Tim Crouch

Tim Crouch (born 1964) is an experimental theatre maker: an actor, writer and director. His plays include My Arm, An Oak Tree, ENGLAND and The Author. These take various forms, but all reject theatrical conventions, especially realism, and invite the audience to help create the work. Interviewed in 2007, Crouch said, ‘Theatre in its purest form is a conceptual artform. It doesn’t need sets, costumes and props, but exists inside an audience’s head.’

Stephen Bottoms, Professor of Contemporary Theatre & Performance at the University of Manchester, has written that Crouch's plays 'make up one of the most important bodies of English-language playwriting to have emerged so far in the twenty-first century....I can think of no other contemporary playwright who has asked such a compelling set of questions about theatrical form, narrative content and spectatorial engagement.'

Holly Williams, writing in The Independent in June 2014, says, 'Crouch has built a name for himself as one of British drama's great innovators, with plays that have disturbed and challenged the passive theatrical experience.'<ref name="Holy Williams">Holly Williams, https://www.independent.co.uk/arts-entertainment/theatre-dance/features/adler--gibb-is-this-the-real-life-is-this-just-fantasy-9499901.html ’, The Independent', 8 June 2014</ref>

Acting
Crouch, originally from Bognor Regis, did a BA in Drama at Bristol University and a postgraduate acting diploma at the Central School of Speech and Drama. While still at Bristol, he co-founded the theatre company, Public Parts, with his wife, the director and writer, Julia Crouch (aka Limer/Collins). They worked on eight devised productions, which were performed in 'all sorts of venues - from caves in Gloucestershire, to prisons, schools, and major national theatres like the Bristol Old Vic, West Yorkshire Playhouse and the Bush in London'. Public Parts shows included an adaptation of Ford Madox Ford's The Good Soldier,  and The Marvelous Boy, about the poet Thomas Chatterton. As an actor, Crouch also performed in a number of plays for the Franklin Stage Company, New York, and the National Theatre, London, where he was an Education Associate.

My Arm
Crouch wrote his first play, My Arm, as a reaction to his increasing frustration with contemporary theatre, in particular 'its adherence to notions of psychological and figurative realism and its apparent neglect of the audience in its processes.' He told The Scotsman, 'I gave myself two years to try to make a piece of work, never having written anything before, and over a course of five days in 2002 I wrote My Arm. I wrote it almost without thinking. Looking back on it, I can see I was writing about all the frustrations I had been experiencing.'My Arm tells the story of a boy who, out of sheer bloody-mindedness, puts his arm in the air and keeps it there for thirty years. In the process, he becomes a celebrated medical specimen and an icon of the New York art scene. In his introduction to the published play, Crouch wrote, 'The boy's action is more meaningful to others than to himself. His arm becomes the ultimate inanimate object onto which others project their own symbols and meanings.'

This theme of projecting meaning is reflected in the staging. Crouch invites audience members to lend personal possessions, such as keys, jewellery, mobile phones and photos, which are then cast as 'actors', shown on a live video feed. Professor Stephen Bottoms describes the effect of this: 'The lack of physical resemblance between the presented objects and the things they are made to represent creates a sense of humorous incongruity, but also allows the audience to bring in personal associations of their own. I recall, in one performance, being strangely moved by seeing a pencil case and a can of body spray bullying the Action Man doll which always stands in as the young 'Tim'. Precisely by not showing us what the bullies 'really' looked like, or having actors 'emote' their aggression, Crouch allowed me to fill in my own responsive associations with the scene described.'My Arm, co-directed by Crouch, Karl James and Hettie McDonald, opened to universal acclaim  at the Traverse Theatre as part of the Edinburgh Festival in 2003. It was later adapted for BBC Radio 3, winning a 2006 Prix Italia for Best Adaptation in the Radio Drama category.

Crouch has described My Arm as 'the mothership' of his later plays, which all reference it in some way. He told Catherine Love that his 2014 play, Adler and Gibb, was 'a very much bigger and more complex version of My Arm'An Oak Tree
The themes of My Arm, of projection and transformation, were developed in Crouch's second play, An Oak Tree. This takes its name from Michael Craig-Martin's 1973 work An Oak Tree in which the artist asks us to suppose that a glass of water has become a tree. Crouch's play shows us an encounter between a stage hypnotist and a grieving father, Andy, whose daughter has been run over and killed by the hypnotist. The father, who believes that he has transformed a tree into his dead daughter, comes to see the hypnotist hoping that he can provide some answers.

While the hypnotist is played by Crouch, the father is always played by a different actor, male or female, old or young. This second actor, who knows nothing about the play before going on stage, is guided through the performance by Crouch using spoken instructions and pages of script. The play was co-directed by Crouch's long-time collaborators, Karl James, and Andy Smith, the poet and performance artist known as 'a smith', who Crouch originally asked to play the father. Smith suggested, 'Why don't you get a different actor to play the father each time?'.An Oak Tree opened at the Traverse Theatre, in the 2005 Edinburgh Festival, where it had a sell-out run and won a Herald Angel award. International tours followed, including a three-month run at the Barrow Theatre in New York, where it won a special citation OBIE award. To date, over 300 actors have appeared as the father in the play, including Mike Myers, Christopher Eccleston, Frances McDormand, F Murray Abraham, James Wilby, Laurie Anderson, Toby Jones, Mark Ravenhill, Geoffrey Rush, Tracy-Ann Oberman, David Morrissey, Saskia Reeves, Hugh Bonneville, Peter Gallagher, Juliet Aubrey, Paterson Joseph, Janet McTeer, Alan Cumming, Alanis Morissette, Samuel West, Samuel Barnett and Patrick Marber.

In 2005, Crouch described his own experience of performing with a different actor each time: 'Every single father has been as different as every person is different....Maybe some have acted too much and some have not acted at all. At times, they've each done exactly what I thought I didn't want them to do. But, in so doing, they are each and every one a revelation. They have done the play in their own way. It will never be exactly how I want it - and thank God for that.'

Lyn Gardner reviewed a performance in which the father was played by Sophie Okonedo: 'Watching her, never for a moment do you forget that she is a woman, and Crouch cannily ensures with his stream of stage directions that you never can forget that she is an actor. Nonetheless, as the evening wears on, neither do you doubt that she is a middle-aged man. She looks the same, but she is different.'

In 2015, on the play's tenth anniversary, Crouch revived An Oak Tree for a June–July run at the National Theatre, London, followed by a return to the Traverse Theatre, as part of the Edinburgh Fringe Festival.

In 2019, The Independent included An Oak Tree in its list of 'The 40 best plays to read before you die.'

ENGLAND
In Crouch's next play, ENGLAND, he performed with Hannah Ringham, co-founder of the London Shunt theatre collective. Like My Arm, ENGLAND deals with the world of contemporary art, and was written to be staged in white-walled art galleries. As guides, Crouch and Ringham welcome the audience into the gallery, leading them around the exhibition. In the first half, they share a duologue in which they play a character of undisclosed gender, whose boyfriend is a wealthy art dealer and who is in desperate need of a heart transplant. The play uses ambient sound, designed by Dan Jones, to convey the rhythm of the failing heart. In the second half, the character travels to an unnamed Middle Eastern country to thank the widow of the heart donor with a gift of a valuable painting. The widow, who believes that her husband has been murdered for his heart, is not grateful.

Crouch describes the play as 'the story of one thing placed inside another: a heart inside another person's body, a culture inside another country's culture, theatre inside a gallery, a character inside an actor, a play inside its audience'. Lyn Gardner saw it as 'an endlessly thoughtful piece which artfully challenges a globalised world where everything is for sale, and questions the value we put on art and on human life.' In August 2007, the play opened at the Fruitmarket Gallery, Edinburgh, where it won a Total Theatre award, a Fringe First and a Herald Archangel. Since then, ENGLAND has been performed in galleries across the UK and USA and also visited Oslo, Lisbon, Quebec, Madrid, Dublin, Wiesbaden, Melbourne, Singapore, Vancouver, Hong Kong, Budapest and Tehran.

The Author
Crouch's fourth adult play, The Author, was commissioned by the Royal Court Theatre, London, and first performed there in 2009. In the 1990s, the Court had become known for what the critic Aleks Sierz has named In-yer-face theatre, featuring depictions of extreme violence. This made it the perfect setting for an examination of the effects of creating and watching representations of violence. Crouch explained his intentions in an article: 'The Author is a play about what it is to be a spectator and about our responsibilities as spectators. It explores the connection between what we see and what we do. I feel strongly that we have lost a thread of responsibility for what we choose to look at.'

In the play, Crouch plays 'Tim Crouch' an in-yer-face playwright who has written an abusive play, which has a destructive effect on everyone involved in it, from the author to the actors and audience. Crouch removed the stage, placing the audience on two banks of seats facing each other, where they watch each other watching the play. Four actors were placed among the audience, telling the story of the abusive play. The original cast had Vic Llewllyn and Esther Smith as the actors, and Adrian Howells as the audience member. When The Author transferred to the Traverse for the Edinburgh Festival, Adrian Howells' role was taken by Chris Goode. In 2011, the play, with the same cast, was performed in the Kirk Douglas Theatre in Los Angeles.The Author divided critics  and audiences, and there were many walk-outs. The play itself invited this reaction, including a staged walk-out early on in the action.

Writing in the Guardian in 2011, Crouch described the varied responses audiences gave the play, in Britain and in the USA: 'This is a play during which audience members have read newspapers and novels, built paper aeroplanes, performed Mexican waves, sung happy birthday to one of their own, recited poetry, slow hand-clapped, physically threatened actors, hummed out loud with their fingers in their ears, muttered obscenities, shouted actors down, and thrown copies of the text at the playwright. This is a play where 10% of the audience has been known to leave during a performance – each walkout a mini drama in the unfolding narrative of the event. This is a play where the absence of applause at the end has sometimes felt like a blessing and sometimes like eternal damnation. This is a play during which an audience member once passed out; the actors insisted again and again it was not part of the performance, but everyone in the space assumed it was – including the ushers.'

what happens to the hope at the end of the evening
In 2013, the London Almeida Theatre commissioned what happens to the hope at the end of the evening, written and performed by Crouch and Andy Smith (a smith) and directed by Karl James. The play tells the story of an uncomfortable Saturday night reunion between two friends who have grown apart. Their opposition is reflected in their contrasting performance styles. While smith sits at a lectern, reading the script, acknowledging the presence of the audience, Crouch attempts to create a realistic play, with a fourth wall, even bringing his own set on stage.

