Back in the Saddle (film)

Back in the Saddle is a 1941 American Western film directed by Lew Landers and starring Gene Autry, Smiley Burnette, and Mary Lee. Written by Richard Murphy and Jesse Lasky Jr., the film is about a singing cowboy who attempts to bring peace between ranchers and the operator of a copper mine whose chemicals are poisoning the area's water supply. The film features several of Autry's hit songs, including "Back in the Saddle", "I'm An Old Cowhand", and "You Are My Sunshine".

Plot
Singing cowboy and ranch foreman Gene Autry (Gene Autry) and his sidekick Frog Millhouse (Smiley Burnette) are in New York City at a rodeo looking to "round up" their new ranch owner Tom Bennett (Edward Norris) and bring him back to Solitude, Arizona to run the Bar Cross ranch left to him by his late father. Tom, however, has no interest in leaving behind the excitement and glamour of the city for a boring life out West. Having promised Tom's father that he would take care of his son, Gene takes him to the train by force.

During the train ride back to Solitude, Gene meets his old friend, gambler Duke Winston (Addison Richards), who just eluded the men he cheated in a card game. When they arrive at Solitude, Tom manages to run off on his own and soon meets singer Taffy (Jacqueline Wells) and her teenaged sister Patsy (Mary Lee) who are in town looking for work. Thinking that Duke is as important as he pretends to be, Tom asks him to help Taffy get a singing job at the local saloon. Having already convinced mine owner and saloon owner E.G. Blaine (Arthur Loft) to hire him as manager, Duke has no problem hiring Taffy. Gene thinks that Taffy is a common showgirl after Tom's money, and his rudeness to her initiates a brawl. Afterwards, Tom tries to convince him he's wrong about Taffy, and that she's nice. Gene replies, "She's a dance hall girl in a mining town—they're all nice. That's their business."

Soon after, Gene discovers that cattle are dying on the banks of a stream used by Blaine and his copper mines; the waste from the mine is poisoning the cattle. Back in town, Gene tries to reason with Blaine, urging him to build proper drainage pits to clean the water, but when the foreman says they would have to shut down operations for weeks, Blaine refuses. Infuriated by Blaine's greed, Gene goes to Judge Bent to obtain an injunction to stop the mining, but learns that he must travel to Phoenix to get it. At the train station, Gene runs into Patsy and Taffy, and apologizes for his earlier behavior.

While Gene is away, Tom grows frustrated with the continued poisoning of the cattle, and despite Frog's warning that they should wait for the injunction, Tom rounds up the ranchers and rides to close down the mine. When they arrive at the mine, a gunfight breaks out and Tom kills one of Blaine's henchmen in self-defense. Blaine makes it look like murder, and the miners organize a lynch mob. Duke returns and persuades Blaine to stop them, saving Tom's life.

Afterwards, Blaine tells Gene that he'll ensure that Tom is given a fair trial if Gene withdraws the injunction. Gene agrees, but only if Blaine starts digging a drainage system voluntarily and ensures a fair trial. After the meeting, Gene tells Tom that he'll need to go to jail until a trial is held. Tom and Taffy are shocked that Gene would allow Tom to be taken to jail, believing that he must be conspiring with Blaine. When Blaine reveals to Duke that he has no intention of building the drainage system, Duke says, "Never be alone with yourself, Blaine. You wouldn't like it."

As the waste dumping continues, the ranchers complain to Gene that Blaine still has not constructed drainage pits to clean the water. When they pressure him to serve the injunction, Gene defends Tom and says he must have a chance. The ranchers reluctantly agree to wait two days until the trial. After they leave, Gene admits to Judge Bent that he now believes Blaine never intended to hold up his end of the bargain. The judge comes up with a plan to move the trial to another venue, and soon he catches a train to Phoenix to argue before a higher court that the Solitude court is prejudiced.

