texts:
 for The New York Times, has noted that <mask> is "more art house than Hollywood", showing fearlessness in addressing pressing Indonesian social issues. Although she enjoys watching teen movies like Clueless and Cruel Intentions, she does not intend to direct any as "wouldn't have the passion". Awards and recognition

Perlez described <mask> as Indonesia's "most talented new filmmaker" in 2006.Two of the films she directed (Ca-bau-kan and Berbagi Suami) and one she produced (Biola Tak Berdawai) were submitted for the Academy Award for Best Foreign Language Film. 2004 Citra Award for Best Film for Arisan! 2004 MTV Indonesia Movie Awards for "Best Director" for Arisan! 2006 Hawaii International Film Festival for Best Feature Love for Share

Awards and nominations

Personal life
She is married to a computer engineer  and has two children. She also enjoys watching movies and is a fan of Woody Allen. Filmography
As director
Ca-bau-kan (The Courtesan; 2002)
Arisan! (The Gathering; 2003)
Berbagi Suami (Love for Share; 2006)
Perempuan Punya Cerita (Chants of Lotus) (2008)
Arisan!2 (The Gathering 2; 2011)
Ini Kisah Tiga Dara (Three Sassy Sisters; 2016)
A World Without (2021)

As writer
Arisan! (The Gathering; 2003)
Berbagi Suami (Love for Share; 2006)
Meraih Mimpi (Chasing Dreams; 2009; an adaptation of Sing to the Dawn)
Arisan! 2 (The Gathering 2; 2011)

As producer
Ca-bau-kan (The Courtesan; 2002)
Biola Tak Berdawai (The Stringless Violin; 2003)
Janji Joni (Joni's Promise; 2005)
Quickie Express (2007)
Long Road to Heaven (2007)
Perempuan Punya Cerita (Chants of Lotus) (2008)
Pertaruhan (At Stake) (2008)
Tanah Mama (Mother's Land) (2015)

References
Footnotes

Bibliography

External links

Indonesian film directors
Indonesian women film directors
People from Jakarta
1970 births
Living people
Indonesian film producers
Sundanese people
Asian film

masks: Dinata Dinata


type: original

texts:
<mask>Moses<mask> (November 1, 1914 – April 24, 2006) was a Hasidic rebbe and the world leader of the Satmar Hasidim. Early life

<mask> was born on November 17, 1914, in Újfehértó, Hungary. He was the second son of Rabbi <mask>, author of Atzei Chaim, the previous Sigheter Rebbe. His mother, Bracha Sima, hailed from the prominent Halbershtam family. <mask> and his older brother, <mask>, were orphaned in 1926, when they were eleven and fourteen, respectively. <mask> was raised by family friends and relatives, including his uncle, <mask>, and his grandfather, Rabbi Shulem Eliezer Halberstam of Ratzfert. <mask> received rabbinical Ordination, and was appointed dean of the Karacscka yeshiva.In 1936, <mask> married Leah Meir, daughter of Rabbi Hanoch Heinoch Meir of Karecska. In 1939, he became the rabbi of Senta, Yugoslavia (now Serbia). In late spring 1944, the Hungarian government, assisted by Nazi forces led by Adolf Eichmann, began deporting Jews en-masse. <mask> and his wife Leah were sent to the Auschwitz concentration camp, where his wife and three children were murdered, and he nearly died. <mask> was then transferred to the Brabag plant in Tröglitz, and afterwards to Theresienstadt, where he was liberated in 1945. Post-war
In 1946, <mask> married Pessel Leah, the daughter of Rabbi <mask> of Volovo. Pessel Leah's entire family was killed in the Auschwitz concentration camp.The couple initially moved back to Senta, where <mask> led a congregation before the war. When he found out that his brother Yekusiel Yehuda <mask> had been murdered in the Holocaust, he decided to fill

masks:
Moshe (
) Teitelbaum
Moshe Teitelbaum
Chaim Tzvi Teitelbaum
Moshe
Yekusiel Yehuda Teitelbaum
Moshe
Joel Teitelbaum
Teitelbaum
Teitelbaum
Teitelbaum
Teitelbaum
Teitelbaum
Aaron Teitelbaum
Teitelbaum
Teitelbaum


texts:
 his brother's position as rabbi of Sighet. Soon thereafter, they were forced to flee Communist persecution, leaving for Prague and then setting sail for New York City, where they arrived in fall 1947. There, <mask> became known as the Sigheter Rebbe, leading Sighet Chassidus, previously led by his ancestors. He initially established a beth midrash, Atzei Chaim Siget, in Williamsburg, Brooklyn, and later moved to Borough Park, Brooklyn, in 1966. Appointment to Satmar Rebbe
In 1979, <mask>'s uncle Joel died, without an heir to inherit leadership of Satmar. The most logical successor was his nephew <mask>, then at the age of sixty-six.He was considered intelligent, a scholar, and a good speaker. There was some uneasiness about appointing <mask>, because in the years prior, he had limited contact with Satmar, led his own Hasidic group, and did not necessarily have the same absolutist outlook, level of scholarship, or intense piety, as his late uncle. Nevertheless, it was understood that the community was better off with a leader, and having <mask> as the Rebbe was the best for the community under the given circumstances. The Satmar Council of Elders was a thirteen-member lay-person body elected by Satmar Hasidim. The Council unanimously decided on <mask> as their next Rebbe. <mask> could have turned down the appointment and remained as leader of his small Sighet sect, but leadership of Satmar promised far more power and prestige. The Council and <mask> then negotiated and planned the details on <mask>'s official appointment.A few weeks later, on one day's notice, a general meeting

masks: Teitelbaum Moshe Moshe Moshe Moshe Moshe Moshe Moshe Moshe


texts:
 in the main Rodney Street synagogue was announced. At the meeting, in which <mask> was not present, Sender Deutsch, leader of the Council, announced the appointment of <mask> as the new rebbe of Satmar. <mask> refused to be accepted as the new rebbe within the first year of Joel's death. This was done as a sign of bereavement over his uncle, who helped raise him when his father died, and to allow the Satmar community to mourn and adjust to the transition. <mask> continued to live in Borough Park and lead his Sighet community. Around August 1980, <mask> formally succeeded Joel as the Satmar Rebbe in an elaborate "crowning" in Kiryas Joel, New York. At the ceremony, <mask> spoke and acknowledged that he cannot replace Joel, telling the Hasidim not to expect from him what they received from Joel.Some Satmar Hasidim did not accept him as the rebbe, including the Bnei Yoel (or Kagners, opponents), a group of Hasidim who remained loyal to Joel's wife, Fayga Teitelbaum. <mask> <mask> and his aunt Fayga never had a good relationship. Tension between the two began back when Fayga married <mask>. Fayga was Joel's second wife, and Joel already had a grown daughter. The grown daughter and Fayga fought over control of the household, and <mask> sided with his cousin against his aunt. Later, Joel's daughter died, and Fayga failed to bear any children and an heir for Joel. As Satmar Rebbe

<mask>'s start as Satmar Rebbe was marked with more controversy.Soon after becoming Rebbe, <mask> appointed his son Aaron as the chief rabbi and rosh yeshiva of the Satmar congregation in Kiryas Joel, New

masks:
Moshe
Moshe
Moshe
Moshe
Moshe
Moshe
Moshe
Teitelbaum
Joel Teitelbaum
Moshe
Moshe
Moshe


texts: York, essentially giving him authority over all the community's affairs. The residents of Kiryas Joel at that time resented the appointment of Aaron, having issues with his personality and controlling nature. <mask> also removed Joel's established personnel from positions of authority, and replaced them with his loyalists. Concerns about <mask>'s level of piety also mounted. Likely false rumors circulated that in the negotiations between the Council and <mask>, prior to <mask> ascending as Rebbe, <mask> made numerous compensation demands, including demands that property be placed in his name, and special fees for High Holiday services. Other likely false rumors claimed that <mask> was engrossed in business, had a stock market ticker-tape in his house, and was busy promoting his real estate investments. As Rebbe, <mask> recognized his stature relative to the stature of his uncle Joel, and considered himself a "custodian" of what Joel created.He stated: "We must not blaze new trails, but study the teachings of my uncle." He continued many of the customs enacted by Joel. The differences between Joel and <mask> were noted in that, unlike the more mystical Joel, <mask> was more practical and plain-spoken. <mask> did not speak out against Zionism as often as Joel, though that may be due to the fact that it did not have the same ideological draw during <mask>'s tenure. Some complained that <mask> was not as charitable as Joel, though that may be because <mask> did not raise as much charity funds as the more charismatic Joel. In 1989, tensions between <mask> and the Bnei Yoel were

masks: Moshe Moshe Moshe Moshe Moshe Moshe Moshe Moshe Moshe Moshe Moshe Moshe Moshe Moshe


texts:
 exacerbated. In an April 1989 Passover speech, <mask> referred to the Bnei Yoel as "infidels".He later enacted a rule that new residents had to obtain permission from village leaders before moving in. In 1990, the two groups erupted in violence when a supporter of Fayga tried to erect a gate outside her home. A melee erupted, hundreds of angry Hasidim poured into the streets, three men were dragged from a car that was then set on fire, and three police officers were injured. Supporters of Alta Fayga in Kiryas Joel claimed that they have been physically attacked, and profanities were written on their sidewalk. Under <mask>'s guidance, from 1980 until 2006, Satmar doubled in size to around 100,000–120,000 followers, the largest Hasidic group in the United States. At the time of his death, Satmar's real estate holdings were valued at hundreds of millions of dollars. <mask> <mask> was the author of a five-volume Hasidic commentary on the Bible entitled Berach Moshe.Succession
In May 1999, <mask> <mask> appointed his third son, Zalman, as the local leader of the Williamsburg congregation. Until then, he had been the leader of Satmar in Jerusalem. This was seen as a signal from <mask> that Zalman was to lead Satmar after his death, overturning the previous assumption that he would be succeeded by his eldest son, Aaron. He was his father's representative in communal affairs, and assumed his father's responsibilities when his father traveled. <mask>'s appointment of Zalman as the local leader caused factions to form around Aaron and Zalman. Aaron's supporters claimed that <mask> had

masks: Moshe Moshe Moshe Teitelbaum Moshe Teitelbaum Moshe Moshe Moshe


texts:
 been "swayed by his advisers" to appoint Zalman because they were concerned they would lose influence under Aaron's regime. In April 2006, when <mask> died, the two sides negotiated through intermediaries over who would speak at his funeral, and in what order.Both sides declared their leader as the Rebbe. <mask>'s will named Zalman as his successor, but Aaron's supporters dispute its validity, claiming that <mask> had suffered from dementia since 1997. Death
On April 24, 2006, at the age of 91, <mask> died of cancer. Tens of thousands of members of the Jewish community attended his funeral and burial procession in Williamsburg, Brooklyn, and later in Kiryas Joel, New York. Eulogies in the main Satmar synagogue in Williamsburg were said by all the rebbe's children or their husbands, in order of their respective ages. <mask> was buried near his uncle Joel in the sect's cemetery in Kiryas Joel. Then-Governor of New York State, George Pataki, and Mayor of New York City Michael Bloomberg issued statements in remembrance of <mask>.<mask> was survived by his wife; four sons, Aaron, Lipa, Zalmen Leib, and Shulem; two daughters, Bracha Meisels and Hendy Halberstam. At the time of his death, he had at least 86 grandchildren and great-grandchildren. At the time of his death, his first son, Aaron, and his third son, Zalman Leib, each claimed leadership of Satmar. The second son, Lipa, was the leader of a small congregation, called Zenta-Beirach Moshe Shul, in Williamsburg. His son-in-law, Rabbi Chaim Shia Halberstam, was a Satmar rebbe in Monsey, New York. References