Describing the play to Exeunt magazine, Crouch said, 'Andy sits at the side of the stage and introduces himself and ostensibly he tells his own story. And playing opposite that is a fictionalised, identifiable other character, who kind of inhabits the other sort of form, the other sort of world. He's a character who attempts to make sense of the world by being physically present in it rather than sitting at the side of it and watching it – by being physically present in a world that he is working very hard to generate on this stage. The push and the pull is between those two worlds....My character is active – politically active, sexually active, physically active. Andy's character in this play is inactive or reflective.'.

Simon Holton reviewed the play for A Younger Theatre: 'One of the central concerns of the piece is absence and presence, the space of the theatre and the simple act of being together in that space — what it means, and what it can do. The message of hope rings out loud and clear without ever being preachy or dogmatic. Wonderful, original, powerful theatre.'.

Crouch and smith took the play to Edinburgh, where it ran at the Drill Hall Studio for the Forest Fringe, from 18–24 August 2013. Joyce McMillan reviewed the play in The Scotsman: 'As the friend – in a terrific performance from Crouch – rages and sulks and drinks and becomes increasingly, aggressively nervous of the gang of local kids hanging around outside, it gradually becomes apparent – in this brilliant piece of collaborative writing by two master makers – that the dysfunction is not all on one side.

Andy, in his chair, constantly avoids his friend's gaze, preferring to address the audience about the theoretical value of theatre in bringing people together. He has succumbed to what sounds like a suffocating domesticity with his Norwegian wife and little daughter, constantly asking his friend to remove his shoes (we all remove our shoes) and not to smoke in the house. There's something vital about male middle age here, something about north and south, something about the smugness of contentment, and the activist value of honest misery. And something about theatre, too, if only because at the end of 70 minutes, the two are still there, still talking, still in the same space, as they might not have been if Tim and Andy hadn’t decided to make a show about them.'

Adler and Gibb
Crouch's next play, Adler and Gibb, premiered at the Royal Court Theatre on 19 June 2014. Describing it in a promotional video for the Royal Court, Crouch said, 'The story of this play operates on lots of different levels. There's a roller coaster modern-day story about two young people arriving at a derelict house in the middle of nowhere. Classic Scooby-Doo terrain really. And there's a huge amount of backstory around a couple of conceptual artists from New York in the 80s and 90s. At the end of the century, they leave New York and they take up residence in this house, and then ten years after that these young people arrive. So there are elements of a thriller, I suppose, but there are lots of ideas as well around appropriation and authenticity and legacy, and the drive that we have to own anything and everything and everyone.'

The play, co-directed again by Crouch, James and Smith, saw their most ambitious formal experiments to date. The acting style changed throughout the play, which began with abstraction, as the actors faced front, saying their lines without gestures, accents or actions. They then moved through more dimensional performances to full realism in the second half. Crouch described this as 'a tide of realism, this play – it begins low tide and it goes full high tide, in story and form.' Naturalism was further undercut by the presence of two children on stage, building an earth barrow and introducing absurd props. Crouch explained, 'It's a pricking of that absurd structure that we’ve built around us in terms of representation: kids are just so free from that. The child actor – a child, pretending to be another child – is kind of stupid. There are these things that disturb naturalism, like animals, like children, like guns, like nudity: as soon as Ian McKellen gets his wanger out in King Lear, King Lear stops for a bit.'

The play was deliberately challenging to audiences. Beccy Smith recorded one audience reaction in her Total Theatre review: 'I don’t want to have to work this hard', complains one man behind me during the interval, 'I come here to be entertained!' Michael Billington in The Guardian described it as 'a show that defies storytelling convention: the fact is that, for much of the first half, we don't understand what is going on.' He concluded, 'I found myself growing into the piece, while feeling that the playfully experimental form dominated the intriguing content.'

Andrzej Lukowski in Time Out wrote, 'The lunatic has been given the keys to the asylum: with his new work ‘Adler & Gibb’, mischievous metatheatrical theatre maker Tim Crouch comes in from the outer edges to stage a first work on the Royal Court's storied main stage. The step up in scale isn’t stumble-free. But at its best, this hilarious, harrowing and maddening interrogation of the value of art explodes with fearless intent and piercing intelligence.'

The most enthusiastic review came from the independent critic, Matt Trueman, who wrote, 'It’s gripping: a full-throttle, partners-in-crime road movie of sorts, splashed with Tarantino-esque swagger and post-Kerouac cool....Adler and Gibb is enormous....It encompasses a whole load of things – and those things feel absolutely current. Crouch is grappling – really grappling – with what it means to exist now, in 2014, with our virtual reality, surrounded by signs and simulacra, with the past regurgitated as reference and retro. Where is truth in all this? Where does art stop and reality begin? Where is life?'

At the Royal Court, the cast comprised Amelda Brown (Gibb), Brian Ferguson (Sam), Denise Gough (Louise) and Rachel Redford (the Student).  A simplified production played at Summerhall during the Edinburgh Festival in 2016, and then went to the Unicorn Theatre London and, in 2017, to the Kirk Douglas Theatre Los Angeles. The cast comprised Gina Moxley (Gibb), Cath Whitefield (Louise), Mark Edel-Hunt (Sam) and Jillian Pullara (the student). Crouch took over the role of Sam for the Los Angeles production. Charles McNulty in the LA Times described the play as'a kind of avant-garde-by-numbers production that leaves out what has distinguished Crouch's work in the past — the bold interrogation of the audience's role in the theatrical event.'

Total Immediate Collective Imminent Terrestrial Salvation
Crouch's 2019 play, Total Immediate Collective Imminent Terrestrial Salvation, premiered at that year's Edinburgh International Festival followed by a run at the Royal Court. Alex Wood described the play in WhatsOnStage:'We sit, a two row-deep circle, while ornate green hard-backed books containing the script are given out. The show begins, actors appear and the audience is invited to read along and contribute, turning pages in tandem, tackling Tim Crouch's lines and taking on roles as and when required. It's a Bible studies class – the text is revered, poured over (sic). The loosely sketched story, about the final hour of a South American apocalypse-anticipating cult and its leader Miles, is an initial entry point for Crouch's new metatheatrical merrymaking show. It's a neat comparison – watching theatre is, after all, a cult-like experience; a story has to exist with a parish of punters. We watch various members of the audience stand up and join the actors, the plot gradually coming into focus....There are some striking similarities with previous Crouch work – especially An Oak Tree, which also used the loss of a family member to interrogate what it means to perform and the various, eccentric ways that grief can manifest itself. But this piece feels less emotionally intimate and more playfully communal – you can almost sense Crouch's joy at having members of the public entering his space.'

Plays for Children
Alongside his adult theatre, Crouch has written several plays for young audiences. In 2018, he told Theatre Weekly, 'Children are experiencing theatre all the time.  In their homes, their playgrounds, their schools. The organisation of narrative and imaginative play is as important to a child's game as it is to a playwright. Children are natural dramatists in their play. They structure and create character. I think It's vital that a child sees their process repeated back to them by the adults – and with the formal validation of the broader culture. To understand that adults also engage in imaginative play and story-telling.'

Shopping for Shoes
Crouch's first children's play was Shopping for Shoes, commissioned in 2003 by The Education Department of the National Theatre. The play is a romantic comedy exploring the power of the logo and how hard it is to resist. Siobhan McCluskey, a politically aware 13-year-old vegetarian, has a crush on fellow pupil, Shaun Holmes, who only cares about his Nike Air Jordans. They are brought together following a chance encounter with some dog dirt and a trip to a bowling alley. Crouch performs the piece using a platform tilted towards the audience, on which he places pairs of shoes representing the characters. 'The shoes are never animated like conventional puppets, but each is given time, space and sometimes sound to assert itself.' So Siobhan's dad, Keith, is represented by 'Terrible sandals and jaunty whistling.' Shopping For Shoes was first performed at St Ursula's School, Greenwich, on 18 June 2003. It then toured schools across the UK, winning the 2007 Arts Council Brian Way Award.

Fairy, Monster, Ghost
For Brighton Festival, Crouch has written three monologues: I, Caliban (2003), I, Peaseblossom (2004) and I, Banquo (2005), later performed together as the Fairy, Monster, Ghost trilogy. The plays introduce Shakespeare's plays to young audiences by retelling the stories from the viewpoints of minor characters.

In I, Caliban, Crouch is the monster from The Tempest, left alone on the island after all the characters have departed, with one last bottle of wine, and still missing his mum. Caliban introduces himself to the audience: 'You're thinking, what an ugly man...Well, YOU'D BE UGLY IF YOU HAD A LIFE LIKE MINE.' In I, Peaseblossom, he is the innocent child fairy from A Midsummer Night's Dream, a character who only gets one line in Shakespeare's play. I, Banquo is a darker play, for teenagers, narrated by the murdered best friend of Macbeth. Crouch appears on stage 'accompanied by a heavy-metal-guitar-playing 13 year old Fleance, a severed head and 32 litres of blood'

I, Malvolio
Crouch's fourth Shakespeare adaptation, I, Malvolio, was also written for teenagers, a co-commission by Brighton Festival and Singapore Arts Festival, where it was shown in 2010. It went on to have a huge success with adult audiences at the Traverse in the 2011 Edinburgh Festival. Like Crouch's previous play,The Author, I, Malvolio is a play about what it is to be a spectator and about our responsibilities as spectators.  In a performance close to standup comedy, Crouch appears as the pompous, theatre-despising, puritan steward from Twelfth Night, following his humiliation at the end of that play. Wearing stained long-johns and crumpled yellow stockings, he berates the audience: 'Look at you. Sitting there with your bellies full of pop and pickled herring. Laughing at me. Go on. Laugh at the funny man. Laugh. Make the funny man cry.' His response to the audience's laughter is a recurring cry of 'You find that kind of thing funny?'