After the judge sends word that the trial can be moved, Gene serves Blaine with the injunction to stop the waste dumping. When Blaine hears that Gene has a change of venue order, he directs his henchman, Sheriff Simpson, to organize a trap that will implicate Gene and Tom in a jailbreak, during which they can both be killed. When Taffy learns about the trap, she tries to warn Gene but Blaine's men stop her. Patsy, however, is able to ride to the ranch and get Frog and the other men.

While Gene and Tom are trapped by Blaine's men in the jail, Duke sneaks in to help them during the shootout. When Blaine's men set the building on fire, Duke is shot and killed while helping Gene and Tom escape. Blaine is also killed. Frog and the ranch hands arrive and stampede their cattle through the town. After a street brawl, Blaine's men are arrested and taken away. Afterwards, Gene and Taffy join their friends at a picnic celebrating Tom's twenty-first birthday.

Cast
 Gene Autry as Gene Autry
 Smiley Burnette as Frog Millhouse
 Mary Lee as Patsy
 Edward Norris as Tom Bennett
 Jacqueline Wells as Taffy
 Addison Richards as Duke Winston
 Arthur Loft as E.G. Blaine
 Edmund Elton as Judge Bent
 Joe McGuinn as Sheriff Simpson
 Edmund Cobb as Rancher Williams
 Robert Barron as Henchman Ward
 Stanley Blystone as Station Agent Jess (uncredited)
 Tom Ewell as Fight Spectator (uncredited)
 Cactus Mack as Barfly (uncredited)
 Frankie Marvin as Cowhand (uncredited)
 Fred 'Snowflake' Toones as Train Porter (uncredited)
 Phillip Trent as Jack, Tom's New York Friend (uncredited)
 Champion as Gene's Horse (uncredited)

Production

Casting
The original working title for the film was Song at Twilight. Margaret Tallichet was originally offered the leading lady role but her husband, director William Wyler, persuaded her to join him in Sun Valley for a winter vacation instead. The role was then offered to Jacqueline Wells, who later gained semi-stardom under the name Julie Bishop during the war years. Wells was born in Denver, Colorado in 1914 and became a silent film child actress who transitioned easily to talkies and adult roles. She appeared in over 80 films between 1923 and 1957. One of her earliest credits was a silent serial, Bar C Mystery (1926). She is best remembered for the films she did at Warner Bros. during the war years, including Princess O'Rourke (1943), supporting Olivia de Havilland and Robert Cummings, Action in the North Atlantic (1943) opposite Humphrey Bogart, Rhapsody in Blue (1945) as Ira Gershwin's wife, and Cinderella Jones (1946). She is perhaps best remembered for her role as the prostitute who fell in love with John Wayne's character in Sands of Iwo Jima (1950). Autry would later remember her as "an interesting actress" who had talent, but "seemed doomed to work in nothing but B-westerns." Remembering her work on Back in the Saddle, Wells would later recall, "Actually, I didn't have much to do with Gene in the film, I had more scenes with Edward Norris." Regarding the singing sequences, she remembered, "Usually I was dubbed but, occasionally, if it wasn't something too difficult, I was allowed to do it. They prerecord the songs, then a huge machine comes onto the stage and you lip-sync to the recording."

Filming and budget
Back in the Saddle was filmed January 21 to February 4, 1941. The film had an operating budget of $84,572 (equal to $ today), and a negative cost of $87,735.

Filming locations
 Victorville, California, USA
 Iverson Ranch, 1 Iverson Lane, Chatsworth, Los Angeles, California, USA
 Chatsworth Train Station, Chatsworth, Los Angeles, California, USA
 San Fernando Valley, California, USA (train tracks)

Stuntwork
 Tommy Coats
 Ben Corbett
 Jack Kirk (Smiley Burnette's stunt double)
 Jack Montgomery
 Nellie Walker (Jacqueline Wells' stunt double)
 Henry Wills
 Bob Woodward
 Bill Yrigoyen
 Joe Yrigoyen (Gen Autry's stunt double)