1914 births
2006

masks: Moshe Moshe Moshe Teitelbaum Teitelbaum Moshe Moshe


texts:
 deaths
Auschwitz concentration camp survivors
People from Sighetu Marmației
Rebbes of Satmar
Anti-Zionist Jews
American Hasidic rabbis
Rabbis of the Edah HaChareidis
Hungarian Orthodox rabbis
Hasidic rabbis in Europe
Rabbis from New York (state)
People from Borough Park, Brooklyn
Descendants of the Baal Shem Tov
People from Williamsburg, Brooklyn
Teitelbaum family
Romanian Orthodox rabbis
Jewish anti-Zionism in


texts:
<mask> (27 March 1923 – 20 May 2012) was a renowned anthropologist and feminist scholar, fondly called <mask>e by many. She was the widow of anthropologist and sociologist <mask> and a younger sister of the late classical singer Sumati Mutatkar. She is survived by two sons, <mask> and <mask>. Known for her work on kinship and in women's studies, she wrote several books including Matriliny and Islam: religion and society in the Laccadives and Women and kinship: comparative perspectives on gender in South and South‑east Asia. Career
Although she had taught earlier at Osmania, <mask>'s academic career really began in 1960 at Sagar University, Madhya Pradesh. She moved to Delhi in 1975. She played a crucial role in shaping the "Towards Equality" report of the Committee on the Status of Women in India (1974), Government of India, discussion of which in the Parliament of India brought women's studies to centre stage in Indian academia via the UGC and the ICSSR.She was a key person in the Indian Sociological Society in the 1970s and was responsible for introducing women's studies concerns into mainstream sociology. She was one of the pioneering and senior faculty in the Institute of Rural Management, Anand, when it started functioning in 1980. One of her studies in the then nascent educational organisation put it on the international map. In IRMA she pioneered a course for the first batch in 1980, termed then "Rural Environment"; a foundation course which attempted to push a "business management techniques program design" towards asking questions about village society. It was  also designed as a preparatory course to the "village field work segment". This was  an innovation for business schools which she pioneered from probably her own sociological field work experiences. This course has been developed further, and split; in 2012, it was offered as three half credit courses, termed "Rural Society and Polity", "Rural Livelihood Systems", and "Rural Research Methods".It continues to be offered as a first semester course, as a preparation for the field work that follows. At the World Sociological Congress of 1984, women activists and women's studies scholars played a dominant role through

masks:
Leela Dube
Leelade
Shyama Charan Dube
Mukul Dube
Saurabh Dube
Dube


texts:
 Research Committee (RC) 32. Dube summed up the session with her comments on the tradition of son preference in India. In a debate in the Economic and Political Weekly in 1982–86 on sex selective abortions, her contribution was noteworthy and her prediction about the direct relationship between deficit of women and increased violence against women proved to be true in later years. Due to the team effort of women's studies scholars (including <mask> <mask>), RC 32 was institutionalised in the World Sociological Congress. Dube invited many activists for the 12th International Congress of Anthropological and Ethnological Sciences, Zagreb, 24–31 July 1988, to present papers on "Codification of Customary Laws into Family Laws in Asia". In the Congress, <mask>'s speech on feminist anthropologist Eleanor Leacock provided new insights into the departure of feminist anthropologists from the colonial legacy of "Big Brother watching you".Power relations between the North and The South in the construction of knowledge and the hegemonic presence of the ETIC approach in academics were questioned by Leacock as well as by Dube, a proponent of the "dialogical approach" in anthropological and ethnographic research. At different times, <mask> <mask> was associated with the Indian Council of Social Science Research and the Nehru Memorial Museum and Library. For short spells she was visiting faculty at several universities in different parts of the world. In keeping with her expressed wish, her eyes were donated after her death. Books and articles
Visibility and Power: Essays on Women in Society and Development, co-edited by <mask> <mask>, Eleanor Leacock and Shirley Ardener and published by the Oxford University Press in 1986, provides an international perspective for the anthropology of women in the contexts of India, Iran, Malaysia, Brazil and Yugoslavia. Her piece, "On the Construction of Gender: Hindu Girls in Patrilineal India", Economic and Political Weekly, Vol. 23, No.18 (Apr. 30, 1988), has been used by women's groups for study circles and training programmes. A volume in the series on Women and the Household, Structures and Strategies: Women, Work, and Family (1990), co-edited by <mask> <mask>

masks: Leela Dube Dube Leela Dube Leela Dube Leela Dube


texts:
 and Rajni Palriwala, has been useful in teaching women's studies in Economics, Sociology, Geography, Social Work and Governance courses. Women and Kinship: Comparative Perspectives on Gender in South and South-East Asia, by <mask> <mask>, United Nations University Press (1997), argues that kinship systems provide an important context in which gender relations are located in the personal and public arenas. Her celebrated book, Anthropological Explorations in Gender: Intersecting Fields, published in 2001 by Sage, is an important contribution in feminist anthropology in India. It examines gender, kinship and culture by sourcing a variety of unconventional materials such as folk tales, folk songs, proverbs, legends and myths to construct an ethnographic profile of feminist thought. She provides an understanding of the socialization of the girl child in the patriarchal family, with the "seed and soil" theory propagated by Hindu scriptures and epics symbolizing a domination-subordination power relationship between men and women.Her last publication, a Marathi translation of her last book in English, was Manavashastratil Lingbhavachi Shodhamohim, which appeared in 2009. Awards
In 2009 she was given the UGC's Swami Pranavananda Saraswati Award for 2005. In 2007 she received the Lifetime Achievement Award of the Indian Sociological Society. References

1923 births
2012 deaths
Indian anthropologists
Osmania University faculty
Feminist studies scholars
Indian women anthropologists
Indian women science writers
20th-century Indian women scientists
Indian women educational theorists
20th-century Indian educational theorists
Indian feminist writers
20th-century Indian women writers
20th-century Indian social scientists
Women writers from Madhya Pradesh
Indian social sciences writers
20th-century Indian non-fiction writers
21st-century Indian women writers
21st-century Indian non-fiction writers
21st-century Indian women scientists
21st-century Indian social scientists
21st-century Indian educational theorists
Women scientists from Madhya Pradesh
Women educators from Madhya Pradesh
Educators from Madhya Pradesh
20th-century women educators
21st-century women educators
Institute of Rural Management

masks: Leela Dube


texts:
<mask> (born August 30, 1973) is a Cook Island-Australian actress based in the United States. <mask> was born in Rarotonga, brought up on the Gold Coast in Australia and educated in Switzerland. After returning to Australia, she began a degree at Bond University but dropped out at the age of 19 when she was cast in the soap opera Paradise Beach. She had no formal acting training but appeared in the soap for the 18 months it was produced. After Paradise Beach ended, she had casual work on Hey Hey It's Saturday before co-hosting the popular Seven Network series Gladiators. After three series of Gladiators, <mask> was eager to return to acting, so took the role of villain Joanne Brennan in Home and Away from 1995 to 1996. In 1999, she moved to the United States to study acting at the Atlantic Theater Company in New York City, then spent 18 months unsuccessfully auditioning for roles in Los Angeles.In 2001, she was cast as Jo Ellison in the British television series Cold Feet. She appeared in the fourth and fifth series and returned to Australia two days after filming the final episode in 2002. In 2004, she appeared in a major recurring role as Dr. Grace Connelly in six episodes of the Australian soap opera All Saints. She returned to America after filming All Saints, where she got a small role as flight attendant Cindy Chandler in the pilot episode of Lost. The role was supposed to be a one-off in the pilot but a producer liked <mask> and the character, so brought her back for a recurring role in the second, third and sixth seasons. Away from acting, <mask> has been involved in efforts to highlight the effects of Soviet nuclear testing in Kazakhstan, including directing a short film. Early life
<mask> <mask> was born on August 30, 1973 in Rarotonga, Cook Islands to Joe and Wendy.Joe, a Cook Islander businessman, met Wendy, an Australian air hostess, while she was in Rarotonga. When <mask> was three years old, the family moved to Australia's Gold Coast, where she attended St Hilda's School for the next nine years. The family travelled

masks:
Kimberley Joseph
Joseph
Joseph
Joseph
Joseph
Kimberley
Joseph
Kimberley


texts:
 extensively in Europe, and <mask> attended a private school in Montreux, Switzerland for four years. While there, she learned to speak French and Spanish. When she returned to Australia, she started a degree in arts and commerce at Bond University, though did not complete it. Career
At the age of 19, <mask> dropped out of University after getting the part of Cassie Barsby in the soap opera Paradise Beach. Like many of the cast, she had no formal acting training, though she turned this to her advantage with "exuberance and energy".<mask> gained acting experience and friendships with Raelee Hill, Megan Connolly, and Isla Fisher, though the series was cancelled after only 18 months. After Paradise Beach ended, she began appearing in the Nine Network variety show Hey Hey It's Saturday. <mask> had no contract with Nine, and was making the appearances as a favor to her friend, host Daryl Somers. Nine Network executives wanted to make her a regular on the show and began using her in publicity material. However, rival network Seven offered her a contract to co-host Gladiators before Nine could make her Hey Hey contract permanent. Her defection to Seven in 1995 caused a small scandal. She described hosting Gladiators as "tough and scary" on account of the live audience.She appeared for three seasons and some international specials before taking the role of Joanne Brennan in Home and Away in an effort to get away from presenting. The character, a secretary who dealt drugs to school children, appeared from 1995 to 1996. She left the soap with the possibility of returning to the character later. Alongside her role in Home and Away, she appeared in a play with Geoffrey Hughes. Until 1999, she continued working as a "jobbing actress", making appearances in Hercules: The Legendary Journeys and Sale of the Century, and Tales of the South Seas. Eager to move away from soap opera acting, <mask> moved to the United States to study acting with the Atlantic Theater Company in New York City. She then moved to Los Angeles, where she spent 18 months living off her