Joyce McMillan, reviewing I, Malvolio in the Scotsman, wrote, 'There's never anything less than fully adult about this searing deconstruction of the conflict between Malvolio and – well, who? Not only the other characters, it seems, but us, the audience of relentless good-time boys and girls, laughing at Malvolio's humiliation, mocking the brief hope of love he enjoys.'

I, Cinna (The Poet)

As part of the 2012 World Shakespeare Festival, the Royal Shakespeare Company commissioned Crouch to write and direct a companion piece to Gregory Doran's production of Julius Caesar. In I, Cinna (The Poet), Jude Owusu played Cinna, the poet killed by the mob after being mistaken for a conspirator in Shakespeare's play. In Crouch's play, Cinna asks his young audience to 'consider the relationship between words and actions, art and politics, self and society. During the performance he asks us to write alongside him: a small poem on a big theme.'

In a 2020 revival, directed by Naomi Wirthner at the Unicorn Theatre London, Crouch played Cinna. Interviewed by Catherine Greenwood, he talked about how the play had taken on new meanings since the first run: '2012 was the year after the riots in London so there was a connection to that in the original production. But the riots feel piecemeal, small scale, compared to what's happening globally now. And the idea of a country being led by a dictator who's manipulating language – welcome to the world!...Words at the moment are really complex, slippery, things politically. In 2012, we were infants in that world, and now we're horrified teenagers going, Can words really have that effect? People can lie, using the right words, they lie and everyone just accepts them. And that is also in Shakespeare's Julius Caesar; Mark Antony turns the whole course of history with his use of language.'

In her review in The Stage, Sally Hales wrote that 'Crouch weaves a rich tapestry of meaning that encompasses revolution, republicanism, democracy, the power of the written word, freedom and personal responsibility in a digital age....Lily Arnold’s set is backed by a large swathe of crumpled paper on to which Will Monks’ violent video imagery of riots flash up during startling moments accompanied by Owen Crouch’s soundscape, bursting from near-silence into pulsating, insistent beats. This, along with Crouch’s enthralling storytelling, combines to give the show a relentless sense of urgency.'

Melinda Haunton, on the View from the Cheap Seat site, wrote, 'It’s a tribute to how successful this show is as creative inspiration that a sticky press night audience of adults and critics scribbled without stopping.' Eve Allin, in Exeunt magazine, responded to Crouch's poetic challenge by writing her review of the show 'in sonnets and haikus and couplets.'

Kasper the Wild
As well as writing for youth audiences, Crouch writes plays to be performed by young actors. In 2006, he was commissioned by the Playhouse (a scheme run by Plymouth Theatre Royal, York Theatre Royal and Polka Theatre) to write a play to be performed by primary school children. Kaspar the Wild, inspired by Kaspar Hauser, is a story about the mystery wild boy, found wandering wearing scruffy clothes and trainers, who joins Year Six classmates in a sleepy village school. The play, performed by children in chorus, is written in verse: 'What do we do with a boy so deprived/ Who refuses to learn or to grow or to thrive?/ WHAT DO WE DO?/ We send him to school, that's what we do.'

One girl performer, interviewed for the trailer for a 2011 production in Plymouth, said, 'The play is cool because the narrators say things like 'What do you think?' And most plays they tell you what to think. Plus it rhymes, which is really cool.'

John, Antonio and NancyJohn, Antonio and Nancy is a 2010 play for three young teen actors, commissioned by the Royal Court Theatre as part of Rough Cuts. The play was directed by Maria Aberg and performed by Couch's son, Joey, Ella Campbell and Kieran Mulligan. It premiered at Theatre Local, Elephant & Castle, and also played the Nightingale Theatre, Brighton, as part of Brighton Fringe 2011. The performers, wearing red, blue and yellow ties, play John Brown, Antonio Clegg, and Nancy Cameron, the children of the three party leaders in the 2010 UK election. In the play, Crouch deconstructs the language used in the televised debates by placing quotations from the leaders in the mouths of their children. So Gordon Brown's 'Only last week, I met a widow in Portsmouth' becomes, in the mouth of his son, 'Only last week, my father met a widow in Portsmouth'. The cumulative effect of the statements is comic, 'highlighting the absurdity of ’media friendly’ language'.

Beginners
In 2018, Crouch wrote Beginners, a play performed by and for children and adults. It 'tells the story of three families trapped in a waterlogged holiday cottage over summer. The children are bored. The adults are down the pub. So far so normal.' Crouch told the Evening Standard, 'I wrote it because my children have grown up. I love the adults they’ve become but I miss the children they were. I sometimes think I see the children that they were in the adults they’ve become and that makes me inordinately happy and also inconsolably sad.'

The play, directed by Crouch, was first performed at London's Unicorn Theatre in March 2018. The cast comprised five adult actors (Pandora Colin, Rob Das, Jacqui Dubois, Neil D'Souza and Amalia Vitale) playing the children, their parents and a dog. The children were also embodied by four young actors, with roles shared by Atinuke Akinrinade, Ethan Dattani, Nekisha Eric, Rowan Davies-Moore, Archie MacGregor, Ella Scott, Emilija Trajkovic and Milan Verma. Beginners was designed by Chloe Lamford and Camilla Clarke with music by Nick Powell

Miriam Gillinson, in Time Out, described the play as 'a properly grown-up piece of children's theatre that reaches across the generations....Crouch likes to tease his audience...test our senses and generally mess with our heads. The real thrill here is that Crouch applies these exact same methods to his family show and pulls it off brilliantly....The stage is gradually given over to the four talented young actors...Their hopes and dreams fill the space...and we realise these are really our hopes and dreams, only fresher and freer.' Maddy Costa, in Exeunt, described Beginners as 'complex and nuanced, slippery and sly, frequently hilarious, densely poetic, often bewildering to my children, but pleasingly a challenge to their powers of deduction.' Lyn Gardner, in The Guardian, wrote that the play 'operates like a mischievous yet emotionally textured murder mystery, but one without a body. It investigates instead how childhood gets killed....The pleasure in Crouch's increasingly funny play is in the way that...he gradually enlarges the metaphysical and physical space. Watching it – and the play within the play that the children stage – we expand our belief in what's possible and how we can overcome what life throws at us.' However, The Evening Standard critic, Fiona Mountford, 'constantly struggled to work out whether the characters we were watching were adults or children.'

Collaborations
As an experimental theatremaker, Crouch enjoys collaborating with other companies and art forms. May is a 2011 collaboration between Crouch and the Probe dance company, performed by the dancers Antonia Gove and Ben Duke with music by Scott Smith. Crouch provided text about May, a beautiful girl who self-harms, and Gregory, her shy boyfriend. Jake Orr reviewed the piece: 'The overall effect is of a tenderness that meets and crashes into chaos. Crouch's dialogue is unhinged by the characters’ inability to express themselves, which then gets explored through dance.'

In 2012, Crouch was invited by the Dutch theatre company Kassys to collaborate, along with the Nature Theatre of Oklahoma] and Nicole Beutler in Cadavre Exquis,  a project inspired by the Surrealist parlour game, Exquisite Corpse. A Cadavre Exquis is a poem (or a drawing) written by several poets, without knowing what the others have written. 'The first writer writes a line of poetry on a piece of paper. Then he folds the paper in such a way that only the last word is visible. The second writer continues.' The rules set out for the theatre project were that 'Each director makes a part that is maximum 15 minutes. As a starting point each director only sees the last 60 seconds of the previous part. Each director brings in one performer.'. Crouch, who brought Hannah Ringham, from ENGLAND, as his performer, wrote, 'Cadavre Exquis magnifies the process of the here and now. It throws us into the arms of a response, which feels like the most productive way to work. The project also elevates its audience by not being in full control of itself. By quartering the traditional unity of intent, the theatre makers become as associative as the audience.'

Don't Forget the Driver
In 2019, Crouch collaborated with Toby Jones, writing Don't Forget the Driver, a six-part comedy series for the BBC. Set in Bognor Regis, the series tells 'the story of coach driver and single dad Peter Green (Jones). His is a life of ordinary routine; clip on ties, limp packed lunches, vehicle checks, round-trip coach journeys ferrying church groups to donkey sanctuaries and Japanese tourists to Canterbury Cathedral.' Crouch described the series as 'a love-song to Bognor. It’s where I come from and it’s a lot of who I am....The series is about a moment when a seemingly small life interacts with the wider world. Bognor sits on the edge of England - facing out towards Europe. I’ve known it since the sixties and it's changed with the times. A migrant population has enriched its culture....The modern world has arrived and yet Bognor still has the unmistakeable air of a seaside town holding onto its traditional values. It’s like two rivers joining - a sometimes mis-remembered past and an unknown future. Bognor has become a good place to explore many of the themes of national identity that are gripping our country.'

Influence
Crouch's plays have been translated into many other languages, and there have been productions of them in Italy, France, Portugal, Poland, Czech Republic, Germany, Brazil, Canada, Australia, the US and South Korea. The plays are set texts in schools and drama colleges, and a new generation of 'Crouchian' experimental theatremakers is emerging. Little Bulb and Made in China are two companies who have cited Crouch as an influence. Chris Goode and A Smith, who have both worked with Crouch, and Michael Pinchbeck also explore similar areas of metatheatre.

Directing
Crouch also works as on occasional director. For the Royal Shakespeare Company, in Stratford, he has directed productions of The Taming of the Shrew, in 2011, King Lear and his own play I, Cinna (the Poet), both in 2012. In February 2016, he directed Gary Owen's play for children, Jeramee, Hartleby and Ooglemore, at the Unicorn Theatre, London.

In 2016, Crouch adapted and directed The Complete Deaths by Spymonkey, in which all 75 onstage deaths in Shakespeare's plays were performed. After previews at the Royal & Derngate in Northampton, The Complete Deaths premiered in May at the Theatre Royal Brighton as part of the Brighton Festival. Reviewing the show in The Stage, Natasha Tripney wrote,'The pairing of Spymonkey with director Tim Crouch turns out to be inspired. The show contains moments of physical brilliance but also some equally entertaining repurposing of live art tropes....The best moments are when it manages to feel both like a Spymonkey show and a Tim Crouch production at the same time, a bloody marriage of slapstick and something more probing about the staging of death: the extinguishing of life and light. But it never entirely removes its tongue from its cheek; the production's main aim is to make its audience laugh, which it does, often. We laugh with them at death.'

