7 (qualifying) and March 8 (finals).
51 athletes from 18 countries competed. |
38769160#1 | FIS Freestyle World Ski Championships 2013 – Men's dual moguls | The following are the results of the qualification. |
38769160#2 | FIS Freestyle World Ski Championships 2013 – Men's dual moguls | The following are the results of the final. |
38769205#0 | Where We At | "Where We At" Black Women Artists, Inc. (WWA) was a collective of black women artists affiliated with the Black Arts Movement of the 1960s and 1970s. It included artists such as Dindga McCannon, Kay Brown, Faith Ringgold, Jerri Crooks, Charlotte Kâ (Richardson), and Gylbert Coker who started an art column in the Amsterdam News realizing no one was reviewing the artists or their art work. Where We At was formed in the spring of 1971, in the wake of an exhibition of the same name organized by 14 black women artists at the Acts of Art Gallery in Greenwich Village. Themes such as the unity of the Black family, Black male-female relationships, contemporary social conditions, and African traditions were central to the work of the WWA artists. The group was intended to serve as a source of empowerment for African-American women, providing a means for them to control their self-representation and to explore issues of Black women’s sensibility and aesthetics. Like AfriCobra, a Chicago-based Black Arts group, the WWA was active in fostering art within the African-American community and using it as a tool of awareness and liberation. The group organized workshops in schools, hospitals, and cultural centers, as well as art classes for youth in their communities. |
38769205#1 | Where We At | In the 1960s, in the wake of the Civil Rights Movement and Black Arts Movement, the work of African-American artists had begun to gain more attention in the mainstream art world. However, many black women artists felt neglected by both the male-dominated Black Arts Movement, the largely white Feminist art movement, as well as the mainstream art world. While several individual female artists, including Elizabeth Catlett, Faith Ringgold, Inge Hardison, Lois Mailou Jones and Betye Saar, gained national attention, most practicing black women artists in New York found it difficult to find venues for their work in white-run galleries and museums. The initial "Where We At: Black Women Artists" exhibition and the collective of the same name that later formed were created to addressed this neglect. |
38769205#2 | Where We At | In the spring of 1971 "Where We At" Black Women Artists exhibit was perhaps the very first black women professional artists show in New York and history. WWA was held at the Acts of Art Gallery (1969–74) owned by Nigel Jackson located on Charles Street in the West Village. In one of the few detailed accounts available of the history of this group, WWA artist and founder Kay Brown describes the development of WWA and its connections with the Black Arts Movement. Kay Brown began working with the Black Arts-affiliated Weusi Artist Collective in 1968. The Weusi artists had recently founded the Nyuma Ya Sanaa Gallery ("house of art" in Swahili), which they later renamed the Weusi Academy of Art, in Harlem. With the Weusi artists, Brown developed her painting techniques and learned the craft of relief printmaking and mixed-media collage. She also learned about the developing conception of a "black aesthetic" that had become an important project for the Black Arts Movement. Influenced by this search for a "black aesthetic," she began to develop a philosophy based in African traditions.