masks: Kimberley Joseph Joseph Joseph Joseph


texts: savings trying to get auditions.In those 18 months, her only jobs were a single commercial and a job interviewing LA-based film actors for Australian television. In 2001, her lawyer informed her that she would have to travel to Sydney, Australia to be interviewed for her green card. On the day she was due to fly back to Australia, her agent informed her of an audition for the British television series Cold Feet, whose producer was looking for an Australian actress to become a new main cast member. Two weeks later she had moved to Manchester, England and was doing script read-throughs with the rest of the cast. Her character, Jo Ellison, appeared in all episodes of the fourth and fifth series. Two days after filming the final episode in 2002, <mask> left Britain and returned to Australia. In 2004, she appeared on Australian television for the first time since 1999, playing Dr. Grace Connelly in six episodes of All Saints.The day after she completed filming of her scenes, she returned to Los Angeles for the pilot season. She got a small part as a flight attendant in the pilot episode of Lost. <mask>'s scenes, on an airplane set, were filmed over two and a half days in Los Angeles. An early script draft of the pilot called for her character to be seen dead on a beach, though subsequent rewrites removed the scene. A producer liked <mask> and her character, and planned to bring both back to the series at a later date. She returned at the beginning of the second season, when it was revealed that her character, given the name Cindy Chandler, had survived the plane crash in the pilot episode along with other passengers from the tail section of the plane. Despite being asked not to change her appearance too much after the pilot, <mask> had her hair cut, so in her first few episodes of the second season she had to "go through the whole debacle of putting a Rambo scarf around [her] head, which just looked ridiculous."Her episodes for season two were filmed over five weeks and were broadcast in 2005. Her character was abducted in the middle of an

masks: Joseph Joseph Joseph Joseph


texts:
 episode and was not seen again until in the third season, when <mask> reprised the role for two episodes and the whereabouts of her character are revealed. <mask> resumed the role for the sixth and final season in 2010. <mask> also filmed minor roles in two Ron Howard films; in Frost/Nixon (2008), she portrayed tennis champion Evonne Goolagong, and she had a minor role in Angels & Demons (2009). Although of a different ethnicity to Goolagong, she was cast in Frost/Nixon because she had the "right look". Both of her scenes were cut from the films before release. In 2011, <mask> appeared in television commercials for HughesNet, the satellite-based Internet Service Provider.In 2013, <mask> appeared in Linkin Park's music video for their single Castle of Glass. <mask> played the bereaved wife of a deceased Navy SEAL. Personal life
<mask> lives in Los Angeles, where she is based for acting. She has been involved in Aid International projects highlighting the effects of Soviet nuclear testing in Semey, Kazakhstan. In 2003 she visited the area with Scottish MEP Struan Stevenson, where she photographed victims of radiation poisoning. The photographs were displayed in the Scottish Parliament building in 2004 and published in Stevenson's book Crying Forever in 2006. She returned to the area with Stevenson in July 2008 and has developing a documentary film to attract international attention to the area.The 13-minute film, entitled When the Dust Settles, premiered on 12 November 2009 at the Birch Carroll & Coyle cinema in Southport, Queensland. <mask> and partner Scott Chrisman have a son, Gabriel, born in 2013. Filmography

As host
 Gladiators (1995–1996)
 Gladiators: The Ashes 1 (1995–1996)
 International Gladiators 2 (1996)

As director
 When the Dust Settles (2009; documentary short)

References

External links

1973 births
Actresses from Vancouver
Australian film directors
Australian women film directors
Australian television actresses
Australian game show hosts
Australian photographers
Canadian emigrants to Australia
Film directors from

masks: Joseph Joseph Joseph Joseph Joseph Joseph Joseph Joseph


texts:
<mask> (born 1946, (Berkeley, California) is a multimedia artist who was at the forefront of the studio quilt art movements. She has been called a "fine artist [who works] with quilting techniques." Early life

<mask> grew up in a household with quilts but "took their presence for granted" along with other family skills such as "knitting, crochet, and dressmaking." As a child, <mask>'s "early successes were art-related." She competitively won the rank as "class artist" and teachers called on her when they "needed drawings for their classroom." She "learned to sew from her mother (as) clothing was expensive" and could more economically be made at home. Studio art quilt movement

<mask> was "aware of the national and California art scenes" as well as the 1965 beginnings of the studio art quilt movement, "an art form that uses traditional quilting techniques to create art objects."She chose to "forget all about it (the movement) and just work from (her) daily life (and) experiences." In retrospect, she, along with others such as Jean Ray Laury, Yvonne Porcella, and Therese May, drove the California art quilt revolution while others were doing the same thing in New England and Ohio. She realized her art training could be used on textiles. <mask> eventually expanded her repertoire to add art quilter to her career as an artist. In 1974 she joined "a feminist consciousness-raising group" where she was introduced to quilt making. She tried the craft at home using a book by Michael James, The Quiltmaker's Handbook. She recalled, "His first book was invaluable because (it) showed us how to stack all the pinned pieces .. . and (to) sew them in long flags" and "his work was important . . . because it was contemporary." She initially made a crazy quilt then "made a few more quilts but began designing her own repeat blocks rather than copying old ones." She soon realized "she was gratified by the warm reception viewers gave to

masks:
Linda MacDonald
MacDonald
MacDonald
MacDonald
MacDonald


texts:
 quilts." She noticed, "the difference in feeling between a person looking at a drawing and a person looking at a quilt was really remarkable. There is no distance between a person and fabric, especially when it has all these romantic and nostalgic feelings." It became apparent that it was fairly "easy to sew while she was home with her young children."Initially, "she worked in relative isolation, not realizing other artists were making quilts." She used her skills as an artist to create "geometric designs in fiber." Before long, this art quilter "exploited new technology." Her quilts "evolved from colorful pieced work exploring decidedly modern geometric constructions to largely monochromatic abstractions painted with an airbrush." Education

<mask>'s formal education in art began at San Francisco State University but was interrupted by the "riots of the 1960s". She moved with her husband, Robert Comings, also a multi-media artist, to a "rural country existence" in Mendocino County in northern California gave her the opportunity to finish her Bachelor of Arts degree in 1978. <mask> eventually received a teaching credential from Dominican University (1985, San Rafael, CA) allowing her to teach high school in "art and other subjects," She then pursued an MFA, also from San Francisco State University (1992), specializing in textiles.<mask> taught art for three semesters at San Francisco State. Quilt artist phases

Nancy Bavor's master's thesis, The California Art Quilt Revolution identified three stylistic phases of <mask>'s work as a quilt artist. The initial phase of creating large three-dimensional landscapes soon gave way to her second phase using an airbrush to "(render) fanciful monochrome figures on fabric that she then assembled into quilts." Her third phase continued use of the airbrush as the "imagery and message evolved" using "recognizable northern California plants and animals" in her art. She was

masks:
MacDonald
MacDonald
MacDonald
Linda MacDonald


texts:
 particularly interested in highlighting the "intense logging and its effect on the Mendocino forests that surrounded her, and the small town where she lives . . . using sensitivity and a sense of humor (to defuse) some of the community tension." Author Sandra Sider commented on <mask>'s "fierce environmentalism" that manifested itself in the comforting folds of fabric.One of the shows she has exhibited in was called "Soft Protests" at the New England Quilt Museum in Lowell, Massachusetts. Like other artists and quilt artists of the day, <mask> did not expect to make a living selling her art or teaching quilting skills. Her passion for art became the reason for doing it. "The need to do art, which I think is universal, is one of the main reasons for being alive . . . that aesthetic experience, that excitement." Exhibitions

<mask>'s early exhibitions were in the county museum of her hometown of Willits. Annual shows curated by Sandra Metzler, the first president of the American Quilt Study Group, gave her encouragement.Initially, as she approached galleries, she could not say, "she made quilts" as she would then not be considered a serious artist. Her preference is to show her quilts as part of multi-media exhibits including "craft, painting, drawing, and printmaking." Her quilts have been exhibited in prestigious galleries nationwide in the decades beginning in the 1980s including San Jose's "American Museum of Quilts & Textiles." She has exhibited numerous times in "Quilt National" in Athens, Ohio, and "Visions" in Oceanside, California, the country's premier venues for art quilt exhibitions. Her prolific career has included a dozen solo, two, and three-person exhibitions; awards from exhibitions in Ohio and Tokyo; inclusion in over 100 exhibitions; images published in almost 50 books and magazines; as well as having her art in permanent collections in The Museum of Art & Design (New York, NY), The White House

masks: MacDonald MacDonald MacDonald


texts:
 (Washington, D.C.), and the City of San Francisco. A 2013 mixed-media show at Mendocino College Art Gallery, "<mask>: Images of a Changing California,” called her “a prominent Mendocino artist who has been actively involved in creating art focused on strong ecological themes in a whimsical and poignant manner.” The show, curated by Paula Gray, subtitled, "20 years of art from ecological concerns to homespun whimsy" contained 46 pieces of <mask>'s art. Environmentalism

<mask> "is best known for her environmental work" born of her experience living in northern California.Quilts highlighting environmental themes such as oil drilling followed her "series of quilts with a logging theme" called, "What is Happening to the Trees?" She has a gift of approaching these sensitive subjects with "a playful sense of humor." An example of this is Even the Old Growth Must Work for Its Keep. Gallery Route One in Point Reyes, California, highlighted <mask>'s work in a one-person show in 2010 called, "<mask>: Stories from the North Woods.”  This mixed-media exhibition included drawings, paintings, fiber, and eco-graphics. Her fiber section used “tongue-in-cheek humor to state the obvious.”  <mask>'s unique vantage born of literally living and "(working) on the edge" of the forests of Mendocino County informs her environmental art including a series on the Spotted Owl called, Spotted Owl vs. The Chain Saw. Another important fiber series, Trees, Lumber, Houses, and People "tells a story in a dozen chapters" chronicling the life of a forest being decimated by logging until it is eventually "the inevitable forest of stumps."<mask>, an "artist, who began as a painter, switched to textiles in the 1980s, and soon combined the two," primarily painting on traditional canvas as of 2013. Notes

References

External links

Living people
1946 births
Artists from the San Francisco Bay Area
San Francisco State University alumni
People from

masks:
Linda MacDonald
MacDonald
Linda MacDonald
MacDonald
Linda MacDonald
MacDonald
Linda MacDonald


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<mask> (; 22 April 1889 – 10 May 1945) was a high-ranking German Nazi official in the SS. From November 1939 until the end of World War II, he was Concentration Camps Inspector (CCI), which became Amt D: Konzentrationslagerwesen under the WVHA in Nazi Germany. As a direct subordinate of Heinrich Himmler, he was responsible for the forced labour of the camp inmates, and was also the supervisor for the medical practices in the camps, ranging from human experimentation to the implementation of the "Final Solution", in particular the mass murder of inmates with Zyklon B gas. After Germany capitulated, Glücks committed suicide by swallowing a potassium cyanide capsule. Early life
<mask> was born 1889, in Odenkirchen (now part of Mönchengladbach) in the Rhineland. Having completed gymnasium in Düsseldorf, he worked in his father's business, a fire insurance agency. In 1909, Glücks joined the army for one year as a volunteer, serving in the artillery.In 1913, he was in England, and later moved to Argentina as a trader. When World War I broke out, <mask> returned to Germany under a false identity on a Norwegian ship in January 1915 and joined the army again. During the war, he eventually became the commander of an artillery unit and was awarded the Iron Cross I and II. Glücks fought at the Battle of Verdun and the Battle of the Somme. After the war, he became a liaison officer between the German forces and the Military Inter-Allied Commission of Control, the allied body for controlling the restrictions placed upon Germany in the Treaty of Versailles regarding re-armament and strength of their armed forces. Until 1924, he stayed in that position, before joining the staff of the 6th Prussian Division. He also served in the Freikorps.Rise under the Nazi regime