Dramatugy of Liberating Constrictions
In an interview to Duška Radosavljević, Tim Crouch has spoken about the significance of 'liberating constrictions' for his creative process:

'If you have a good restriction, it is really easy: I have to make a play that will contain an actor who doesn’t know the play, and suddenly ideas start flooding about devices and models of imparting character.'

Unease
One of the recurring features of Crouch's work is the creation of uneasy moments for the audience. At one point in My Arm, the narrator, describing his earliest memory of an exercise in will power, says, 'For that moment, we have to go to the great silence of 1973.' Crouch follows this by holding a 'silence far longer than is bearable'. Similarly, at one point in An Oak Tree, Crouch leaves the second actor alone on stage for an uncomfortable length of time. Unease is taken to extremes in The Author, where audience members are given the freedom to walk out. In 2005, Crouch told the Herald Scotland, 'Unease is not an emotion I get often in the theatre and I like it. I'd rather have that visceral response to something than just sit through a piece of theatre that's been made by people who are making theatre.'

Published playsMy Arm (including I, Caliban and Shopping for Shoes), Faber & Faber, 2003An Oak Tree, Oberon Books, 2005ENGLAND, Oberon Books, 2007The Author, Oberon Books, 2009I, Shakespeare, Oberon Books, 2011Tim Crouch Plays One, Oberon Books, 2011I Cinna (The Poet), Oberon Books, 2012Adler and Gibb (including what happens to the hope at the end of the evening), Oberon Books, 2014Beginners'', Oberon Books, 2018

References

External links
Website of Tim Crouch Theatre
Tim Crouch's Guardian columns
RSC interview with Crouch, talking about directing King Lear

Category:1964 births
Category:Living people
Category:English dramatists and playwrights
Category:English male dramatists and playwrights
Category:Place of birth missing (living people)
Category:Alumni of the University of Bristol
Category:Alumni of the Royal Central School of Speech and Drama


Kurowo, West Pomeranian Voivodeship

Kurowo  (German Kurow) is a village in the administrative district of Gmina Bobolice, within Koszalin County, West Pomeranian Voivodeship, in north-western Poland. It lies approximately  north of Bobolice,  south-east of Koszalin, and  north-east of the regional capital Szczecin.

Before 1945 the area was part of Germany. For the history of the region, see History of Pomerania.

The village has a population of 380.

References

Kurowo


Robert Hugh Willan

Brigadier Robert Hugh Willan,  (6 September 1882 – 4 May 1960) was an officer in the British Army.

Willan was a lieutenant in the 4th (Militia) Battalion of the Oxfordshire Light Infantry when he received a commission as second lieutenant in The King's Royal Rifle Corps on 7 May 1902.

He served in the First World War and was awarded the Distinguished Service Order (DSO) in 1916 and the Military Cross (MC).

He was Commander of the 10th Infantry Brigade, 1934–38 and concurrently Aide-de-camp to Kings George V, Edward VIII and George VI.

He married Violet Crabbe, daughter of Brigadier General Eyre Crabbe. They had two sons: Martin Stuart Willan was killed in action during the fall of France in 1940; the other was (Frank) Andrew Willan, RAF officer and Tory local politician.

He died in 1960 and his funeral was held in Salisbury.

References

Category:1882 births
Category:1960 deaths
Category:British Army personnel of World War I
Category:British Army personnel of World War II
Category:British Militia officers
Category:Companions of the Distinguished Service Order
Category:King's Royal Rifle Corps officers
Category:Recipients of the Military Cross


Monardella lanceolata

Monardella lanceolata is a species of flowering plant in the mint family known by the common names mustang mint and mustang monardella. It is native to the mountains of California and Baja California, where it grows in chaparral, woodland, rocky slopes, and often disturbed habitat types.

Description
Monardella lanceolata is variable in appearance and sometimes divided into a number of indistinct varieties. In general, it is an annual herb producing a branching, purple stem with a coat of glandular hairs. The lance-shaped leaves are 3 or 4 centimeters long and oppositely arranged about the stem.

The inflorescence is a head of several flowers blooming in a cup of hairy, pointed, purple-tinged bracts. The flowers are purple in color and roughly 1.5 centimeters long.

External links
 Calflora Database: Monardella breweri ssp. lanceolata  (Mustang mint) — current classification of Monardella lanceolata.
Jepson Manual eFlora treatment of Monardella breweri ssp. lanceolata — current classification of Monardella lanceolata.
USDA Plants Profile: Monardella lanceolata
Monardella lanceolata - Photo gallery

lanceolata
Category:Flora of California
Category:Flora of Baja California
Category:Flora of the Sierra Nevada (U.S.)
Category:Natural history of the California chaparral and woodlands
Category:Natural history of the Peninsular Ranges
Category:Natural history of the Transverse Ranges


Garth Walford

Garth Neville Walford  (27 May 1882 – 26 April 1915) was an English recipient of the Victoria Cross, the highest and most prestigious award for gallantry in the face of the enemy that can be awarded to British and Commonwealth forces.

Walford was born to Colonel Neville Walford (Royal Artillery) and his wife at No 5, The Terrace in Camberley, which is now part of the Royal Military Academy Sandhurst. He was 32 years old and married to Elizabeth Walford.

Walford was a Captain in the Royal Field Artillery, British Army during the First World War, and was awarded a Victoria Cross for his actions on 26 April 1915 at the V Beach, Gallipoli, Turkey. After his senior officers had been killed, Walford and Charles Hotham Montagu Doughty-Wylie organised a successful attack targeted on the old fort at the top of the hill, although both men were killed in the battle.

Citation

Walford is buried in V Beach Cemetery.

References

Sources
 Monuments to Courage (David Harvey, 1999)
 The Register of the Victoria Cross (This England, 1997)
 VCs of the First World War - Gallipoli (Stephen Snelling, 1995)

Category:1882 births
Category:1915 deaths
Category:Royal Artillery officers
Category:British Army personnel of World War I
Category:British Gallipoli Campaign recipients of the Victoria Cross
Category:British military personnel killed in World War I
Category:People from Frimley
Category:People educated at Harrow School
Category:Alumni of Balliol College, Oxford
Category:British Army recipients of the Victoria Cross


Makin' Out (album)

Makin' Out is the third album by jazz pianist John Wright. The album was recorded in 1961 and released on the Prestige label.

Track listing
All compositions by John Wright except where noted
 "Makin' Out" (John Wright, Eddie Williams) – 4:54
 "Like Someone in Love" (Jimmy Van Heusen, Johnny Burke) – 4:31
 "Back in Jersey" (Wright, Williams) – 4:13
 "Sparkie" (Williams) – 4:37
 "*Soul Search" (Williams) – 4:33
 "It Could Happen to You" (Van Heusen, Burke) – 4:18
 "Street" – 3:14
 "Kitty" – 7:37

Personnel

Performance
John Wright - piano
Eddie "Cat-Eye" Williams – tenor saxophone
Wendell Marshall - bass
Roy Brooks - drums

Production
 Esmond Edwards – supervision
 Rudy Van Gelder – engineer

References

Category:John Wright (pianist) albums
Category:1961 albums
Category:Prestige Records albums
Category:Albums recorded at Van Gelder Studio
Category:Albums produced by Esmond Edwards


Sheridan Township, Sheridan County, Kansas

Sheridan Township is a township in Sheridan County, Kansas, United States. As of the 2010 Census, it had a population of 297. The city of Selden is located in Sheridan Township.

References

Category:Townships in Sheridan County, Kansas
Category:Townships in Kansas


Faisal Al-Essa

Faisal Al-Essa (Arabic: فيصل العيسى; born January 1, 1982), Saudi Arabian actor.

Works

Series TV
Tash ma Tash
Shabbab Albomb (2012-) (SaudiTV, Rotana Khalijiah)
Diary Rashid (2003)

Plays
potato killing competition succ (2019)
shalalna al dawori (2015)
POU Clan Tryouts (2018)

Programs
Sawalef (2009)
The Cube (2010)

References

Category:1982 births
Category:Living people
Category:Saudi Arabian male television actors


Abdelhamid Zerrifi

Abdelhamid Zerrifi (born 20 June 1986) is an Algerian athlete specialising in the 3000 metres steeplechase. He represented his country at the 2013 and 2015 World Championships without qualifying for the final. His personal best in the event is 8:25.96 set in Paris Saint-Denis in 2013.

Competition record

References

External links

Category:1986 births
Category:Living people
Category:Algerian male steeplechase runners
Category:World Athletics Championships athletes for Algeria
Category:Place of birth missing (living people)


Tears (The Crüxshadows album)

Tears is an EP by The Crüxshadows released in 2001 on Dancing Ferret Discs. The album contains the eponymous single from the band's Wishfire album and an acoustic version of "Heaven's Gaze" from their 1999 album The Mystery of the Whisper.

Track listing
"Tears"
"Tears" (Apoptygma Berzerk remix)
"Within"
"Tears" (Robbie Tronco/Knobhead remix)
"Jabberwocky"
"Tears" (Fictional remix)
"Heaven's Gaze" (acoustic tears edit)

References

External links
Crüxshadows' official site

Category:The Crüxshadows EPs
Category:2001 EPs


Settlers House

The Settlers' House was built in 1845 in East Charlotte, Vermont. The house is set up at the Shelburne Museum in Shelburne, Vermont, to show visitors life in the 18th century. The barn situated next to the house was built as a working demonstration in 2001.

History
French Canadian lumberjacks probably built the Settlers' Cabin in East Charlotte in about 1800. Constructed of hand-hewn and dovetailed beech and pine timbers, Settlers' Cabin is typical of the type of structure that Vermont settlers, loggers, and trappers often built as temporary homes.

When the Shelburne Museum acquired the structure in 1955, clapboard facing obscured the log structure beneath. After moving the building's exterior walls to the grounds intact, the museum provided a new foundation, replaced the roof, and restored the cabin's single interior room, stone fireplace, and sleeping loft. The structure, in combination with the adjacent hay barn, which the museum constructed in 2001, now houses the museum's only living exhibition that reveals how early Vermont settlers lived.