Although Weusi had previously had a few black women members, including textile artist Dindga McCannon, when Brown joined, she was the only female member in a what was frequently referred to as "a brotherhood" of 14 men. Although she states in her essay that she felt "honored" to be included in the group, she also felt the need for an "affirmation" of black women artists. In 1971, Kay Brown, along with Dindga McCannon, Faith Ringgold and others, began to discuss the possibility of a major exhibition of black women artists. As a response to what was commonly referred to in the group as the “Whitney fiasco” (the Whitney Museum of American Art's first major exhibition of black artists, which became extremely controversial in the black community, who saw it as sensationalizing and exploitative, rather than a sincere recognition of the artists' talent) artist Nigel Jackson had opened the Acts of Art Gallery in Greenwich Village as an exhibition space for the works of black artists. When Brown and her fellow black women artists presented Jackson with a proposal for a show of work of 14 black women, he agreed to host it. The show, entitled "Where We At: Black Women Artists: 1971," was the first group show of black women artists ever held. It was funded by the Brooklyn Educational and Cultural Alliance, the New York State Council on the Arts, the Presbyterian Church Committee for the Self Development of People and America the Beautiful Foundation. According to Brown, the show's title emphasized the artists' ties to the “grassroots” community and referred to a general “earthiness” to the show, as demonstrated by the fact that at the exhibition's opening, the artists served cooked food to the visitors, departing from the traditional wine and cheese. |
38769205#3 | Where We At | The show was popular and met with critical acclaim. Ms. Brown identifies the perceived success of the exhibition as a motivating factor in the artists' decision to form a collective of the same name: the "Where We At" Black Women Artists, Inc. (WWA). Developing a set of by-laws and electing officers, the founding members established an official organization. Kay Brown served as president and executive director, and as a team the group took on the responsibility of targeting various sites for WWA art exhibitions. |
38769205#4 | Where We At | WWA engaged in many projects, including a panel of women artists at the Brooklyn Museum in conjunction with David Driskell's landmark exhibition, "Two Centuries of Black American Art", and a seminar for Women's International Year at Medgar Evers College. |
38769205#5 | Where We At | In the fall of 1978, WWA held art workshops for inmates at the Bedford Hills Correctional Facility for Women. According to artist Kay Brown, “the women inmates loved expressing themselves creatively in classes with professional black women artists. It was as if a beautiful ray of sunshine had appeared in the darkness. Someone really cared about us!” The WWA also led workshops at the Arthur Kill Correctional Facility for men, as well as in hospitals and cultural centers. In addition, the WWA created an apprenticeship workshop for youth in Brooklyn taught graphic design, illustration and media skills, as well as painting, ceramics, crochet and macramé. |
38769205#6 | Where We At | WWA also published ""Where We At" Black Women Artists: A Tapestry of Many Fine Threads", a widely circulated brochure describing the history and mission of the organization, which consisted at one point of 30 women, with a foreword by Linda Cousins. |
38769205#7 | Where We At | Members of WWA contributed to publications including the Feminist Art Journal and . |
38769205#8 | Where We At | In the 1970s and '80s, the WWA artists collaborated with male artists on several projects. During the winter of 1972 they held the "Cookin' and Smokin" exhibition at the Weusi-Nyumba Ya Sanaa Gallery (later the Weusi Academy of Art). A short time afterwards, the black psychologist Kenneth Clark presented WWA at the M.A.R.C. gallery. |
38769205#9 | Where We At | In 1985, WWA teamed up with the "brothers" of Weusi to create the collaborative exhibit "Close Connections" at 1199 Gallery in midtown. In the show, black men and women worked together on a single thematic project. |
38769205#10 | Where We At | The next major WWA show, "Joining Forces: 1 + 1 = 3", which opened June 1986 at the Muse Community Museum in Brooklyn, was a collaborative installation of the WWA and a group of invited male artists. It was curated by Charles Abramson and Senga Negudi-Fitz. The show consisted of three-dimensional works produced by male/ female artist “couples” who met over a three-month period and engaged in an “artistic and platonic mating ritual.” The two artists were expected to come to a consensus on how to visually compose the work, and the entire exhibition had to come together as a unified whole. "1 + 1 = 3" was an erotic symbol that suggested a process of male and female entities coming together to create something that "went beyond the normal vocabulary to make an entity of a third thing." |