Soundtrack
 "Back in the Saddle Again" (Gene Autry, Ray Whitley) by Gene Autry
 "In the Jailhouse Now" (Jimmie Rogers) by Gene Autry
 "Ninety-Nine Bullfrogs" (Smiley Burnette) by Smiley Burnette
 "Swingin' Sam the Cowboy Man" (Jule Styne, Sol Meyer) by Mary Lee
 "Where the River Meets the Range" (Jule Styne, Sol Meyer) by Jacqueline Wells
 "When the Cactis is in Bloom" (Jimmie Rogers) by Gene Autry
 "I'm An Old Cowhand" (Johnny Mercer) by Gene Autry and Mary Lee
 "You Are My Sunshine" (Jimmie Davis, Charles Mitchell) by Gene Autry

References
Citations

Bibliography

External links

Category:1941 films
Category:1940s Western (genre) films
Category:American films
Category:American Western (genre) films
Category:American black-and-white films
Category:English-language films
Category:Republic Pictures films
Category:Films set in Arizona


77th Battalion (Ottawa), CEF

The 77th Battalion (Ottawa), CEF was an infantry battalion of the Canadian Expeditionary Force during the Great War. The 77th Battalion was authorized on 10 July 1915 and embarked for Great Britain on 19 June 1916. It provided reinforcements for the Canadian Corps until 22 September 1916, when its personnel were absorbed by the 47th Battalion (British Columbia), CEF and the 73rd Battalion (Royal Highlanders of Canada), CEF. The battalion was then disbanded.

The 77th Battalion recruited in Ottawa, Ontario and district and was mobilized at Ottawa.

The 77th Battalion was commanded by Lt.-Col. D.R. Street, 19 June 1916 – 13 September 1916.

The 77th Battalion was awarded the battle honour THE GREAT WAR 1916.

The 77th Battalion (Ottawa), CEF, is perpetuated by The Governor General's Foot Guards.

References

Sources

Canadian Expeditionary Force 1914-1919 by Col. G.W.L. Nicholson, CD, Queen's Printer, Ottawa, Ontario, 1962

Category:Military history of Canada
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Category:Military history of Ontario


Athletics at the 2011 Summer Universiade – Men's shot put

The men's shot put event at the 2011 Summer Universiade was held on 16 August.

Medalists

Results

Qualification
Qualification: 19.00 m (Q) or at least 12 best (q) qualified for the final.

Final

References
Qualification Group A results
Qualification Group B results
Final results

Shot


Billy Bremner (disambiguation)

Billy Bremner (1942–1997) was a Scottish footballer, who played for Leeds United and Scotland in the 1960s and 1970s.

Billy Bremner may also refer to:

Billy Bremner (musician) (born 1946), Scottish guitarist
Billy Bremner (Australian footballer) (1872–1957), Australian rules footballer

See also
Bill Bremner (1879–1961), New Zealand lawn bowls player


Bernardino Mei

The Italian painter and engraver Bernardino Mei (1612/15 –  1676) worked in a Baroque manner in his native Siena and in Rome, finding patronage above all in the Chigi family.

Briefly a pupil of the Sienese cartographer and draughtsman Giuliano Periccioli, where he learned the art of engraving, Bernardino passed to the studio of the painter Rutilio Manetti and probably also served in the workshop of Francesco Rustici.

He painted in and around Siena, where his work came to the attention of Cardinal Fabio Chigi, who, once elected pope as Alexander VII (1655), called Bernardino Mei to Rome in 1657. There Bernardino came under the influences of Mattia Preti, Andrea Sacchi and Pier Francesco Mola, and of Guercino, to the extent that until the 20th century Bernardino's fresco of Aurora in Palazzo Bianchi Bandinelli was attributed to Guercino himself. Through the fast friendship that bonded him to Gian Lorenzo Bernini, whose studio he frequented, he applied that sculptor's sense of theatrical action to his own mythological and allegorical subjects. He died in Rome in 1676.

In the 19th century, Bernardino was dismissed as a tame follower of greater lights, but his painting was re-evalued in the later 20th century, expressed in the exhibition Bernardino Mei e la pittura barocca a Siena, Siena, 1987.