In 1959 the museum constructed the sawmill adjacent to the Settlers' Cabin. In colonial America wood was needed to construct everything from sailing ships to storage kegs, and lumber, forested by loggers like the French Canadians who built the Settlers' Cabin, quickly emerged as the most important cash crop of 18th-century America. The museum's sawmill illustrates how this cash crop was prepared for market.

Swiftly moving water can create energy powerful enough to run machinery. While in operation, the water's motion forced the sawmill's saw blade up and down, enabling it to cut through logs directed into its path. At full speed, the saw cut two strokes per second, which allowed a sawyer to cut a  board in eight minutes.

Historically the term "sawmill" referred both to the mill building and to the machinery it contained. Shelburne's Sawmill was built to house equipment from a South Royalton, Vermont, sawmill that was operated by Jeremiah Trescott and his partner Captain Stevens from the late 18th century. The Shepard family, descendants of Trescott, continued to operate the mill until the early 20th century and later donated its contents to the museum.

References

External links
 Shelburne Museum website

Category:Shelburne Museum
Category:Historic house museums in Vermont
Category:Houses in Chittenden County, Vermont
Category:Relocated buildings and structures in Vermont
Category:1845 establishments in Vermont


CRSC

CRSC may refer to:

 Center for Science and Culture, formerly known as the Center for the Renewal of Science and Culture (CRSC)
 China Railway Signal & Communication, a train control system maker


Darwinism

Darwinism is a theory of biological evolution developed by the English naturalist Charles Darwin (1809–1882) and others, stating that all species of organisms arise and develop through the natural selection of small, inherited variations that increase the individual's ability to compete, survive, and reproduce. Also called Darwinian theory, it originally included the broad concepts of transmutation of species or of evolution which gained general scientific acceptance after Darwin published On the Origin of Species in 1859, including concepts which predated Darwin's theories. English biologist Thomas Henry Huxley coined the term Darwinism in April 1860.

Terminological confusion
Darwinism subsequently referred to the specific concepts of natural selection, the Weismann barrier, or the central dogma of molecular biology. Though the term usually refers strictly to biological evolution, creationists have appropriated it to refer to the origin of life. It is therefore considered the belief and acceptance of Darwin's and of his predecessors' work, in place of other theories, including divine design and extraterrestrial origins.

English biologist Thomas Henry Huxley coined the term Darwinism in April 1860. It was used to describe evolutionary concepts in general, including earlier concepts published by English philosopher Herbert Spencer. Many of the proponents of Darwinism at that time, including Huxley, had reservations about the significance of natural selection, and Darwin himself gave credence to what was later called Lamarckism. The strict neo-Darwinism of German evolutionary biologist August Weismann gained few supporters in the late 19th century. During the approximate period of the 1880s to about 1920, sometimes called "the eclipse of Darwinism", scientists proposed various alternative evolutionary mechanisms which eventually proved untenable.  The development of the modern synthesis in the early 20th century, incorporating natural selection with population genetics and Mendelian genetics, revived Darwinism in an updated form.

While the term Darwinism has remained in use amongst the public when referring to modern evolutionary theory, it has increasingly been argued by science writers such as Olivia Judson and Eugenie Scott that it is an inappropriate term for modern evolutionary theory. For example, Darwin was unfamiliar with the work of the Moravian scientist and Augustinian friar Gregor Mendel, and as a result had only a vague and inaccurate understanding of heredity. He naturally had no inkling of later theoretical  developments and, like Mendel himself, knew nothing of genetic drift, for example.

In the United States, creationists often use the term "Darwinism" as a pejorative term in reference to beliefs such as scientific materialism, but in the United Kingdom the term has no negative connotations, being freely used as a shorthand for the body of theory dealing with evolution, and in particular, with evolution by natural selection.

Huxley and Kropotkin

While the term Darwinism had been used previously to refer to the work of Erasmus Darwin in the late 18th century, the term as understood today was introduced when Charles Darwin's 1859 book On the Origin of Species was reviewed by Thomas Henry Huxley in the April 1860 issue of the Westminster Review. Having hailed the book as "a veritable Whitworth gun in the armoury of liberalism" promoting scientific naturalism over theology, and praising the usefulness of Darwin's ideas while expressing professional reservations about Darwin's gradualism and doubting if it could be proved that natural selection could form new species, Huxley compared Darwin's achievement to that of Nicolaus Copernicus in explaining planetary motion:

These are the basic tenets of evolution by natural selection as defined by Darwin:

 More individuals are produced each generation than can survive.
 Phenotypic variation exists among individuals and the variation is heritable.
 Those individuals with heritable traits better suited to the environment will survive.
 When reproductive isolation occurs new species will form.

Another important evolutionary theorist of the same period was the Russian geographer and prominent anarchist Peter Kropotkin who, in his book Mutual Aid: A Factor of Evolution (1902), advocated a conception of Darwinism counter to that of Huxley. His conception was centred around what he saw as the widespread use of co-operation as a survival mechanism in human societies and animals. He used biological and sociological arguments in an attempt to show that the main factor in facilitating evolution is cooperation between individuals in free-associated societies and groups. This was in order to counteract the conception of fierce competition as the core of evolution, which provided a rationalization for the dominant political, economic and social theories of the time; and the prevalent interpretations of Darwinism, such as those by Huxley, who is targeted as an opponent by Kropotkin. Kropotkin's conception of Darwinism could be summed up by the following quote:

Other 19th-century usage
"Darwinism" soon came to stand for an entire range of evolutionary (and often revolutionary) philosophies about both biology and society. One of the more prominent approaches, summed in the 1864 phrase "survival of the fittest" by Herbert Spencer, later became emblematic of Darwinism even though Spencer's own understanding of evolution (as expressed in 1857) was more similar to that of Jean-Baptiste Lamarck than to that of Darwin, and predated the publication of Darwin's theory in 1859. What is now called "Social Darwinism" was, in its day, synonymous with "Darwinism"—the application of Darwinian principles of "struggle" to society, usually in support of anti-philanthropic political agenda. Another interpretation, one notably favoured by Darwin's half-cousin Francis Galton, was that "Darwinism" implied that because natural selection was apparently no longer working on "civilized" people, it was possible for "inferior" strains of people (who would normally be filtered out of the gene pool) to overwhelm the "superior" strains, and voluntary corrective measures would be desirable—the foundation of eugenics.

In Darwin's day there was no rigid definition of the term "Darwinism", and it was used by opponents and proponents of Darwin's biological theory alike to mean whatever they wanted it to in a larger context. The ideas had international influence, and Ernst Haeckel developed what was known as Darwinismus in Germany, although, like Spencer's "evolution", Haeckel's "Darwinism" had only a rough resemblance to the theory of Charles Darwin, and was not centered on natural selection. In 1886, Alfred Russel Wallace went on a lecture tour across the United States, starting in New York and going via Boston, Washington, Kansas, Iowa and Nebraska to California, lecturing on what he called "Darwinism" without any problems.

In his book Darwinism (1889), Wallace had used the term pure-Darwinism which proposed a "greater efficacy" for natural selection. George Romanes dubbed this view as "Wallaceism", noting that in contrast to Darwin, this position was advocating a "pure theory of natural selection to the exclusion of any supplementary theory." Taking influence from Darwin, Romanes was a proponent of both natural selection and the inheritance of acquired characteristics. The latter was denied by Wallace who was a strict selectionist. Romanes' definition of Darwinism conformed directly with Darwin's views and was contrasted with Wallace's definition of the term.

Millennial usage
The term Darwinism is often used in the United States by promoters of creationism, notably by leading members of the intelligent design movement, as an epithet to attack evolution as though it were an ideology (an "ism") of philosophical naturalism, or atheism. For example, in 1993, UC Berkeley law professor and author Phillip E. Johnson made this accusation of atheism with reference to Charles Hodge's 1874 book What Is Darwinism?. However, unlike Johnson, Hodge confined the term to exclude those like American botanist Asa Gray who combined Christian faith with support for Darwin's natural selection theory, before answering the question posed in the book's title by concluding: "It is Atheism." Darwinism is an attempt to explain "design without a designer", according to evolutionary biologist Francisco J. Ayala.

Creationists use pejoratively the term Darwinism to imply that the theory has been held as true only by Darwin and a core group of his followers, whom they cast as dogmatic and inflexible in their belief. In the 2008 documentary film Expelled: No Intelligence Allowed, which promotes intelligent design (ID), American writer and actor Ben Stein refers to scientists as Darwinists. Reviewing the film for Scientific American, John Rennie says "The term is a curious throwback, because in modern biology almost no one relies solely on Darwin's original ideas... Yet the choice of terminology isn't random: Ben Stein wants you to stop thinking of evolution as an actual science supported by verifiable facts and logical arguments and to start thinking of it as a dogmatic, atheistic ideology akin to Marxism."

However, Darwinism is also used neutrally within the scientific community to distinguish the modern evolutionary synthesis, which is sometimes called "neo-Darwinism", from those first proposed by Darwin. Darwinism also is used neutrally by historians to differentiate his theory from other evolutionary theories current around the same period. For example, Darwinism may be used to refer to Darwin's proposed mechanism of natural selection, in comparison to more recent mechanisms such as genetic drift and gene flow. It may also refer specifically to the role of Charles Darwin as opposed to others in the history of evolutionary thought—particularly contrasting Darwin's results with those of earlier theories such as Lamarckism or later ones such as the modern evolutionary synthesis.

In political discussions in the United States, the term is mostly used by its enemies. "It's a rhetorical device to make evolution seem like a kind of faith, like 'Maoism,'" says Harvard University biologist E. O. Wilson. He adds, "Scientists don't call it 'Darwinism'."

In the United Kingdom the term often retains its positive sense as a reference to natural selection, and for example British atheist Richard Dawkins wrote in his collection of essays A Devil's Chaplain, published in 2003,  that as a scientist he is a Darwinist.