<mask> joined the NSDAP in 1930 and two years later, the SS. From 6 September 1933 to 20 June 1935 he was a member of the staff of the SS-Group "West" and rose to the rank of an SS-Sturmbannführer. While lacking in charisma, historian Nikolaus Wachsmann claims

masks:
Richard Glücks
Glücks
Glücks
Glücks


texts:
 Glücks possessed an "abundance of ideological commitment." On 1 April 1936 he became the chief of staff to Theodor Eicke, who was then Concentration Camps Inspector and head of the SS-Wachverbände. Concentration Camps Inspector
When Eicke became field commander of the SS Division Totenkopf during the summer of 1939, Glücks was promoted by Himmler on 15 November 1939 as Eicke's successor to the post of Concentration Camps Inspector. As the Concentration Camps Inspector, Glücks was directly subordinate to Himmler—as Eicke had been—but, in contrast with the warm relation between Himmler and the older Eicke, Glücks only rarely met with Himmler, who promoted him not for his leadership competencies but for his ability to "provide the administrative continuity" with Eicke's policies. Less a reflection of Glücks's energy and aptitude, his rise in power was more about Eicke's ineffectual managerial skill, according to historian Michael Thad Allen.Glücks made few changes once taking over, leaving the organizational structure intact as Eicke had set it up; the same uncompromising rigidity was carried out at the camps—there was no rehabilitation and no effort to exploit the working potential of inmates. Because Glücks never served inside a concentration camp, some senior camp members were suspicious and considered him nothing more than a desk-side bureaucrat. In terms of his leadership style, he preferred men of action and allowed them some autonomy in operating their respective camps. Historian Robert Lewis Koehl described Glücks as "unimaginative, lacking in energy if not lazy," and even "unperceptive," which may account to some extent for his hands-off approach. Glücks's responsibilities at first mainly covered the use of concentration camp inmates for forced labour. In this phase, he urged camp commandants to lower the death rate in the camps, as it went counter to the economic objectives his department was to fulfill. Other orders of his were to ask for the inmates to be made to work continuously.At the same


texts: time, it was Glücks who recommended on 21 February 1940, Auschwitz, a former Austrian cavalry barracks, as a suitable site for a new concentration camp to Himmler and Reinhard Heydrich. Glücks accompanied Himmler and several chief directors of I.G. Farben on 1 March 1941 for a visit to Auschwitz, where it was decided that the camp would be expanded to accommodate up to 30,000 prisoners, an additional camp would be established at nearby Birkenau capable of housing 100,000 POWs, and that a factory would be constructed in proximity with the camp prisoners placed at I.G. Farben's disposal. On 20 April 1941 Glücks was promoted to the rank of an SS-Brigadeführer and in November 1943, Glücks was made SS-Gruppenführer and a Generalleutnant of the Waffen-SS. From 1942 on, Glücks was increasingly involved in the implementation of the "Final Solution", along with Oswald Pohl. To oversee the coordination of camp related activities, which varied from the medical concerns of personnel and prisoners, the status of construction projects, and the progress of extermination operations, Glücks, along with other senior SS camp managers, attended weekly meetings conducted by Pohl.Glücks never attempted to outshine his superior and was quite aware of his subordination to Pohl. Just a few days after the Wannsee Conference in January 1942, Himmler ordered Glücks to prepare the camps for the immediate arrival of 100,000 Jewish men and 50,000 women being evacuated from the Reich as labourers in lieu of the diminishing availability of Russian prisoners. In February 1942, the CCI became Amt D of the Wirtschafts- und Verwaltungshauptamt (SS Economic and Administrative Department; WVHA) under SS-Obergruppenführer Oswald Pohl. Glücks continued to manage the camp administration until the end of the war. Therefore, the entire concentration camp system was placed under the authority of the WVHA with the Inspector of Concentration Camps now a subordinate to the Chief of the WVHA. By March 1942, Glücks was routinely receiving direct


texts: instructions from the head engineer and SS General Hans Kammler, to meet the productivity demands of SS engineers. In July 1942, he participated in a planning meeting with Himmler on the topic of medical experiments on camp inmates.From several visits to the Auschwitz concentration camps, Glücks was well aware of the mass murders and other atrocities committed there. Correspondingly, Auschwitz Kommandant Rudolf Höss routinely informed Glücks on the status of the extermination activities. During one of his inspection-tour visits to Auschwitz in 1943, Glücks complained about the unfavorable location of the crematoria since all types of people would be able to "gaze" at the structures. Responding to this observation, Höss ordered a row of trees planted between Crematorias I and II. When visits from high officials from the Reich or the Nazi Party took place, the administration was instructed by Glücks to avoid showing the crematorias to them; if questions arose about smoke coming from the chimneys, the installation personnel were to tell the visitors that corpses were being burned as a result of epidemics. Sometime in December 1942, after discovering 70,000 out of 136,000 incoming prisoners had died almost as fast as they arrived, he issued a directive to the camp doctors, which stated, "The best camp doctor in a concentration camp is that doctor who holds the work capacity among inmates at its highest possible level ... Toward this end it is necessary that the camp doctors take a personal interest and appear on location at work sites." Before the death marches of early 1945 started, Glücks reiterated a directive from July 1944, which emphasized to camp commanders that during "emergency situations," they were to follow the instructions of the regional HSSPF (Höherer SS- und Polizeiführer) commanders.Between 250,000 to 400,000 additional lives were lost as a result of these death marches. According to historian Leni Yahil, Glücks was "the RSHA man responsible for the entire network of concentration camps", and


texts:
 his authority extended to the largest and most infamous of them all, Auschwitz. From what historian Martin Broszat relates, nearly all the important matters concerning the concentration camps were "decided directly between the Inspector of Concentration Camps and the Reichsführer-SS." In January 1945, Glücks was decorated for his contributions to the Reich in managing the fifteen largest camps and the five-hundred satellite camps which employed upwards of 40,000 members of the SS. Glücks' role in the Holocaust "cannot be over-emphasized" as he, together with Pohl, oversaw the entire Nazi camp system and the persecution network it represented. Death
When the WVHA offices in Berlin were destroyed by Allied bombing on 16 April 1945, the WVHA was moved to Born on Darß in Pomerania on the Baltic sea. Owing to the advances of the Red Army forces, Glücks and his wife fled to Flensburg.After the capitulation of Germany, he is believed to have committed suicide on 10 May 1945 by swallowing a capsule of potassium cyanide at the Mürwik naval base in Flensburg-Mürwik, although the lack of official records or photos gave rise to speculation about his ultimate fate. Fictional references
Glücks appears as a character in the 1972 Frederick Forsyth novel The Odessa File along with its 1974 film adaptation. In the novel, which is set in 1963, he is depicted as still being alive and the head of ODESSA, which is determined to destroy the State of Israel nearly two decades after the end of World War II. See also
List SS-Gruppenführer
List of SS personnel
Pohl Trial

Notes

References

Further reading
 Holocaust Education & Archive Research Team (2009). "<mask>s as described by Rudolf Höss" at Holocaust Research Project.org. 1889 births
1945 suicides
People from Mönchengladbach
Nazi Party politicians
SS-Gruppenführer
People from the Rhine Province
Nazis who committed suicide in Germany
Suicides by cyanide poisoning
Holocaust perpetrators
20th-century Freikorps personnel
Waffen-SS personnel
German military personnel of World


texts:
<mask> (November 11, 1882 – October 31, 1949) was an Argentine Catholic priest. He was one of the main founders of Club San Lorenzo de Almagro and scout group Don Bosco's Argentinian Explorers. Early years
<mask> was born in Morón, Buenos Aires, Argentina, and his parents <mask> and his mother Margarita Scanavino were born in Turin, Italy. His sisters were Ángela and Blanca, and were also religious. On February 13, 1898, he was ordained to the priesthood by Joseph Vespignani. In 1900, <mask> took his first job as a Salesian of Don Bosco Agricultural School in Uribelarrea until October 1902. Then <mask> continued at the College Pius IX as a teacher and assistant in theology.In 1908 he was appointed as manager of the Oratorio San Antonio, in 4050 Mexico Street in the Almagro neighbourhood of Buenos Aires. Los Forzosos de Almagro (San Lorenzo)
During 1908, Massa met a group of boys from the neighbourhood named Los Forzosos del Almagro led by a young man named Federico Monti. This name defines virtue of force in the game of football. Facing the drawbacks of playing in the street, the priest offered to let them play in the Oratory of San Antonio. This event would be the preliminary stage of the founding of Club Atlético San Lorenzo de Almagro. Explorers of Don Bosco's Argentinians
On December 14, 1875, the first 10 Salesians came to Argentina. Since then, in every city settled, they created works and activities for youth.The Salesians in Argentina turned the whole society "donboscana way to the formation of youth", concretised through the Holidays oratories, which were characterised by joy, Christian upbringing instilled slowly through

masks:
Lorenzo Bartolomé Massa
Lorenzo Bartolomé Massa
Lorenzo Massa
Massa
Massa


texts: techniques such as the classic "Goodnight Salesian "and many others, combined with various means of attraction: small works of theater, craft workshops, walks with his classic bands to attract people to the Mass. The work of the Salesians continued to grow in the formation of Oratorios. Between 1908 and 1914, the bands, the brackets and Battalions Gymnasts, recorded brilliant pages. In all this, the need to beat form a stable body. It was then that Father Joseph Vespignani (at the upper point of the Salesians), which had received reports of current that attracted young people to leave the Church, and had even reached Argentinian scoutist version (planned by Robert Baden-Powell, 1st Baron Baden-Powell) wanted ahead of this emerging and influence. Excited about the idea of giving concrete form to something more stable, and recalling Blossio brackets created by Don Bosco at the beginning of his work, combined with the activities of existing brackets gymnasts, he called Father <mask>a. From that moment, the theoretical and organisational framework of Dom Bosco's Argentinian Scouts outlined.Besides participating in the creation, was the first Chaplain Battalion No. 1. On Sunday February 28, 1915, the announcement of a hike and camp who performed the Scouts of Argentina came to Argentinian priest <mask>. "Is it possible to join this noble institution with our charism?" Massa asked. He presented his draft form, with the children of this company, a Children Battalion, for walks and excursions, as had Don Bosco. On Sunday March 7, after Mass, the children invited were present to join the Children's Battalion.The name originally adopted Child

masks:
Lorenzo Mass
Lorenzo Massa


texts: Battalion was the Defenders of the Fatherland, according to the size of each split into nine companies of 30 children. Father Vespignani undertook personally to obtain the appropriate approval of the Superior Chapter of the Salesians of Don Bosco. Some time later, Father Joseph Vespignani called <mask> Massa, and said: Let's found Don Bosco's Argentinian Explorers. On August 14, 1915, the solemn inauguration of the new school building "Saint Francis of Sales" (homage to Don Bosco on the centenary of his birth), located at the corner where the streets Hipólito Yrigoyen and Yapeyú was placed. The President was received at the entrance of the school by the principal of the house, Father <mask>, who to greet said: "Today our house is proud to receive his visit, but we'd be more proud if the President of Argentina agreed to be escorted by our scouts, who today make his first official presentation. "Thus, for a few minutes the honor guard of the President's Office were not the traditional Regiment of Mounted Grenadiers, but was 40 by the first explorers who wore their new uniforms. Everything became a reality on August 14, 1915 (for this reason, the day designated as Explorer), the celebration of the centenary of the birth of Don Bosco.In founding the work, Father Jose said "Scouts will be a selection of festive Oratory, where the most prominent oratorians participate in the privileges and responsibilities inherent in Battalions" "We do not introduce anything new in the Salesians of Don Bosco; explorers of Don Bosco Oratory will just be like leaven among others. "And stressed: "You shall preserve lifelong autonomy and self-regulation."