38769205#11 | Where We At | The close spiritual connection of one couple, Charlotte Richardson and Lorenzo Pace, who previously been casual acquaintances, was captured by Coreen Simpson, a photographer and exhibiting artist, who recorded the couples as they interacted during the design. Her photographs, the “Spirits” series, were published in WWA's exhibition brochure. |
38769205#12 | Where We At | Although, according to Kay Brown, WWA members and other black women artists agreed with feminist activists on many issues, such as the idea that women should pursue economic and artistic equity with men, Brown felt that WWA artists generally felt more aligned with the Black Arts Movement than with “Women's Liberation”, which they felt was dominated by “liberal white women.” According to Brown, there were as many tensions between the black and white women's community at that time as between black and white men. Brown notes that, “Our [black women's] struggle was primarily against racial discrimination -- not singularly against sexism. We were not prepared to alienate ourselves from our artist brothers.” However, many well established and influential black artists of the period, such as Howardena Pindell, a founding member of A.I.R. Gallery, did choose to align themselves with Feminism, or to maintain connections with both mainstream feminist groups as well as groups oriented towards women color. |
38769205#13 | Where We At | According to Brown, the tensions between the black and white women's communities were evident in a series of joint exhibitions produced by the National Conference of Women in Visual Arts (NCWVA) and the WWA artists at selected showplaces in Greenwich Village, SoHo, the East Village and the midtown area. The exhibition series was intended to demonstrate a form of "unity" between all women artists independent of race, age or class. However, it soon became apparent to Brown and other African-American participants that the goals and ideology of the feminist-identified artists and the WWA artists were not the same. According to Kay Brown, “The feminist artists focused totally on sexism, often in a flagrant, bizarre fashion. The black women artists explored the unity of the black family, the ideal of the black male-female relation, and other themes relating to social conditions and African traditions.” |
38769205#14 | Where We At | Early WWA artists included: |
38769205#15 | Where We At | Other members included: |
38769205#16 | Where We At | WWA exhibition sites included:WWA artists also participated in the National Conference of Artists meeting at Jackson, MS, Carifesta in Guyana in 1972, and the pan-African FESTAC in Nigeria (1977). |
38769205#17 | Where We At | The WWA was also included in "WACK! Art and the Feminist Revolution", the first comprehensive, historical exhibition to examine the international foundations and legacy of feminist art. The show appeared at the Museum of Contemporary Art, Los Angeles, and P.S.1 Contemporary Art Center, New York. |
38769228#0 | Oru, Kohtla-Järve | Oru is a settlement in Ida-Viru county, Estonia, surrounded by the Toila Parish but administered as an exclave district of the town of Kohtla-Järve which is located about to the west of Oru. The settlement was founded in connection with the construction of a plant producing peat bricks in 1958. The population was 1266 according to the 2011 census. |
38769228#1 | Oru, Kohtla-Järve | Oru has a station on Edelaraudtee's eastern route. |
38769228#2 | Oru, Kohtla-Järve | Oru should not be confused with the Toila-Oru park located in nearby Toila, which was also the location of Oru Palace. |
38769326#0 | Rubina Ashraf | Rubina Ashraf is a Pakistani actress and producer. |
38769365#0 | Gymnostoma | Gymnostoma is a genus of about eighteen species of trees and shrubs, constituting one of the four genera of the plant family Casuarinaceae. The species grow naturally in the tropics, including at high altitudes having temperate climates, in forests in the region of the western Pacific ocean and Malesia. In New Caledonia, published botanical science describes eight species found growing naturally, which botanists have not found anywhere else (endemics). Additional species have been found across Burma, Sumatra, Borneo, the Philippines, Sulawesi, Ambon Island, the Moluccas, New Guinea, the Bismarck Archipelago, the Solomon Islands, and one endemic species each in Fiji and the Wet Tropics of Queensland, Australia. |
38769365#1 | Gymnostoma | The genus was first scientifically described by Lawrie A. S. Johnson in 1980.
Many of the "Gymnostoma" species combinations of names (binomials) were described by him in 1982.