In his 1995 book Darwinian Fairytales, Australian philosopher David Stove used the term "Darwinism" in a different sense than the above examples. Describing himself as non-religious and as accepting the concept of natural selection as a well-established fact, Stove nonetheless attacked what he described as flawed concepts proposed by some "Ultra-Darwinists." Stove alleged that by using weak or false ad hoc reasoning, these Ultra-Darwinists used evolutionary concepts to offer explanations that were not valid: for example, Stove suggested that the sociobiological explanation of altruism as an evolutionary feature was presented in such a way that the argument was effectively immune to any criticism. English philosopher Simon Blackburn wrote a rejoinder to Stove, though a subsequent essay by Stove's protegé James Franklin suggested that Blackburn's response actually "confirms Stove's central thesis that Darwinism can 'explain' anything."

Esoteric usage
In evolutionary aesthetics theory, there is evidence that perceptions of beauty are determined by natural selection and therefore Darwinian; that things, aspects of people and landscapes considered beautiful are typically found in situations likely to give enhanced survival of the perceiving human's genes.

See also

 Darwin Awards
 History of evolutionary thought
 Modern evolutionary synthesis
 Neural Darwinism
 Pangenesis—Charles Darwin's hypothetical mechanism for heredity
 Speciation
 Universal Darwinism

Notes

References

   Retrieved 2015-11-17.

Further reading
  Danilevsky, Nikolay. 1885-1889 Darwinism: A Critical Study (Дарвинизм. Критическое исследование) at Runivers.ru in DjVu format.
Fiske, John. (1885). Darwinism, and Other Essays. Houghton Mifflin and Company.
Huxley, Thomas Henry. (1893). Darwiniana: Essays. Macmillan and Company.
 Mayr, Ernst. (1985). The Growth of Biological Thought: Diversity, Evolution, and Inheritance. Harvard University Press.
 Romanes, John George. (1906). Darwin and After Darwin: An Exposition of the Darwinian Theory and a Discussion of Post-Darwinian Questions. Volume 2: Heredity and Utility. The Open Court Publishing Company.
 Wallace, Alfred Russel. (1889). Darwinism: An Exposition of the Theory of Natural Selection, with Some of Its Applications. Macmillan and Company.
Simon, C. (2019). Taking Darwinism seriously. Animal Sentience, 3(23), 47.

External links

Category:Biology theories
Category:History of evolutionary biology
Category:Charles Darwin
Category:Darwinism


Virginia State Route 7 (1940)

REDIRECT Virginia State Route 7


Dave Mason (rugby league)

David "Dave" Mason was a New Zealand rugby league footballer who played in the 1910s. He played at representative level for New Zealand (Heritage № 57), and Nelson, as a forward (prior to the specialist positions of; ), during the era of contested scrums.

He was part of the 1911 New Zealand tour of Australia.

References

External links

Category:New Zealand national rugby league team players
Category:New Zealand rugby league players
Category:Place of birth missing
Category:Place of death missing
Category:Rugby league forwards
Category:Tasman rugby league team players
Category:Year of birth missing
Category:Year of death missing


David Rubenstein (activist)

David Rubenstein (born October 2, 1957) was the founding Executive Director for the Save Darfur Coalition. He helped develop a 182-member coalition to end violence and reduce the suffering in Darfur.

Biography and Education
David received a Bachelor of Arts in Economics from Washington University in St. Louis, Missouri. He graduated in 1981.

Work experience
He has worked with MCI Telecommunications, Green Seal Inc., EnvironMentors Project, Thoughtful Action Group and the Save Darfur Coalition. He is currently the Executive Director for Best Shot Foundation.

Save Darfur Coalition
The Save Darfur Coalition is a U.S.-based advocacy group calling for international intervention in the Darfur conflict in the Eastern African state of Sudan. It is a coalition of religious, political, and human rights organizations designed to campaign for a response to the genocidal actions taken by the three Sudanese federal states that make up the region of Darfur.

Nicholas Kristof of the New York Times said: "I didn’t emphasize it enough in the column, but the leadership of the group behind the diplomatic initiative—the Save Darfur Coalition—gets enormous credit. Dave Rubenstein, who founded it and runs it, has managed to hold together a group that runs from liberal New Yorkers to evangelical Christian Texans, from Jews to Christians to Muslims. In a polarized world, that is a real achievement—and one reason for the group’s influence.”

Best Shot Foundation
The Best Shot Foundation focuses global awareness and political engagement on childhood pneumonia. Best Shot Foundation believes that increased public commitment will drive increased health resource allocation to ensure that children stop dying from pneumonia, a preventable and easily treatable disease.

The Best Shot Foundation is organizing dodgeball tournaments on college campuses across the country to raise awareness and funds for the fight against pneumonia. Each team competes for a chance to advance to the national Pnock Out Pneumonia Championship. Each dollar raised brings critical prevention and treatment services to those children most in need. Pnock Out Pneumonia is part of a global movement to bring greater attention to this deadly disease. This November 2, pneumonia advocates around the world will come together to commemorate the first-ever World Pneumonia Day.

Awards
 Peace and Justice Award, Center for African Peace and Conflict Resolution at California State University, Sacramento, 2007
 Alumnus of the Year, Leadership Washington, 2001
 AT&T Environmental Achievement Award, 2000 (EnvironMentors)
 Washingtonian of the Year, Washingtonian Magazine, 1999

References

External links
 World Pneumonia Day
 Best Shot Foundation
 Save Darfur Coalition

Category:American activists
Category:Living people
Category:1957 births


Washboard Falls

Washboard Falls is a  high classical cascade waterfall found in the Tiffany Falls Conservation Area in Ancaster, Hamilton, Ontario, Canada. Found 100 metres upstream from Tiffany Falls. Also known as Upper Tiffany Falls. Must hike off the Bruce Trail to access it.

Nearby attractions include the Dundas Valley Conservation Area, Hermitage Ruins, Griffin House, Fieldcote Memorial Park & Museum, Royal Botanical Gardens, Dundurn Castle.

Location
The waterfall is difficult to access. It is on Hamilton Conservation Authority lands, and may be accessed either by passing through private property (by getting permission from the owners) or by scaling the steep hill to the left of Tiffany Falls.  According to the City of Waterfalls, "...it is located on Hamilton Conservation Authority lands, but the only way to reach it - without going onto private property- is to climb the steep hill to the left of Tiffany Falls and follow the creek upstream for 100 metres. This climb is very dangerous and should be attempted only by those who have proper hiking equipment." The fact that the waterfall is on HCA lands is confirmed on the Hamilton Conservation Authority website.

References

External links
 Bruce Trail
 Hamilton- "The Waterfall Capital of the World"
 Vintage Postcards: Waterfalls in and around Hamilton, Ontario

Maps
 Hamilton Waterfall Map PDF
 Map: Hamilton Waterfalls

Category:Waterfalls of Hamilton, Ontario


Juste Olivier

Juste Daniel Olivier (October 18, 1807 – January 7, 1876), Swiss poet, was born in Eysins in the canton of Vaud; he was brought up as a peasant, but studied at the college of Nyon, and later at the academy of Lausanne.

Though originally intended for the ministry, his poetic genius (foreshadowed by the prizes he obtained in 1825 and 1828 for poems on Marcos Botzaris and Julia Alpinula respectively) inclined him towards literary studies. He was named professor of literature at Neuchâtel (1830), but before taking up the duties of his post made a visit to Paris, where he completed his education and became associated with Sainte-Beuve, especially from 1837 onwards. He professed history at Lausanne from 1833 to 1846, when he lost his chair in consequence of the religious troubles.

He then went to Paris, where he remained till 1870, earning his bread by various means, but being nearly forgotten in his native land, to which he remained tenderly attached. From 1845 till 1860 (when the magazine was merged in the Bibliothèque universelle) Olivier and his wife wrote in the Revue suisse the Paris letter, which had been started by Sainte-Beuve in 1843, when Olivier became the owner of the periodical. He also wrote for the Revue des deux Mondes, which published his correspondence with Sainte-Beuve. After the war of 1870 he settled down in Switzerland, spending his summers at his beloved Gryon, and died at Geneva on 7 January 1876.

Besides some novels, a semi-poetical work on the Canton of Vaud (2 vols., 1837-1841), and a volume of historical essays entitled Études d'histoire nalionale (1842), he published several volumes of poems, Deux Voix (1835), Chansons lointaines (1847) and its continuation Chansons du soir (1867), and Sentiers de montague (Gryon, 1875).

His younger brother, Urbain Olivier, was also a writer.

Authorities

Life by Eugène Rambert (1877), republished in his Ecrivains de la Suisse romande (1889), and also prefixed to his edition of Olivier's Œuvres choisies (Lausanne, 1879).

References

Category:1807 births
Category:1876 deaths
Category:People from Nyon District
Category:Swiss poets in French
Category:Male poets
Category:Swiss male writers
Category:19th-century poets
Category:19th-century male writers


Clogher (Parliament of Ireland constituency)

Clogher was a borough constituency in the Irish House of Commons until 1800.  It represented the "city" of Clogher in County Tyrone.  The city, actually no more than a village, gained its importance as the site of the cathedral of the Church of Ireland diocese of Clogher.  The constituency was a rotten borough in the gift of the bishop.  When the constituency was disestablished, bishop John Porter's claim for £15,000 compensation was disallowed.

Members of Parliament, 1264–1801

Notes

References

 Parliamentary Memoirs of Fermanagh and Tyrone, from 1613 to 1885

Bibliography

Category:Constituencies of the Parliament of Ireland (pre-1801)
Category:Historic constituencies in County Tyrone
Category:1264 establishments in Ireland
Category:1800 disestablishments in Ireland
Category:Constituencies established in 1264
Category:Constituencies disestablished in 1800


Bifrost Arts

Bifrost Arts is an ecumenical religious organization closely linked to the Presbyterian Church in America that produces written and recorded religious music, and frequently performs at Christian Universities and conferences. Bifrost Arts was co-founded by Joseph Pensak and Isaac Wardell.

Bifrost Arts is unique in its approach to religious music in that it generally employs musicians whose success exists outside of the traditional Christian music industry. In 2009, Bifrost Arts' Come O Spirit! Anthology of Hymns & Spiritual Songs Volume 1 (Sounds Familyre Records) was ranked by Christianity Today as the No. 4 record of the year. Later that same year, Salvation Is Created: A Christmas Record From Bifrost Arts was released.