masks:
Father Lorenzo
Lorenzo Massa


texts:
 Explorers of Don Bosco have emerged in the name of God and country to preserve and advance the moral and religious values of youth, arousing noble sentiments of patriotism, twinned with family affection and respect for authority in a climate of expansive joy healthy companionship. Before the end of year 1, and the battalion had 165 explodes in uniform and perfect discipline, the first Captain and Chief of the General Command, Mr. Ramón Cortés Conde. That same year, Father Joseph Vespignani was drafted by the Law of Scouts Honor of Don Bosco, published on March 12, 1930. Death
On the morning of October 31, 1949, Massa did not open the door of his room in Buenos Aires. A janitor entered and found Father Massa dead in his bed at sixty-six years old.It is believed that he died of cardiac arrest. On October 31, 2008, his remains were deposited in the mausoleum built in his honor located in the Oratorio San Antonio, in 4050 Mexico Street. Works
Massa arrived in Tucumán in 1916 where he founded the first Salesian work in the province, through an Arts and Crafts Workshop then called Salesian College General Belgrano. He actively participated in the foundation of other Salesian houses, one of which now bears his name: Lorenzo Massa Technical Institute. Legacy
The film El Cura Lorenzo in 1954 in which starred actor Ángel Magaña, freely recreates the story of Massa in the San Lorenzo de Almagro's foundation. References

1882 births
1949 deaths
20th-century Roman Catholic priests
Salesians of Don Bosco
San Lorenzo de Almagro
People from Morón Partido
Argentine people of Italian descent
Argentine Roman Catholic priests
People of Piedmontese


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<mask><mask> (June13, 1987 – February5, 2006) was an American neo-Nazi and murderer. <mask> attacked three patrons at a gay bar in New Bedford, Massachusetts on February2, 2006 before fleeing by vehicle to Charleston, West Virginia, where he picked up passenger Jennifer Rena Bailey and drove southwest. He was stopped for a traffic violation by Gassville, Arkansas police officer James W. Sell, whom Robida shot and killed before fleeing east. <mask> lost control of his vehicle in Norfork, Arkansas shortly after running over a spike strip laid by police. He then engaged in a firefight with police, during which he fatally shot Bailey and then shot himself in the head. <mask> died in a hospital in Springfield, Missouri at 03:38 CST on February5, 2006. Attack

About midnight on February2, 2006, <mask> entered Puzzles Lounge, a popular gay bar in New Bedford, Massachusetts,  south of Boston.The 18-year-old, dressed in black, proceeded to order a drink using a fake ID indicating he was 23. After downing his first drink, he asked the bartender if the lounge was a gay bar. The bartender confirmed it was. After a second drink <mask> then swung a hatchet at a patron's head, injuring him. Other patrons tackled him and relieved him of the weapon, whereupon <mask> produced a handgun and began shooting, wounding at least three more people. Police treated the incident as a hate crime, and <mask> was sought by police for three counts of attempted murder. <mask> fled the scene in a green 1999 Pontiac Grand Am to Charleston, West Virginia, where he was joined by Jennifer Rena Bailey and drove southwest.It has been reported that <mask> lived with Bailey in West Virginia in 2004. It is unclear

masks:
Jacob D
. Robida
Robida
Robida
Robida
Robida
Robida
Robida
Robida
Robida
Robida


texts:
 whether Bailey joined him willingly or if she was abducted. Manhunt and capture
Police immediately began a manhunt for <mask> and raided his mother's home in New Bedford. She told them she had last seen him at 1am bleeding from the head and that he had left soon after. They found weapons of all types, including hatchets, knives, handguns and a shotgun. In his bedroom they found "Nazi regalia" and anti-Semitic writings on the walls. Fearing he may have left Massachusetts, state police contacted the FBI, sparking a nationwide manhunt.Before long, flyers depicting <mask> were distributed all over Massachusetts. In the afternoon of February4, 2006, <mask>'s vehicle was seen about  away in Arkansas, where Jim Sell, a Gassville police officer, initiated a traffic stop at the Brass Door Restaurant parking lot. After talking with Sell for about half a minute, <mask> opened fire with a 9mm handgun, killing the officer. He turned onto Arkansas Highway 201 headed south and continued to Arkana, Arkansas, where he fired at Arkansas State Police Sgt. Van Nowlin. Police pursued him and laid spike strips; although these flattened his front tires, they failed to stop the car. <mask> fled for about 18miles down Arkansas Highway 5, where he turned south and drove into the small town of Norfork.In the middle of town he lost control of the car due to the front tires, spun out, and hit two parked vehicles. He then exchanged gunfire with police. During the gunfight, he shot Bailey in the head at point blank range with a Ruger 9mm semi-automatic pistol, killing her instantly. After Bailey's death, <mask> shot himself in the right side of the head. He was flown more than 100miles to Springfield,

masks: Robida Robida Robida Robida Robida Robida


texts:
 Missouri for medical treatment, where he died of his injuries the next day, on February5. Responses to the attack
At first the mayor of New Bedford, Scott Lang, attributed the attack in part to video games:

This was a hate crime... the actions of a single deranged individual act as a wake up call to our community and once again the nation... This cycle of violence must stop.The guns have to come off the streets. The violent video games have to be taken out of our homes. Believing the mayor was jumping to conclusions, gamers and members of GamePolitics wrote to Lang, citing that nobody had even mentioned video games as connection to the mass murders, nor had <mask> ever mentioned games on his MySpace weblog. In reply to Andrew Eisen, a member of GamePolitics.com who had written to the mayor over his comments, Lang wrote:

When you get a chance please explain to me the social benefits behind police and military video games for the future of our children.While I am not familiar with these videos I have seen enough to know they can provide no healthy education for our children. Lastly, there is no doubt in my mind that Mr. <mask> played these video games on a regular basis as he was completely obsessed with weapons, violence and destruction. See his my space website for more details. I sincerely appreciate your comments.However, examination of <mask>'s MySpace website (archived on GamePolitics ) showed a passion for Neo-Nazism and Insane Clown Posse, known for its violent and dark lyrics. One song in particular mentions attacking people with a hatchet, similar to <mask>'s crime. On February7, Insane Clown Posse released a statement on the <mask> attacks. The group's manager Alex

masks: Robida Robida Robida Robida Robida


texts:
 Abbiss extended members Violent J and Shaggy <mask>'s condolences and prayers to the families of the victims, stating "It's quite obvious that this guy had no clue what being a Juggalo is all about. If anyone knows anything at all about ICP, then you know that they have never, ever been down or will be down with any racist or bigotry bullshit." Comments from Jack Thompson
On February7, 2006, Jack Thompson, a disbarred attorney, commented on the incident, describing the bar attack as a "killing scenario" from Postal² and the killing of Sell a "suicide by cop homicide" inspired by Grand Theft Auto. Police later dismissed the "suicide by cop" theory when it was discovered that <mask> had fatally shot himself.Thompson claimed to have spoken to a New Bedford detective, who "repeatedly" said <mask>'s friends had said "he played the Grand Theft Auto games." No further details have emerged, but the following day the Bristol County District Attorney rejected the video game link after examining all the evidence collected from <mask>'s apartment and car. My look at the search warrant [for <mask>'s home] was that the investigators turned up no video games. From the information we have here, there is no proof video games were involved. See also
 Violence against LGBT people

References

1987 births
2006 suicides
American bloggers
American neo-Nazis
American spree killers
Crimes in Massachusetts
Criminals from Massachusetts
Discrimination against LGBT people in the United States
Hate crimes
Murder in Massachusetts
Suicides by firearm in Arkansas
Violence against gay men
Violence against LGBT people in the United States
Violence against men in North America
Violence against women in the

masks:
2 Dope
Robida
Robida
Robida
Robida


texts:
<mask> (born in England, 25 March 1952) is an artist whose work is associated with bone china and unglazed biscuit porcelain. She lived and worked in Germany from 1981 to 2014, and is currently living and working in Western Australia. She has won many prizes and awards, in 1986, the 1st International Ceramics Contest Mino, Japan, (Award with Honorable Mention for outstanding achievement) and the 1999 Premio Diputacio da Valencia; International BiennalManises, Museu de ceramic de Manises, Spain among others. Biography
After completing  an Art Foundation Degree from University of Salford, formerly known as Salford College of Technology 1971–73, Babuniak went on to Sheffield Hallam University formerly Sheffield School of Art and Design 1973-76 studying under Professor Tony Franks,  where  she gained a Bachelor of Arts degree in fine art and sculpture, with Film and Photography as subsidiary subjects under Professor Tom Ryall. Babuniak's career as a professional artist began in North Wales in 1980 when she was awarded a grant by the Welsh Arts Council for a solo exhibition. In 1981 she moved to Germany, where she has a studio at Gmund am Tegernsee in Bavaria. The 1980s saw the development and acceptance of her work by galleries and exhibitions in England, Germany, Italy, France and in Japan.In 1992, Babuniak exhibited in the “Encuentro” exhibition with Carmen Sanchez and Lotte Reimers at the Gonzalez Marti Museum in Valencia, Spain. In 1999 she was awarded the Premio Diputacio da Valencia at the international Biennial in Manises. In 2004 Babuniak received the L’Alcalaten prize at the international biennial in L'Alcora, Spain. Selection for the Chelsea Crafts Fair, London in 1988/89/92/95 brought her into contact with the British Arts Council’s Contemporary Applied Arts with whom she exhibited in 1994/95 and other collectors including Sir John Makepeace and innovative exhibitions such as at Pulbrook and Gould ’s Westonbirt