Notes

Category:Italian Baroque painters
Category:People from Siena
Category:1676 deaths
Category:Year of birth unknown
Category:Year of birth uncertain


Petrykivka painting

Petrykivka painting (or simply "Petrykivka") is a traditional Ukrainian decorative painting style, originating from the village of Petrykivka in Dnipropetrovsk oblast of Ukraine, where it was traditionally used to decorate house walls and everyday household items. The earliest known examples of this style date from the 17th century, but it continues to thrive and develop as a modern art form.

The distinctive features of this folk art style are its flower patterns, distinctive brush techniques, and its traditionally white background (contemporary painters, however, often work on black, green, red or blue backgrounds).

In 2012, the Ministry of Culture of Ukraine recognized Petrykivka painting as a part of intangible cultural heritage of Ukraine, and it was included in the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2013. Petrykivka painting has become a "brand" in Ukrainian popular culture, and a "Petrykivka" trademark belonging to the artisans of Petrykivka village has been created.

History

Prehistory

It is believed that Petrivka painting originated from mural decorations of village houses. Painted wall decorations were prevalent in many parts of Ukraine, and different regions had their own characteristic styles. It was traditional for the painting to be restored once or twice each year. In addition to murals, household items made of wood and other materials were also decorated, particularly chests (and especially wedding chests). Later, the tradition of “mal'ovky” (мальовки) arose, in which paintings made in advance by a master on paper could be used to decorate house walls without a painter needing to visit them in person. There are also examples of 18th century religious icons from the Dnipro region that have floral ornamentation which could also be considered an ancestor of the modern Petrikivka style.

The oldest Ukrainian wall paintings with floral ornaments date from the second half of the 19th and beginning of the 20th century in the Dnipropetrovsk, Sloboda, Podillia, and Uman’ regions, and they likely have a relationship or common origin with the Petrykivka style.

Ornamental painting on walls and on paper were common in many villages of the Dnipropetrovsk area, but were most prevalent and highly developed in the village of Petrykivka, from which the style takes its name. Mural decoration of homes have existed in Petrykivka from at least 1860, and works on paper - from the late nineteenth century. From the time of the New Sich in the mid-1700s until the middle of the nineteenth century, these lands were primarily populated by settlers from the Poltava and Sloboda regions, and it is possible that these migrants brought this painting tradition to Petrykivka. No descriptions of wall decoration exist for the Poltava area in the nineteenth century, but there were reports of mural decoration in the Sloboda region, such as from 1860 in the Kupians’k area of Kharkiv province. Therefore, it has been proposed that the Petrykivka tradition originated from the Sloboda region. However, there also exist boxes with decorative floral painting from Poltava dating from the second half of the nineteenth century. Yet another alternative hypothesis is that this painting style came from Podillia via Uman’. However, murals with floral ornaments appeared there only much later.

Recognition and establishment (1911-1936)

No detailed historical references to Petrykivka painting exist before the beginning of the 20th century, when the ethnographer Dmytro Yavornytsky took an interest in it, and had Yevhenia Evenbakh, one of his students, make copies and collect samples (including murals) in two expeditions in 1911 and 1913. These “discoveries" formed the basis of a 1913 exhibition in Saint Petersburg. Another early researcher of Petrykivka painting was Yevhenia Berchenko, who organized exhibitions in 1928 Leningrad.

Exhibitions by Petrykivka artists took place in 1935 and 1936 in Kyiv, Leningrad, and Moscow, and featured works by Tatiana Pata, Nadia Bilokin', Yaryna Pylypenko, Hanna Isaiev, Vasyl’ Vovk, and Halyna Pavlenko. This greatly popularized Petrikivka painting, which had until then been almost unknown among the general public. After these exhibits, Tatiana Pata and Nadia Bilokin' were awarded the honorary title of "Master of Folk Art".