, a global total of eighteen species have been found and described. |
38769365#2 | Gymnostoma | The majority of the species grow in rainforests, in the habitats of open, sunny, long-term gaps, from river bank (riparian) situations through to mountain top situations. In New Caledonia two endemic species "G. chamaecyparis" and "G. deplancheanum" have specialised adaptations, growing in wet "shrub maquis and paraforest maquis formations. "G. chamaecyparis" is associated with hypermagnesian soils (hypermagnesian inceptisol) below 600 m altitude at the base of ultramafic massifs. "G. deplancheanum" occurs on ferralitic ferritic desaturated hardpan or gravelly soils (oxisol) on the southern massif at altitudes between 200 and 1,000 m". |
38769365#3 | Gymnostoma | 14 formally described species, meanwhile about four more species apparently have been found in New Guinea and collections preserved but awaiting formal description. |
38769405#0 | Yiddish Theatre District | The Yiddish Theatre District, also called the Jewish Rialto and the Yiddish Realto, was the center of New York City's Yiddish theatre scene in the early 20th century. It was located primarily on Second Avenue, though it extended to Avenue B, between Houston Street and East 14th Street on the Lower East Side and East Village in Manhattan. The District hosted performances in Yiddish of Jewish, Shakespearean, classic, and original plays, comedies, operettas, and dramas, as well as vaudeville, burlesque, and musical shows. |
38769405#1 | Yiddish Theatre District | By World War I, the Yiddish Theatre District was cited by journalists Lincoln Steffens, Norman Hapgood, and others as the best in the city. It was the leading Yiddish theater district in the world. The District's theaters hosted as many as 20 to 30 shows a night. |
38769405#2 | Yiddish Theatre District | After World War II, however, Yiddish theater became less popular. By the mid-1950s few theaters were still extant in the District. |
38769405#3 | Yiddish Theatre District | In 1903, New York's first Yiddish theater was built, the Grand Theatre. In addition to translated versions of classic plays, it featured vaudeville acts, musicals, and other entertainment. |
38769405#4 | Yiddish Theatre District | In addition to Yiddish theaters, the District had related music stores, photography studios, flower shops, restaurants, and cafes (including Cafe Royal, on East 12th Street and Second Avenue). Metro Music, on Second Avenue in the District, published most of the Yiddish and Hebrew sheet music for the American market until they went out of business in the 1970s. The building at 31 East 7th Street in the District is owned by the Hebrew Actors Union, the first theatrical union in the US. |
38769405#5 | Yiddish Theatre District | The childhood home of composer and pianist George Gershwin (born Jacob Gershvin) and his brother lyricist Ira Gershwin (born Israel Gershowitz) was in the center of the Yiddish Theatre District, on the second floor at 91 Second Avenue, between East 5th Street and East 6th Street. They frequented the local Yiddish theaters. Composer and lyricist Irving Berlin (born Israel Baline) also grew up in the District, in a Yiddish-speaking home. Actor John Garfield (born Jacob Garfinkle) grew up in the heart of the Yiddish Theatre District. Walter Matthau had a brief career as a Yiddish Theatre District concessions stand cashier. |
38769405#6 | Yiddish Theatre District | Among those who began their careers in the Yiddish Theatre District were actors Edward G. Robinson and Paul Muni, and actress, lyricist, and dramatic storyteller Molly Picon (born Małka Opiekun). Picon performed in plays in the District for seven years. Another who started in the District was actor Jacob Adler (father of actress and acting teacher Stella Adler), who played the title role in "Der Yiddisher King Lear" ("The Yiddish King Lear"), before playing on Broadway in "The Merchant of Venice". |
38769405#7 | Yiddish Theatre District | The Second Avenue Deli, opened in 1954 by which time most of the Yiddish theaters had disappeared, thrived on the corner of Second Avenue and East 10th Street in the District, but it has since moved to different locations. The Yiddish Walk of Fame is on the sidewalk outside of its original location, honoring stars of the Yiddish era such as Molly Picon, actor Menasha Skulnik, singer and actor Boris Thomashevsky (grandfather of conductor, pianist, and composer Michael Tilson-Thomas), and Fyvush Finkel (born Philip Finkel). |