texts:
 School in London. Work was purchased for the collection at the Victoria and Albert Museum, London, and exhibited at The Scottish Gallery in Edinburgh under the curatorship of Amanda Game where it was purchased for the Royal Museum of Scotland, now under the management of the National Museum of Scotland. Babuniak’s work has been exhibited in Mino in Japan, where she received honourable mentions at international exhibitions, and also in Kyoto. In 2005 she was invited as an artist-in-residence to Shigaraki in Japan  and from this followed a solo exhibition, Cross-over, under the curatorship of Hiroshi Kawaguchi at the Noritake Garden Gallery  in Nagoya.In 2008 at the “Junges Porzellan” exhibition in Selb, Germany, Babuniak was approached by Jürgen Schärer, author  of  Auf den Punkt gebracht  and project leader in Meissen, who invited her to become part of the design team of ceramic artists on the project to celebrate 300 years of the Meissen Porcelain. However, following the threat of  bankruptcy,  a radical overhaul, of the Meissen Porzellanmanufaktur by Dr. Christian Krutzke, saved the Porzellanmanufaktur but resulted in  the project being abandoned. Work
The earlier years of her career saw experimentation projected from organic forms. These works intentionally never evolved into functional objects, as she rejected function in favour of a greater power of expression. By the 90's, the incorporation of other materials such as stainless steel and precious metals, reveals a more transcending aspect of her sculpture, delineating and architectural in tone. Babuniak's work is minimalist, disciplined and reserved, drawing on suburban landscapes where the subject matter is reduced to the essential characteristics. Her use and juxtaposition of apparently incongruous materials: bone china, porcelain, Poly(methyl)methacrylate , fine wire, stainless steel, and paper create tension within the harmony of the pattern.In addition to


texts:
 international awards and plaudits, Babuniak has a following of private and public collectors and publications about her work have appeared in many countries. Demands of her own career brought a temporary halt to the Studio Galerie which was relaunched in 2009 and focused on the concept of contemporary international artists from Germany and Japan:  Christian Heß, Takao Inoue, Herbert Klee, Albert Lohr, Akashi Murakami, Christine Ott, Angelika Sieger, Georg Thumbach and others. 2001- 2009 she founded and curated “Windows for Show” in Tegernsee, Germany. This was an innovative concept which brought together six interregional artists who exhibited together for 3 months in an environment not traditionally associated with art exhibitions, but which promoted direct exposure to the public. Babuniak has been a member of the AK68 Art Society in Wasserburg am Inn, Germany since 1998. From 2008 until 2013 she served on the Board, and is still on the consulting panel. In this time, she was instrumental in instigating the exhibitions of Albert Lohr, Christine Ott with Christian Heß and Stephanie Müller.Since 2013, she has been involved in the founding and curating of a newly built, international gallery in Kalamunda, Western Australia, expected to open in February 2016. Germany
1986   ‘Das Flair des Kunsthandwerks‘, Handwerkskammer Oberbayern, München, Germany
1993   ‘Eating- In’, House and Garden Show, Business Design Centre London, UK
2003   ‘Tischkultur‘, in co-operation with Toni Bösterling, Fairs in Augsburg, Braunschweig, Rosenheim, Germany
2003-2012   Tegernseer Kunstausstellung, Germany
2002-2012   Gmundart, Germany

References

External links
 www.romababuniak.com

1952 births
Living people
20th-century British women artists
21st-century British women artists
20th-century ceramists
21st-century ceramists
Alumni of the University of Salford
Alumni of Sheffield Hallam University
British women ceramists
English contemporary


texts:
<mask> (1857 – June 23, 1899) was a stamp dealer and printer, best known for his stamp-printing contracts with several Latin American countries in the 1890s. Life in USA
<mask> emigrated from Germany to the United States at the age of 9. He soon established himself as a stamp dealer and cataloguer (as a sideline to owning a stationery and printing shop) in New York City, and published the Descriptive Price Catalogue of All Known Postage Stamps of the United States and Foreign Countries in 1876. In 1879, he began printing stamps for the Dominican Republic and the Colombian State of Bolivar. These stamps were printed under a standard sort of printing contract, where he received a fee for printing a specified number of stamps. However, with the Bolivar issues, he began the soon to be infamous practice of year-dating otherwise identical stamp designs. <mask> was successful enough to be able to sell his business in 1884 and purchase a significant interest in the Hamilton Bank Note Engraving and Printing Co., whose main contract was for printing tickets for the New York City transportation system.Hamilton Bank Note Engraving and Printing Co

<mask> sold his New York stamp business in 1884 and used the money to buy into the Hamilton Bank Note Engraving and Printing Co. In 1889, <mask> developed a novel plan for Hamilton to print stamps for foreign countries. He offered to supply the stamps for free, provided that:

The stamps would be dated and invalidated at the end of each year, to be replaced by a new series. Unsold (invalid) stamps would be returned to <mask> for sale to collectors. <mask> retained the right to reprint any invalid stamps as needed for sale to collectors. <mask> also apparently insisted on printing stamps with values not relevant to the postal rates of the countries using them. There are many long series of stamps where only

masks:
Nicholas Frederick Seebeck
Seebeck
Seebeck
Seebeck
Seebeck
Seebeck
Seebeck
Seebeck


texts: a few values corresponded to common postal uses.The remaining values were intended for collectors. [This is open to debate for Honduras, Nicaragua and El Salvador. For Honduras and Nicaragua the following denomination paid these rates:  1c - local post card, 2c domestic post card, 5c domestic letter, 10c double domestic letter or foreign letter, 20c - double rate foreign letter or single foreign letter plus registration, 25c - single foreign letter plus registration plus Acknowledgement of Receipt, 30c - triple foreign letter rate, 40c - 4 times single foreign letter rate, 50c - 5 times foreign letter rate, 75c - 6 times foreign letter rate plus registration plus AR (at least one such cover is known to exist), 1 P - very heavy letters or packages. For El Salvador the following rates were paid:  1c - local card rate, 2c - domestic card rate, 3c - foreign card rate, 5c domestic letter rate, 10c single letter rate to Pacific rim countries, 11c - single foreign letter rate for letters transiting Panama, 12c, single letter rate to Pacific rim countries when the rate changed from 10c to 12c, 13c - single letter rate for via Panama when the rates went from 15c to 13c, 15c - single letter rate to transit Panama when the rates changed. 20c - double foreign letter rate for Pacific rim countries or single rate plus registration, 24c - double letter rate to Pacific rim countries, 25c - single foreign Pacific rim letter rate plus registration and AR, 26c double letter rate for via Panama when rate went from 15c to 13c, 30c - double foreign letter rate for transit by Panama when rates changed or single rate plus registration plus AP, 50c & 1 P - very heavy letter and packets. Except for Nicaragua where commercial letters bearing the 1P, 5P and 10P stamps are known, the 2P, 5P and 10P stamps were not used although a few compliance covers are known.]


texts: Seebeck took advantage of a unique connection he had to Central America in that his brother-in-law Ernest Schernikow was the New York consul for El Salvador and Honduras.In 1889, <mask> left for a tour of Central America with letters of introduction from Schernikow to talk with government officials about an idea for a stamp printing arrangement that would benefit all concerned and signed contracts in 1889-1890 with several countries: Ecuador, El Salvador, Guatemala (only for fiscal stamps not postage ones), Honduras, and Nicaragua. The contracts were for ten years worth of stamp issues, and also included official, telegraph, revenue stamps and postal stationery. German philatelic experts who studied the Seebeck issues early in the 20th century claim that Seebeck, instead of reprinting after the stamps were demonetized had excess quantities printed before the stamps were delivered. Since these stamps were printed during the time they were valid for postage they are still considered original postage stamps, whether they were ever delivered to the respective countries' postal authorities or not. Condemnation of Seebeck among the collecting community was nearly unanimous. Seebeck failed to realize that most stamp collectors want to collect the stamps that are actually usable and available for postage, and not special creations designed to separate them from their money. They objected strongly to Seebeck's unlimited reprinting rights, the needless yearly creation of new issues, and the issuance of postally-irrelevant stamp values.Stamps with face values up to $10 were issued for the 1892 Columbus anniversary. Although the U.S. and Canada received similar abuse for their 1892 and 1897 stamp series (which included values up to $5), <mask>'s efforts were seen as particularly blatant. Many collectors refused to collect these issues. Several of

masks: Seebeck Seebeck


texts:
 the countries backed out of their contracts with <mask> (Honduras in 1893, and Ecuador in 1896) due to the bad publicity and administrative nuisance of the frequently-changing issues. <mask> died June 23, 1899, at the age of 42, in the final year of his contract with El Salvador. Legacy
The Hamilton Bank Note Company printed other stamps such as the 1902 issue of Dominican Republic and was still in existence in the 1940s when <mask>, <mask>' grandson was president. However, millions of stamp reprints (and the plates from which they were produced) reached the market.Most of the Hamilton issues, pejoratively known as "Seebecks", are common and cheap to this day, at least in unused condition. However, many of the original post-1895 issues are scarce, or rare, in unused condition while the reprints abound. In part, this is because it is difficult to tell the stamps shipped for postal sale from the numerous reprints. Postally-used stamps are generally much less common, though the collector of this area needs to beware of forged cancellations. References and sources
Notes

Sources
 Minutes of the Hamilton Bank Note Company, by Bill Welch, The Seebecker, 1990
 The Seebeck Issues of Nicaragua, by Albert Quast & Dr. Robert Willer (ghostwritten by Joseph M. Sousa), The Collectors Club Philatelist, NY, 1968
 El Salvador - The Seebeck Stamps, Part 1 & 2, by Joseph D. Hahn and Joseph M. Sousa, The American Philatelic Congress Book, 1977 & 1978
 Destruction of the Seebeck Nicaraguan Dies, Transfer Rolls and Clichés, by Ernest A Kehr F.R.P.S.L. ; The London Philatelist, No 711, pp. 22 – 24, February 1952