Notable contributors to Bifrost Arts' recordings have included Joseph Pensak, Sufjan Stevens, David Bazan, Rosie Thomas, Leigh Nash, Damien Jurado, The Welcome Wagon, Derek Webb, Denison Witmer, Devon Sproule, Shara Worden, Laura Gibson, The Gregory Brothers, Lenny Smith, Mason Neely, J. Tillman, Trent Dabbs, Isaac Wardell, Diane Birch, and Sanders Bohlke.

Discography
Come O Spirit! (2009)
Salvation Is Created (2009)
He Will Not Cry Out (2013)
Lamentations (2016)

References

External links

Category:Presbyterianism


Miao Rebellion (1854–1873)

The Miao rebellion of 1854–1873, also known as the Qian rebellion () was an uprising of ethnic Miao and other groups in Guizhou province during the reign of the Qing dynasty. Despite its name, Robert Jenks estimates that ethnic Miao made up less than half of the uprising's participants. The uprising was preceded by Miao rebellions in 1735–36 and 1795–1806, and was one of many ethnic uprisings sweeping China in the 19th century. The rebellion spanned the Xianfeng and Tongzhi periods of the Qing dynasty, and was eventually suppressed with military force. Estimates place the number of casualties as high as 4.9 million out of a total population of 7 million, though these figures are likely overstated.

The rebellion stemmed from a variety of grievances, including long-standing ethnic tensions with Han Chinese, poor administration, grinding poverty and growing competition for arable land. The eruption of the Taiping Rebellion led the Qing government to increase taxation, and to simultaneously withdraw troops from the already restive region, thus allowing a rebellion to unfold. Millenarianism was an influence especially on the non-ethnic Miao participants. The aftermath of the rebellion causes many Miao, Hmong and other groups to migrate into Vietnam and Laos.

The term "Miao", explains the anthropologist Norma Diamond, does not mean only the antecedents of today's Miao national minority; it is much more general term, which had been used by the Chinese to describe various aboriginal, mountain tribes of Guizhou and other southwestern provinces of China, which shared some cultural traits. They consisted of 40–60% population of the province.

To date, the only English language account of the Miao Rebellion was written by Robert D. Jenks. Most contemporary records from the uprising comes from Qing officials who were sent to quell the rebellion.

See also

Miao rebellions
Miao Rebellion (1735–36)
Miao Rebellion (1795–1806)
Miao Rebellions (Ming Dynasty)

Rebellions (non-Miao)
Red Turban Rebellion (1854–1856)
Dungan revolt (1862–1877)
Dungan revolt (1895–1896)
Nian rebellion

Other topics
Small Knife Society

References

Category:19th-century rebellions
Category:Rebellions in the Qing dynasty
Category:19th-century military history of China
Category:Miao people


Entomovector

An entomovector is a pollinating insect used as a vector to spread a substance used in the biocontrol of plant pests and diseases. The insect is typically a honey bee, bumble bee, or mason bee, but may be any variety of insect that spreads pollen among plants. The choice of vector species is decided by a combination of native species in the area to be pollinated, the plant species to be treated, and the ease of care of the vector species.

The substance is typically a powdered substance containing a virus, bacterium, or fungus to be used to protect the host plant from a given disease or pest. The insect, or vector, is typically exposed to this material by placing a tray containing the powder at a hive exit or by using fans to blow it into the hive.

References

Category:Biological pest control


Lyn and Exmoor Museum

The Lyn and Exmoor Museum  is a small museum in Lynton, Devon, England, housed in the town's oldest surviving domestic dwelling, a Grade II listed, whitewashed, stone cottage.
There are seven rooms of displays and a garden.
This local museum has displays which include a traditional Exmoor kitchen, paintings, engravings and photographs illustrating life in the area over a period of 200 years, including the Lynmouth Flood Disaster of 1952, photographs and models of the Lynton and Barnstaple Railway, Stone Age implements and other archaeological remains found on Exmoor, agricultural tools and equipment used on local farms in the past, a  ship's figurehead and other exhibits of maritime heritage, a Victorian doll's house and other toys, birds, animals, fossils, rocks, minerals and other natural history items from Exmoor and material relating to the novel Lorna Doone which was set in the town.

External links
 Lyn and Exmoor Museum on Devon Museums.Net

Category:Museums in Devon
Category:Exmoor
Category:Grade II listed buildings in Devon
Category:Local museums in Devon


La Chanson de Craonne

La Chanson de Craonne (English: The Song of Craonne) is an anti-military song of World War I written in 1917.  The song was written to the tune of Bonsoir M'Amour (Charles Sablon), sung by Emma Liebel. It is sometimes known by the first line of the chorus, Adieu la vie (Goodbye to life).

History
This song was sung by the French soldiers who mutinied (in sixty eight of the one hundred and ten divisions of the French Army) after the costly and militarily disastrous offensive of General Robert Nivelle at the Chemin des Dames, spring 1917.

The song was prohibited in France until 1974. Even though an award of 1 million francs and the immediate honorable release from the army were offered for revealing the maker, the original author of the song remained unknown.

These revolts brought about severe reprimands, notably by General Philippe Pétain, who was named on 17 May as the replacement for General Nivelle.  He was directly tasked with the mission of rebuilding the sagging morale of the war-weary French Army.  He went about this with the punishment of the leaders of the mutiny, condemning 554 to death, though only 26 were actually executed. He also improved conditions of the soldiers with better food, better cantonments, better organization for military leaves, and suspended the deadly offensives to limit the casualties.

Origin of the Song
This song was anonymously created, though surely by many authors.  The song constantly evolved during the course of the war due to the changing role of those engaged in combat.  The song first appeared under the name La Chanson de Lorette evoking the Battle of Lorette à Ablain-St. Nazaire that occurred between the twelve months of October 1914 and October 1915.  The song was modified in order to sing about the Second Battle of Champagne.  In 1916, the song was sung during the ghastly Battle of Verdun, with the refrain:
Adieu la vie, adieu l'amour,
Adieu toutes les femmes
C'est pas fini, c'est pour toujours
De cette guerre infâme
C'est à Verdun, au fort de Vaux
Qu'on a risqué sa peau

La Chanson de Craonne
The final version, "The Song of Craonne" was written in 1917 during the French Army's Mutinies.  The village of Craonne on the plateau of Californie was the site of bloody fighting on 16 April 1917 during Nivelle's failed Offensives.  It was these bloody offensives that pushed the French Army over the edge.

Verses

English

After the war this song was not allowed at all on French airwaves.  The writer Paul Vaillant-Couturier, who was also a World War I veteran, preserved the song, and later had them published.

In film
The song's chorus is sung in Oh! What a Lovely War (1969).
The song is sung by a soldier in A Very Long Engagement (2004).

References

Category:Anti-war songs
Category:1917 songs
Category:French songs


Crystal King (band)

is a Japanese pop rock and kayōkyoku band. They won commercial success at the end of 1979 with their debut single "Daitokai", which sold 1.5 million copies, winning two popular song festivals, (18th Popcon and 10th World Popular Song Festival in Tokyo), others of their hits are "Shinkirō" in 1980 (750.000 copies sold), Shojo Kōkai (1980), Passion-Lady (1981), Ceccile (1982) and "Setouchi kōshinkyoku (IN THE MOOD)" (1984).
Worldwide they are remembered for their composition and performance of the first two songs and hits of the anime "Fist of the North Star" such as "Ai wo torimodose" and Yuria ... Eien ni " , the original single of 1984 sold more than 500,000 copies, and adding the new versions that were released years later, sales already exceed 1 million copies sold.

Today, Monsieur Yoshizaki (leader and vocalist) has the rights of the band and he is still active under the name of "Crystal King" as a solo project.

History
Originally consisting of vocalists  and Masayuki Tanaka, guitarist , pianist , keyboardist , drummer , and bassist , the band broke up in 1995, Yoshisaki began performing as Crystal King as a solo project. Tanaka began his own solo career, In 1986 he left Crystal King to start a solo career. But in June 1989 he lost his voice after being struck in the throat by a baseball and was never able to regain his original three-octave vocal range. The rest of the band performs as , reuniting with Tanaka on occasion.

Albums

-1980.05.05 CRYSTAL KING

-1980.12.21 LOCUS

-1981.9.21 eleven carats

-1983.4.21 CITY ADVENTURE

-1985.6.21 MOON

-1987.7.25 1968・夏・東京

-1996.6.6 Bear Away

External links
Official website

Category:Japanese rock music groups
Category:Musical groups from Fukuoka Prefecture


Korzybie, Pomeranian Voivodeship

Korzybie  () is a village in the administrative district of Gmina Kępice, within Słupsk County, Pomeranian Voivodeship, in northern Poland. It lies approximately  north of Kępice,  south-west of Słupsk, and  west of the regional capital Gdańsk.

Before 1945 the area was part of Germany, and Korzybie was called Zollbrück. For the history of the region, see History of Pomerania.

The village has a population of 919. Former chairman of the German Party of Democratic Socialism, Lothar Bisky, was born here in 1941.

References

Korzybie


Fox Lake Wildlife Area

Fox Lake Wildlife Area is a  Ohio state wildlife area in southeastern Waterloo Township in Athens County, Ohio. It is centered on  Fox Lake, which is generally oriented east-west, and which is located on Margaret Creek, a tributary of the Hocking River. The lake was impounded originally for flood control.

The eastern end of the wildlife area, just east of the lake's dam, is on Brown Road, and the western end, at the head of the lake, is reached from Fox Lake Road.  There is a paved parking area at the head of the lake with a handicapped-accessible fishing dock.  There is a gravel parking area at the dam.

There are sandstone bluffs to the north and south of the lake, but with an embedded limestone stratum, and there is more limestone at the base of the bluffs, so the area has limestone-loving plants such as chinkapin oak and Shumard oak. There are rounded indentations in the limestone stratum that have been given the name "cradle in the rock."

The nearest community is New Marshfield, Ohio.