38769405#8 | Yiddish Theatre District | In 2006, New York Governor George Pataki announced $200,000 in state funding would be provided to the Folksbiene, the last remaining historical Yiddish theatre company.Notes |
38769407#0 | Federal University of Technology, Minna | Federal University of Technology Minna (FUTMINNA) is a Federal Government established post-secondary educational institution located in Minna, Nigeria. |
38769407#1 | Federal University of Technology, Minna | FUTMINNA specializes in technological education. The University is a designated Centre of Excellence in Biotechnology and Genetic Engineering and has a core competence in the development of vaccines and drugs. |
38769407#2 | Federal University of Technology, Minna | FUTMINNA was founded in 1983, and the first Vice-Chancellor was Professor J.O. Ndagi who served from 1983 to 1990. The governing bodies are the Council and the Senate. In the beginning, the University took over the facilities of the former Government Teachers' College Bosso, for use on a permanent basis. This site now serves as the Bosso Campus of the University. The main campus gidan kwano which is sited on a 10,650 hectares of land is located along the Minna - Kataeregi - Bida Road. The institution is listed in the "Guide to Higher Education in Africa", "Association of African Universities" and the "International Association of Universities, 1999". |
38769407#3 | Federal University of Technology, Minna | As of 2018 the University has 10 schools (faculties):
Federal College of Education (Technical) Akoka, Lagos State,Nigeria |
38769407#4 | Federal University of Technology, Minna | As part of its overall fitness program, the University includes a floodlit sports arena on both campuses, athletics cinder tracks, badminton indoor courts, basketball courts, table tennis facilities, volleyball courts, football pitches, a fitness gymnasium, extensive pedestrian walkways, a 9-hole golf course and a student recreation centre. |
38769407#5 | Federal University of Technology, Minna | The student-run radio station was gutted by fire in 2013. As of now, the radio station has a new building and a fully equipped studio which was commissioned in 2014 by the VC. |
38769410#0 | Qurayha | Qurayha (also as , , or , ) is a neighborhood in the sub-governorate of Bariq in the province of Asir, Saudi Arabia. It is located at an elevation of and had a population of 4,556 in 2004. Qurayha was most important market (held on Sunday) of the neighbourhood. It is the capital of Musa ibn Ali tribe. |
38769416#0 | Mike Saofaiga | Mike Saofaiga is a Samoan footballer who plays as a forward for Kiwi FC. |
38769428#0 | Chips Ahoy (film) | Chips Ahoy is a Walt Disney-produced animated theatrical short. The cartoon was released to theaters on February 24, 1956, and was the second to last Disney cartoon to be distributed by RKO Radio Pictures. This is also the second to last regular Disney theatrical cartoon to feature Donald Duck in a starring role. |
38769428#1 | Chips Ahoy (film) | "Chips Ahoy" is one of several Donald Duck cartoons to feature Chip 'n' Dale as the secondary characters. |
38769428#2 | Chips Ahoy (film) | Chip and Dale are both hungry sitting in their tree, which has few acorns. After a squabble over their last acorn, which falls into a lake below, Chip sees a larger tree overflowing with acorns across the way from them. However, the lake stands between them and their potential gain. |
38769428#3 | Chips Ahoy (film) | Chip and Dale spot a ship in a bottle in Donald Duck's fishing shack and decide to use it to attempt to cross the lake. Later, as Donald is taking a stroll along the pier, he spots the chipmunks carrying the ship and salutes them. Donald does not realize until he returns to the shack that they have pilfered his ship, and he sets out to get his boat back from the "pirate" chipmunks. |
38769428#4 | Chips Ahoy (film) | He catches the ship with a fishing rod and reels it in. To get back at Chip and Dale, who have taken on the personas of the ship's captain and a seaman respectively, he torments them with the ship rudder, filling the cabin with water (forcing the chipmunks to pump it out), then puts on an imaginary series of stormy weather. The ruse seems to work, as Dale gets seasick. However, he spots Donald's feet on the ground and alerts Chip, and the two are able to escape into quarters before the duck can get them while slamming his finger in the door. Undeterred, Donald tricks Dale into getting captured. Chip counters by releasing the ship's anchor right on Donald's foot so that he drops both Dale and the ship. |