External links
Blog featuring Seebeck items.1857 births
1899 deaths
American stamp dealers
American philatelists
Businesspeople from New York City
Philately of Ecuador
Philately of Nicaragua
Philately of El Salvador
19th-century American

masks:
Seebeck
Nicholas Seebeck
August Seebeck
Nicholas


texts:
<mask> (17 July 1846 – 14 November 1898) was a Victorian showman noted for popularising moving pictures on British fairgrounds. The first known reference to a cinematograph exhibition in <mask>' show was at Rotherham Statute Fair on 2 November 1896. <mask> toured Britain for 25 years, first with a ghost illusion show, and then with a bioscope. He reached the height of his career in the summer of 1897 when he exhibited at the Victorian Era Exhibition in Earl's Court, London with a show designed specifically to pay tribute to Queen Victoria's Diamond Jubilee. <mask> was also an outspoken advocate for the travelling show community and a founding member of the United Kingdom Van Dwellers’ Protection Association, the fairground trade organization which evolved into what is known today as the Showmen's Guild of Great Britain. Early life
<mask> was born in Liverpool on 17 July 1846 and spent his entire life "on the road." His father, Thomas, came from an extended family of showmen with roots in Warrington.The <mask> family began travelling with fairground shows in the mid 1840s and got their start in the business by making automaton figures and touring with waxworks and mechanical exhibitions. The mechanical exhibitions presented on Victorian fairgrounds consisted of a number of visual displays incorporating three-dimensional models with various moving parts. Each individual display was presented against an aptly painted scenic background. A typical exhibit portrayed some

masks:
Randall Kay Williams
Williams
Williams
Williams
Williams
Williams


texts:
 scene or event such as a colliery village or a battlefield re-enactment. <mask>'s father's show in 1870, for example, represented the loss of Her Majesty's ship "Captain" and depicted a storm and rescue at sea. The exhibition also included a model of a coal pit and had over one hundred mechanical figures. The <mask> family toured with shows until the early 1900s when they diversified into rides and other fairground attractions.Their various exhibits included waxworks and mechanical displays, photography and fine art exhibits, ghost shows, and cinematograph exhibitions. Ghost illusion show
<mask>' primary interest was the ghost illusion show he started in 1871. A ghost illusion show was a type of stage show that combined theatrical presentations with the optical technique known as Pepper's Ghost. Ghost illusions were popular in British theatres throughout the 1860s but did not appear in fairground shows until the early 1870s. The travelling show’s adaptation of Pepper’s Ghost was typically a short stage play, consisting of three acts and a comic song - all done in about twenty minutes. The final act usually ended with a ‘transformation scene' depicting the final passage from this life to the next, and during which, at least one ghostly entity made its appearance. The ‘ghost,’ a life-like, three dimensional and free moving apparition was the reflection of a living being (an actor) who was brightly lit up by limelight, and positioned off stage, out of sight of the

masks: Williams Williams Williams


texts: audience’s view.Putting on the ‘ghost’ was a rather costly undertaking for travelling show proprietors. The essential requirements were a source of lighting (limelight), a large mirror, and a large sheet of plate glass upon which to reflect the images. The glass had to be erected so that it sat at a forty-five degree angle at the front of the stage and, it had to be housed in a box specially built for transport. The final component was a platform-type stage built high enough to accommodate the actors (the ghosts) who worked directly below and to the front of the stage, as well as the limelight worker, whose job it was to illuminate the actors whose images were reflected onto and through the glass. An enclosure or partition was erected around the front of the stage to prevent the audience from seeing all the activity that was going on below the surface. The programs for <mask>' show varied, but audiences were usually treated to at least one melodrama and a comical farce or two. His show at the New Year’s fair in Bolton, Lancashire in 1873 advertised a program of “a specially written adaptation of the late Chas.Dickens’s Christmas story of the Haunted Man;” “Gounod’s famous Opera of Faust and Marguerite;” “the tableaux illustrative of the heart-stirring poem of Little Jim, the Collier’s Child;” “the thrilling legend of Adrian, the Avenger;” “The Goblin’s Haunt, introducing the Gorgeous Transformation Scene;” “the Seraph or Living Head;” and other “Entertainment of


texts:
 Prestidigitation.”

<mask>' show was part ghost illusion theatre, part variety show. The artists he employed included actors, song and dance teams, ballet dancers, mummers and comedians like the Great Little Titch and magicians like Leotard 'Boz' Bosco (James Frederick Greethead.) He also hired international acts such as The Brothers LaFayette (American tight rope walkers) and Professor Howard (an American illusionist). By the early 1880s, <mask>' show had many of the same trappings as a theatrical touring company. The show’s crew in Manchester at the time of the 1881 census consisted of a number of actors, actresses, comedians, musicians and comic singers, as well as a set decorator and a dramatic author. <mask>' phantasmagoria was popular with fair-going audiences. A reporter who attended the show at Glasgow Fair in July 1880 wrote that, "Not the least amusing show on the ground is <mask>' "Hobgoblinscope," in which ghosts, phantoms, and goblins appear and disappear, and sing and dance in such a way as to puzzle the auditors to distinguish between illusion, and bodily impersonation."The Victorian Era Exhibition 1897

<mask> reached the pinnacle of his success in 1897 when he was invited by showman-entrepreneur, Imre Kiralfy, to exhibit at the Victorian Era Exhibition in London. His show that year was designed specifically to pay homage to Queen Victoria’s sixty year reign and it included a number of short plays, films of the Queen’s Jubilee Procession (filmed 22

masks:
Williams
Williams
Williams
Randall Williams
Williams


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 June 1897) and a tableau vivant representation of the Queen surrounded by flags of all nations. The exhibition guide billed the show as ‘Pepper’s Ghost,’ stating that “Mr. With the Celebration of High Pontifical Mass”: Birmingham 1888
Otto Brand, or the Murder of the Hull Fisher Boy: Hildethorpe, 1889
Maniac Lover, or the Bonnie Lass of Bridlington: Hildethorpe, 1889
The Bells, "as played by Henry Irving" (The Bells was a three-act play by Leopold Davis Lewis. Henry Irving was the British actor most commonly associated with the lead role): Boston May Fair 1895
The Colleen Bawn (based on a melodrama by Irish play-write Dion Boucicault): Boston May Fair 1895
Faith, Hope, and Charity: Boston May Fair 1895
Uncle Tom’s Cabin (accompanied by James Tipton's “Eva, A musically illustrated service compiled and arranged from Uncle Tom's Cabin"): 1896
Adrian the Betrayer: Victorian Era Exhibition, Earl's Court, London 1897

Ghost illusions were the mainstay of <mask>' show for a quarter of a century with the 'ghosts' making their final appearance at Nottingham Goose Fair in October 1897. The show travelled under various names over the years including The Great Hobgoblinscope (1872 - 1885); The Great Ghost Show (1881 - 1895); and <mask> Grand Electroscope and Mammoth Phantoscopical Exhibition (1896-1897). Cinematograph show
Travelling showmen played an important role in introducing the new medium of moving pictures to the British public in the late 1890s.In fact, the

masks:
Williams
Randall Williams


texts: speed at which the cinema took off in Britain was due, in large part, to the combined network of exhibitors (travelling showmen) and performance venues (the fairs and fairgrounds) that was already in place. <mask> was one of the first showmen to exhibit films on the fairgrounds. The first known reference to a cinematograph exhibition in his show was at Rotherham Statute Fair on 2 November 1896. It is likely, however, that he exhibited films two weeks earlier. <mask> referred to his first cinematograph as the "Electroscope" and, at Hull Fair in October that year, he had been advertising “The Electroscope and Living Pictures.”  The following month, he became the first showman to exhibit films at the World’s Fair, an indoor fair held each year over the Christmas holiday period at the Royal Agricultural Hall in London. <mask>'s next stop was the Valentine's Fair at King's Lynn, Norfolk in February 1897, where it was reported that "<mask>’ Cinematographe Pavilion did immense business." Haydon and Urry, Ltd.There is no record of the supplier of <mask>'s first cinematograph, but by early February 1897, he was using one supplied by Haydon and Urry, a London-based firm that produced cinematographs and films during the late 1890s. The company's involvement in the cinema trade was short-lived, but they are noted for supplying many of the first fairground exhibitors. <mask> was the first showman to use Haydon and Urry's cinematograph (The Eragraph) and his use of their machine

masks:
Williams
Williams
Williams
Randall Williams
Williams
Williams


texts: came about as a result of three contributing factors: - need, availability, and timing. In late 1896, Haydon and Urry were in the process of developing their own cinematograph. They had just moved their premises to 353 Upper Street, Islington, locating them directly across the street from the Royal Agricultural Hall where <mask> was exhibiting. In early February 1897, their new cinematograph was ready for market - just as <mask> had become in need of a new one. He had opened at the World’s Fair with a film exhibition, but the projector he was using (the Electroscope) had been condemned as a fire risk by London County officials.Outfitting <mask> was a major coup for Haydon and Urry and they applied for a patent for their cinematograph on 10 February 1897, just as the World’s Fair was coming to an  end and, just prior to <mask> opening at King’s Lynn at the start of the fairground season. The projector used by <mask> at Lynn would have been the firm’s earliest model and the same model he used throughout the summer at the Victorian Era Exhibition in Earl's Court, London. <mask> initially billed his cinematograph as The Electroscope, but after he upgraded to Haydon and Urry’s improved model in October, he began advertising it as The Biograph. <mask> was Haydon and Urry’s best known exhibitor, but their Eragraph projector was popular with other early film show proprietors including Harry Scard (of Wadbrook and Scard fame); Albert and George Biddall;  Alfred Reynold

masks: Williams Williams Williams Williams Williams Williams Williams


texts:
 (Reynold’s Waxworks Exhibition, Liverpool); John Cooper; George Aspland; Charles Thurston; George Lewis; James Crighton; James Norman; <mask>; Walter Lear (Lears’ Pierrot Minstrels); M. de Montel; Signor Ernest Polverini; Hamilton Brothers (diorama exhibition); John Sylvester (Sylvester’s Circus); and Mr. C. A. James (World’s Fair Wax-works, Dublin). Queen Victoria's diamond jubilee procession

<mask>' main draw in 1897 were films supplied by Haydon and Urry of Queen Victoria's Jubilee Procession on 22 June 1897. The company opened its own film production studio in April 1897  and the Jubilee films (a series of six films) were produced by James and Richard Monte, two brothers employed by the firm. The films were exhibited at the London Pavilion the same night they were filmed and are believed to have been the first footage of the Queen's procession to be seen by the public.A second copy of the films was dispatched by train to Liverpool where they were exhibited by the owners of Reynolds Waxworks and Variety Exhibition on Lime Street within 24 hours of the procession having taken place. Other films produced for Haydon & Urry by the Monte brothers included scenes of Henley Regatta, Lady Overboard, Turn out of Fire Brigade, The Bride's First Night, Twelve Months After, and the funeral procession of actor William Terriss. He organized several protests over the years against the railway companies over the rates they were charging travelling amusement caterers. He was

masks:
George Williams
Williams


texts: also one of a small group of showmen who met at the Black Lion Hotel in Salford in late 1890 to organize a protest against the Moveable Dwellings Bill. The proposed bill had been initiated by child welfare reformer, George Smith, and was described as “providing for the regulation of vans, vehicles and tents used as dwellings.” It’s real intent, however, was to enact legislation aimed at regulating and controlling the gypsy population and forcing itinerant parents to send their children to school. There were some commendable aspects to the bill, but the showmen believed that if the bill passed, it would restrict their ability to travel and pose a serious threat to their livelihoods. The showmen’s dispute with George Smith over the bill lasted another three years.Smith’s final attempt to regulate the itinerant population was a revised bill in 1894 for the “improvement of moveable dwellings,” but little became of it and Smith died less than a year later. The showmen’s opposition to the bill, however, left a lasting legacy. It helped shape a new alliance between the men and women who made a living with traveling amusements and led to them forming the United Kingdom Van Dwellers’ Protection Association at a meeting in Lord George Sanger's Amphitheatre in London on 12 February  1891. The new van dwellers association was the start of a new trade organization and it helped define those in the travelling amusement trade as a distinct group, socially and economically separate


texts:
 from other groups of travellers. The Van Dweller’s Protection Association was renamed the Showmen’s Guild in 1900 and is known today as the Showmen's Guild of Great Britain. <mask> was deeply involved in the Van Dweller’s Protection Association, both as a committee member and as one of the Vice Presidents for the Manchester Section. Death and legacy