References
Fox Lake Wildlife Area Ohio Department of Natural Resources

Category:Protected areas of Athens County, Ohio
Category:Ohio state wildlife areas


We Can't Go On Living Like This

"We Can't Go On Living Like This" is a song co-written and recorded by American country music artist Eddie Rabbitt.  It was released in August 1977 as the second single from the album Rabbitt.  The song reached number six on the Billboard Hot Country Singles & Tracks chart.  It was written by Rabbitt and Even Stevens.

Chart performance

References

Category:1977 singles
Category:Eddie Rabbitt songs
Category:RPM Country Tracks number-one singles
Category:Songs written by Eddie Rabbitt
Category:Songs written by Even Stevens (songwriter)
Category:Song recordings produced by David Malloy
Category:Elektra Records singles
Category:1977 songs


Al-Qahirah, Hama

Al-Qahirah, Hama ( al-qāhirah) is a Syrian village located in Qalaat al-Madiq Subdistrict in Al-Suqaylabiyah District, Hama. According to the Syria Central Bureau of Statistics (CBS), the village had a population of 708 in the 2004 census.

References

Category:Populated places in al-Suqaylabiyah District
Category:Populated places in al-Ghab Plain


WPTT

WPTT may refer to:

 WPTT (AM), a radio station (1540 AM) licensed to Hartford, Wisconsin, United States
 WGBN, a radio station (1150 AM) licensed to McKeesport, Pennsylvania, United States, which held the call sign WPTT from 1998 to 2008
 WPNT, a television station (channel 21/PSIP 22) licensed to Pittsburgh, Pennsylvania, United States, which held the call sign WPTT-TV from 1978 to 1998


Maung Maung Soe

Maung Maung Soe () is the mayor of Myanmar's largest city, Yangon. He was concurrently appointed as mayor and chairman of the Yangon City Development Committee on 5 April 2016.  He is a retired professor at the Yangon Institute of Economics.

Maung Maung Soe was born on 15 May 1951. He earned a Bachelor of Economics degree at the then Rangoon Institute of Economics in 1973.

In April 2016, controversy surrounding his academic credentials surfaced, because his master's and doctorate degrees were obtained from a diploma mill, the Christian International School of Theology (Manila). Further, his master's and doctorate degrees from the International Institute of Social Studies could not be independently verified.

References

Category:Mayors of Yangon
Category:1951 births
Category:Living people


Michele Ivaldi

Michele Ivaldi (born 11 March 1970) is an Italian yacht racer who competed in the 1996 Summer Olympics.

He sailed with Luna Rossa Challenge in the 2007 America's Cup. He then joined Oracle Racing in 2008, before joining Artemis Racing for the 2010 Louis Vuitton Trophy Dubai.

References

Category:1970 births
Category:Living people
Category:Italian male sailors (sport)
Category:Olympic sailors of Italy
Category:Sailors at the 1996 Summer Olympics – 470
Category:470 class world champions
Category:RC44 class world champions
Category:World champions in sailing for Italy
Category:Luna Rossa Challenge sailors
Category:2007 America's Cup sailors
Category:Artemis Racing sailors
Category:Oracle Racing sailors


Folgefonna

Folgefonna is a collective term for three plateau glaciers in the Hardanger region of Vestland county, Norway. They are located on the Folgefonna peninsula in the municipalities of Ullensvang, Kvinnherad, and Etne. The three glaciers are:
 Nordre (northern) Folgefonna, with an area of
 Midtre (central) Folgefonna, with an area of
 Søndre (southern) Folgefonna, with an area of , making it the third largest glacier in the mainland of Norway.

In total, Folgefonna covers about  (measured in 2006). On 14 May 2005, Folgefonna National Park was established, protecting the glaciers and the surrounding areas.

The glacier is home to a summer skiing resort, located on its northern region. The largest outflow glaciers from Folgefonna are Blomstølskardbreen, Bondhusbreen, and Buarbreen. Since around 1960, Blomstølskardbreen on the southern end of Folgefonna has changed very little. Bondhusbreen and Buerbreen further north were growing in the 1990s, but have been retreating since the year 2000. The glacier is a famous tourist attraction. Most people who visit the town of Odda usually take the walk to Buarbreen (a part of Folgafonna).

The melt-water from this glacier is bottled at source to form the product Isklar. The melt-water also goes down the river from Buarbreen down into the lake Sandvinvatnet.

Name
The first element is folge meaning 'thin layer of snow' and the last element is the finite form of fonn meaning 'mass of snow, glacier made of snow'.

See also
 List of glaciers in Norway
 List of mountains in Norway by prominence

References

Category:Glaciers of Vestland
Category:Ullensvang
Category:Etne
Category:Kvinnherad


Men's Qatar Classic 2013

The Men's Qatar Classic 2013 is the men's edition of the 2013 Qatar Classic squash tournament, which is a PSA World Series platinum event ($150,000 prize money). The event took place in Doha from 10 November to 15 November. Mohamed El Shorbagy won his first Qatar Classic trophy, beating Nick Matthew in the final.

Prize money and ranking points
For 2013, the prize purse was $150,000. The prize money and points breakdown is as follows:

Seeds

Draw and results

See also
Qatar Classic
2013 Men's World Open Squash Championship
PSA World Tour 2013
PSA World Series 2013

References

External links
PSA Qatar Classic 2013 website
Qatar Classic 2013 Squashsite website
Qatar Squash Federation website

Men's Qatar Classic (squash)
Men's Qatar Classic (squash)
Category:Squash tournaments in Qatar


Aeroflot Flight 2415

Aeroflot Flight 2415 ( Reys 2415 Aeroflota) was a regularly scheduled passenger flight from Moscow to Leningrad that crashed shortly after takeoff on 28 November 1976.  The cause of the accident was attributed to crew disorientation as a result of artificial horizon failure in low visibility conditions.

Aircraft
The aircraft involved in the accident was a Tupolev Tu-104B registered CCCP-42471 to Aeroflot-Russian Airlines.  The aircraft rolled off the final assembly line of the Kazan Aircraft Production facility on 22 February 1960 and was delivered to the Ministry of Civil Aviation on 24 March 1960.  In the aircraft's sixteen years of operation it accumulated 22,199 flight hours and 13,336 pressurization cycles.

Crew
On board the plane were six crew members, of which four were cockpit crew and two were cabin crew.

The cockpit crew consisted of:
 Captain Boris Nikolaevich Gorokhovsky, (Russian: Борис Николаевич Гороховский) serving as the pilot in command
 Co-pilot Igor Borisovich Nikolaev, (Russian: Игорь Борисович Николаев)
 Navigator Vladimir Viktorovich Gusev (Russian: Владимир Викторович Гусев)
 Flight engineer Vladimir Grigorevich Vasiliev (Russian: Владимир Григорьевич Васильев)

Sequence of events

Flight 2415 took off from Moscow-Sheremetyevo International Airport despite bad weather at 6:53 local time.  On board the plane were the six crew members as well as 67 passengers, including four children.  The weather forecast for the evening was cloudiness limiting visibility to 1500 meters at best with mild winds.  The plane took off from the runway at a safe speed of 290 km/h.  After takeoff the pilots reduced engine power and radioed the control tower for instructions to proceed.  The crew was instructed to head on a bearing of 265°;  the pilots performed the maneuver by setting the ailerons for banking to the right.  After banking 265° the aircraft continued to bank to the right, losing altitude and picking up speed in the process, putting the aircraft into a steep dive.  The plane crashed into the ground 9.5 kilometers from the airport, exploding on impact and killing all passengers and crew aboard the plane.

Causes
The State Supervisory Commission for Flight Safety board cited among the causes of the crash included failure of the artificial horizon, poor visibility from the cockpit, and lack of warnings indicating the failure of the artificial horizon.  Due to the damage to the aircraft caused by the crash, it was impossible to determine if the ailerons were functioning correctly at the time.  The cockpit voice recorder and flight data recorders were both missing the last six seconds of data, presumably as result of the damage in the post-crash fire.  The board concluded that the crew demonstrated excellent calm in the emergency in their efforts to fly with incorrect data from the aircraft; weather was not determined to be a primary cause of the crash.  It is worth noting that one member of the board, Markov, disagreed with the findings of the report and attributed the accident to pilot error;  but he was overruled by Gosavianadzor who sided with the rest of the board.

See also

Aeroflot Flight 964, also a Tupolev Tu-104, crashed on approach experiencing similar artificial horizon failure.
Aeroflot Flight 3932, another Tupolev Tu-104, crashed shortly after takeoff experiencing similar artificial horizon failure.
Aeroflot Flight 1912, another Tupolev Tu-104 accident caused by similar instrument failure.

References

Category:Aviation accidents and incidents in 1976
Category:Aviation accidents and incidents in the Soviet Union
2415
Category:1976 in the Soviet Union
Category:Accidents and incidents involving the Tupolev Tu-104
Category:Airliner accidents and incidents caused by instrument failure
Category:November 1976 events in Europe


List of Verbotene Liebe cast members

Complete list of past and present cast members of soap opera Verbotene Liebe.
__TOC__

Main cast

Recurring cast & guest appearances

Verbotene Liebe


Ray Keeler

Raymond Monroe "Tubby" Keeler (April 24, 1891 – November 8, 1945) was an American football player and coach.

Keeler attended the University of Wisconsin, where he played for the Wisconsin Badgers football team and was selected as a consensus first-team honoree at the guard position on the 1913 College Football All-America Team.  He was six feet tall and weighed 185 pounds during the 1913 season.  He also competed on the Wisconsin track team in the shot put and hammer throw events.

Keeler later served as the head football coach at the Wisconsin State Teachers College—later renamed the University of Wisconsin–La Crosse—from 1917 to 1929. In 13 years as the head football coach, Keeler's teams won three conference championships and compiled a record of 45 wins, 24 losses, and 15 ties.

Keeler died of a heart attack while visiting Eau Claire, Wisconsin.

References

Category:1891 births
Category:1945 deaths
Category:American football guards
Category:American male hammer throwers
Category:American male shot putters
Category:Wisconsin Badgers football players
Category:Wisconsin Badgers men's track and field athletes
Category:Wisconsin–La Crosse Eagles football coaches
Category:All-American college football players
Category:People from Grant County, Wisconsin
Category:Players of American football from Wisconsin