Also in 1935 and 1936, a special two-year school of decorative painting took place in Petrykivka. The main instructor was Tatiana Pata, who taught an entire generation of artists who would go on to establish Petrykivka painting as a contemporary art form. Tatiana Pata is often considered to be the founder of the Petrykivka school of painting, although in reality she was only continuing a tradition which she had learned from her grandmother.

Petrykivka artists in Kyiv

Several students of Tatiana Pata moved to Kyiv in 1936-1944, which lead to the first use of Petrykivka painting in industrial production at the Kyiv Taras Shevchenko Souvenir Factory ("Київська сувенірна фабрика ім. Т. Г. Шевченка”). It was here that varnish-covered painting on a nontraditional black background was first introduced, a technique which later also came to be used in Petrykivka village itself. This became the most prevalent form of Petrikivka painting during Soviet times.

These artists also began to use the Petrykivka style for porcelain decoration. The first such attempt was by Halyna Pavlenko in 1936 while studying at the Kyiv School of Folk Arts (later the Kyiv Art and Industry College - "Київський художньо-промисловий технікум"). In 1937 and 1938, she was joined by Vira Pavlenko, Marfa Tymchenko and Pelahia Hlushchenko.

Porcelain decoration in the Petrykivka style was developed further in 1944 by the Pavlenko sisters and Vira Klymenko-Zhukov at the Kyiv Experimental Ceramic Art Factory [12] [13]. Marfa Tymchenko also joined that factory in 1953, and her work there was widely recognized. Porcelain vases personally decorated by Marfa Tymchenko were given as gifts by Soviet leaders to foreign dignitaries, including Richard Nixon, Mao Zedong, Fidel Castro, and Josip Broz Tito.

Development from 1950 to 1980

An atelier for textile production had existed in Petrykivka since 1929. In 1958, a cooperative workshop was created in that atelier for the production of varnished Petrykivka painted objects. The artists in that workshop included some of Tatiana Pata's most talented students. In 1958, the staff of the workshop included Hanna Isaieva, Yavdokha Kliupa, Maria Shyshats’ka, Nadia Shulyk, Ivan Zavhorodnii, Halyna Prudnikova, Oleksandra Pikush, Vira Tezyk, Nina Turchyn, Hanna Danyleiko, and (beginning in 1959) Zoia Kudish. In 1961, the cooperative was reorganized as the “Friendship” Factory of Petrikivka Painting (“Фабрика петриківського розпису «Дружба»”). Most products of the factory, particularly boxes and dishes, were made of pressed sawdust, which were covered in black paint, decorated, and then varnished. The artistic director of the factory until 1970 was Fedir Panko. From 1970-1988 this position was held by Vasyl' Sokolenko, and then by Anatolii Chernus'kyi, Volodymyr Hlushchenko, and Serhii Dreshpak. Its artistic advisory council included such famous masters as Hanna Samars’ka and Yavdokha Kliupa. By the late Soviet period the factory employed about five hundred people. Petrikivka-decorated plates, boxes, trays, vases, and other souvenirs became calling cards of Ukraine, and were exported to 80 different countries. In 2006 the factory was liquidated in bankruptcy, and in 2011 it was completely destroyed by unknown individuals who dismantled the workshops and presses.

The T. Pata Petrykivka Children’s Art School (“Петриківська дитяча художня школа ім. Т. Я. Пати”) was also created in 1958. Its founding teachers of Petrikivka painting were Fedir Panko and Vasyl' Sokolenko, both students Tatiana Pata. While simultaneously working at the Petrykivka Factory, they taught the art form to the next generation of artists: most of the Petrykivka artists of the second half of the Soviet period were their students. Later, Valentyna Panko and Maria Pikush, both graduates of the School, became instructors there themselves. Pikush became its director in 1995.

A series of albums of Petrykivka painting reproductions edited by the noted art historians Natalia Hlukhen’ka and Borys Butnyk-Sivers'kyi were published in the 1960s and ‘70s. With their large circulation, they did much to further popularize the Petrykivka painting style in Soviet Ukraine.