<mask>' last show was at Freeman Street Market in Great Grimsby, Lincolnshire, where he died of typhoid fever on 14 November 1898.He was buried at Weaste Cemetery in Salford on 18 November with the funeral service being conducted by the Reverend Thomas Horne. <mask> was survived by his long-term partner, Annie Radford <mask>, daughters, Caroline and Annie, and sons, <mask>, Thomas, Eddie Albert, and George. He was predeceased by his first wife, Mary Ann Hough, who died in 1884. Following his death, <mask>' main bioscope was taken over by his daughter Carrie and new husband, Dick Monte (former Haydon and Urry employee). They continued to travel the show as the Randall Williams Cinematograph Show until 1913 when it was destroyed by fire at Thirsk, Yorkshire. <mask>' No. 2 show was taken over by his daughter and son-in-law, Annie and <mask>.They travelled with their bioscope until 1906. References
Footnotes

Sources
Acton, T.A. Gypsy politics and social change, pp. 106–120, London, 1974. Arthur, M.C.B. "The House of Williams", Merry Go Round, Vol. 2, No.8, pp. 5–12, May, 1943. Barnes, John. Beginnings of the Cinema in

masks:
Williams
Williams
Williams
Williams
Randall
Williams
Williams
Reuben Williams


texts:
 England 1894-1901, Vols. 1–5, Exeter, 1994-1998. Chanan, Michael. The Dream that Kicks: The Prehistory and Early Years of Cinema in Britain, London, 1980.Featherstone, Ann. The Journals of Sydney Race 1892-1900: A Provincial View of Popular Entertainment, London, 2007. Gashinski, Pauline. "Putting on the Ghost", Platform, Issue 87, February 2007, pp. 7–19, Tweedale. Gashinski, Pauline. "World’s Fair: Royal Agricultural Hall: The Cinematograph, 1896-1907", Platform, Issue 91, February 2008, pp.15–21, Tweedale. Gashinski, Pauline. Wanted,  A Few Useful People for the Ghost Business, Atikokan, 2011. Gifford, Denis. The British Film Catalogue, 1895-1985: A Reference Guide, London, 1986. Kiralfy, Imre. ‘Pepper’s Ghost,’ Victorian Era Exhibition Guide, Riddle & Couchman, London, 1897, p. 45
Peart, Stephen.The Picture House in East Anglia, Lavenham, Suffolk, 1980. Scrivens, Kevin and Smith, Stephen. The Travelling Cinematograph Show, Tweedale, 1999. Smith, George. I've been a gipsying, or, Rambles among our gipsies and their children in their tents and vans, Chilworth & London, 1883. Speight, George. "Professor Pepper’s Ghost", Theatre Notebook, Vol.43, No. 1, pp. 23–24, London, 1989. Theatre and Music Hall Committee papers re Royal Agricultural Hall 1880-1899 (ref. LCC/MIN/10,886) on file at London Metropolitan Archives. Wilkes, Peter. Fairground Heritage, Vol.1, Trent Valley, 1989. Wilkes, Peter. The Great Nottingham Goose Fair, Trent Valley, 1989. <mask>, Karen. "King


texts:
 of Showmen", Country Quest, Northwest Wales, 1988. <mask>, Ned. Birmingham Onion Fair, Wolverhampton, 2001.External links
Victorian Era Exhibition 1897 (catalogue)
Who's Who Victorian Cinema: Greorge Haydon and Frank Harvey Urry
National Fairground and Circus Archive: <mask> Collection
Biography: <mask> <mask> - Weaste Cemetery

1846 births
1898 deaths
Entertainers from

masks:
Williams
Monte Williams
Randall Kay
Williams


texts:
Colonel <mask> (2 September 1841 – 25 March 1918) was an Australian soldier and an ornithologist who documented the birds of Sri Lanka. Legge's hawk-eagle is named after him as is Legge's flowerpecker and Legges Tor, the second highest peak in Tasmania. Biography
<mask> was born at Cullenswood, Tasmania (then Van Diemen's Land). His father, <mask> had moved from Ireland to Tasmania in 1827 along with his sisters and was married to Eliza Graves (née de Lapenotierre). He was granted 1200 acres (486 ha) which he named "Cullenswood" after his home in Ireland. <mask> was sent to study at Bath after which he continued studies in France and Germany, picking up several languages before joining the Royal Military Academy, Woolwich. In 1862 he was commissioned into the Royal Artillery, serving first in Bath, England, and then in Melbourne for several years.From Melbourne his battery was transferred to Colombo, Ceylon, where he was stationed 1869–1877. He then took a staff appointment at Aberystwith, Cardiganshire, for five years. Subsequently, he moved back to Tasmania. He was involved in the defence of the River Derwent and setting up batteries to defend Hobart with new guns. With a recommendation from Sir Peter Scratchley he served for eleven years as Commandant of the Tasmanian Defence Forces, retiring as Lieutenant-Colonel from the Imperial service in 1883. He trained Tasmanian forces for the Second Boer War and organised in 1900, the reception for the Duke of Cornwall. He continued in service until 1904, when the forces were taken over by the Commonwealth.Legge had early shown great interest in the

masks:
William Vincent Legge
Legge
Robert Vincent Legge
William


texts:
 defences of the River Derwent, and for this and a recommendation by  he was offered the command of the forces in Tasmania. He took up his new command on 6 December 1883, retiring from the imperial service with the rank of lieutenant-colonel. In April–May Legge had completed the torpedo course on H.M.S. Vernon at Portsmouth, and with advice from Scratchley and General Hardinge Steward ordered the new breech-loading guns for the colony from the Elswick Works at Newcastle upon Tyne. During his command the forces were entirely reorganised and the batteries defending Hobart were completed and armed with several of the latest types of guns, but many of his other recommendations went unheeded. He was twice re-engaged before his appointment ended in June 1890 through government retrenchment. When Colonel A. T. Cox retired in 1898 the command was again offered to Legge.He trained Tasmanian contingents for the Boer war and was in charge of the reception of the Duke of Cornwall in 1900, and held his post until the forces were officially taken over by the Commonwealth in 1904. Scientific career
Colonel <mask> had a strong interest in ornithology. He spent his free time in Sri Lanka (then Ceylon) studying the birds of the region, a work started by Edgar Leopold Layard, which led to his authorship of History of the Birds of Ceylon, comprising two quarto-sized volumes, with coloured plates by Keulemans, published in three parts between 1878 and 1880 in London. The work consisted of over 1200 pages with 34 plates in colour; some woodcuts became the standard book on the subject due to their high quality. He was


texts:
 also the secretary of the Royal Asiatic Society in Colombo. Part of his collection of Ceylonese birds were presented by him to the Natural History Museum at South Kensington, and the remainder was given to the museum at Hobart. He also published short notes on the ornithology of Ceylon and later Tasmania.Legge was elected the founding President of the RAOU in 1901 and served various offices within it, notably on the Check-list Committee, until his death. He was also a Colonial Member of the British Ornithologists' Union, an Honorary Fellow of the American Ornithologists' Union, a fellow of the Royal Geographical Society and a member of the Zoological Society of London, the Linnean Society. He was also a founder and president of the Royal Australasian Ornithologists Union and vice-president of the Royal Society of Tasmania. The highest point on the Ben Lomond plateau is named Legges Tor to honour his survey of the region. He served on the biological consultation committee of the Australasian Association for the Advancement of Science, acting as vice-president in 1902 and president in 1904 at the conference in Dunedin. His works included contributions to the sixth report of the committee, a "List of Vernacular Names for Australian Birds" in 1898. Family
On 1 December 1867 Legge married Frances Anne Talbot, née Gray, who died in 1914.She was a widowed daughter of Major W. Gray of Avoca, Tasmania. On 3 August 1916 he married again, to Kathleen Louisa Douglas, a daughter of Hobart postmaster-general Arthur Cunningham Douglas (1840 – 5 February 1888) and sister of Vivienne Douglas, who married mine


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 manager R. M. Murray. He died at Cullenswood on 25 March 1918 at the age of 76, survived by his wife and two sons from his first marriage. See also
 Walk to the West

Notes

References

 Anon. (1918). Obituary Notices: Legge. Emu 18: 77–79.Robin, Libby. (2001). The Flight of the Emu: a hundred years of Australian ornithology 1901–2001. Carlton, Vic. Melbourne University Press. Lord, Murray (2007). Pioneers of Asian Ornithology: Colonel W<mask> <mask>.BirdingASIA 8: 84–89. Additional sources listed by the Australian Dictionary of Biography:
Cyclopedia of Tasmania, vol 1 (Hob, 1900)
P. L. Brown (ed), Clyde Company Papers, vol 1 (Lond, 1941)
Votes and Proceedings (House of Assembly, Tasmania), 1884 (162), 1887 (89)
L. F. Giblin and E. L. Piesse, ‘The Ben Lomond Range. Note on the height of the Legge Tor’, Royal Society of Tasmania, Papers, 1907
‘Obituary’, Royal Society of Tasmania, Papers, 1918
The Mercury, 16 August 1916, 27 March 1918, 12 August 1927
Examiner (Launceston), 27 March 1918. External links

A History of the Birds of Ceylon (1878) Volume 1 Volume 2
History of Cullenswood

Australian ornithologists
Graduates of the Royal Military Academy, Woolwich
1841 births
1918 deaths
People from

masks:
. Vincent
Legge


texts:
<mask> (; born 9 July 1956) is a Russian Napoleonic era historian and convicted murderer. He is a Candidate of Historical Sciences and was a Docent of the Department of Modern History, Faculty of History of Saint Petersburg State University. His scientific and social activities were acknowledged by the Legion of Honour (Chevalier) in 2003. In November 2019, he murdered, then subsequently dismembered and decapitated his 24-year-old mistress and former student Anastasia Yeshchenko. In December 2020, he was found guilty of intentional murder and sentenced to 12.5 years in high-security prison. Biography

<mask> was born on 9 July 1956 in Leningrad (present-day Saint Petersburg), Russian SFSR, Soviet Union. In 1979, he graduated with a specialist degree in physics and engineering from the Faculty of Physics and Mechanics of the Leningrad Polytechnic Institute.In 1984, he graduated with honors from the Department of Modern and Contemporary History,  of Leningrad State University. In 1991, under the supervision of Professor , a Doctor of Historical Sciences, he defended his dissertation at St. Petersburg State University for the degree of Candidate of Historical Sciences on the topic of The Officer Corps of the French Army Under the Ancien Régime and During the Revolution of 1789–1799 (speciality 07.00.03 –

masks:
Oleg Valeryevich Sokolov
Oleg Sokolov