In 1970, Fedir Panko also founded the Experimental Workshop of Petrykivka Painting ("Експериментальний цех петриківського розпису”) under the auspices of the Dnipropetrovsk National Union of Artists of Ukraine in a building in the center of Petrykivka village. In contrast to the Factory of Petrykivka Painting, its works were mainly on wood and paper, and primarily on a light background (as opposed to the black background typically used at the factory). The work of the artists at the Experimental Workshop was more creatively free and diverse than at the Factory, where ordinary artisans primarily copied works by the artistic directors. In addition to Panko, the Workshop included the artists Hanna Isaieva, Nadia Shulyk, Nina Turchyn, Andrii Pikush, Maria Pikush, Tetiana Har’kava, Valentyna Deka, Lidia Bulavin, Maria Yanenko, Natalia Statyva-Zharko, Valentyna Panko, and Halyna Nazarenko.

Recent history

In 1998, the Experimental Workshop became the basis of the Petrykiva Center of Folk Art under the direction of Andrii Pikush. Today, it is considered to be the nucleus of the Petrikivka painting style. The Center brings together approximately 40 leading Petrykivka artists, including (as of 2011) 25 members of the National Union of Artists of Ukraine and 7 Distinguished Folk Artists of Ukraine. This institution has been a home to such artists as Volodymyr Hlushchenko, Nina Turchyn, Valentyna Deka, Lidia Bulavin, Maria Yanenko, Valentyna Panko, and Halyna Nazarenko. In addition, many significant artists currently live in Petrykivka village but do not work at the Petrykivka Center, and a number of other artists trained in classical Petrykivka painting live and work in various cities throughout Ukraine, where they continue to develop the Petrykivka style.

An annual regional festival of folk art under the name “Petrykivs’kyi Dyvotsvit” (lit. “Wonder-Flower of Petrykivka”) has taken place since 2007, typically in September. It has included markets, workshops, exhibitions, and concerts. In 2013 and 2014, the festival took place in Dnipro, and in subsequent years, in Petrikivka village.

In 2012, the Ukrainian Ministry of Culture recognized Petrykivka painting as part of the intangible cultural heritage of Ukraine, and in December 2013 it was included in the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO.

In January 2013, a “Petrykivka” trademark designed by Liudmyla Horbulia was registered, and was donated for the use of the community of Petrykivka village and its artisans as a symbol of authenticity.

Technique and characteristics

Petrykivka painting is traditionally dominated by plant forms, particularly of flowers. At times, they are depicted as abstracted shapes that do not necessarily correspond to any recognizable, naturally occurring plant species. In other cases, they are based on common garden flowers (e.g. dahlias, asters, tulips, roses), wildflowers (e.g. camomile, cornflower), and other plants (such as vibernum berries, strawberries, and grapes). Acanthus leaves (traditionally referred to as “ferns”) and flower buds are also commonly seen. The plant imagery is often combined with birds, and sometimes with images of animals and people, which are often depicted in somewhat fanciful form. Designs also commonly make use of the image of a phoenix or firebird. Historically, Petrykivka painting was done exclusively on white backgrounds (either whitewashed walls or on white paper), but contemporary artists have used backgrounds of a variety of colors, including black, blue, green, and red.

Petrykivka painting is unabashedly two-dimensional, with no desire to depict “realistic” perspective. The overall design is built around one or more plant stems, to which are attached to all of the key elements of the composition. These stems or branches typically do not overlap each other, and many elements are depicted as silhouettes. Figures of birds, animals, and people are typically depicted in profile, while flowers are usually shown head-on. Many pictorial elements (such as petals, stems, and berries) are depicted using a single brush stroke. For some elements, such as berries, artists will use their finger to apply the paint, resulting in a characteristic round shape that is light in the center and has a darker “ring" at its edge. Professional Petrykivka artists mostly work without pre-drawn sketches and do not use measuring instruments. Instead, they work out the composition in their mind’s eye, and do not begin execution until it has been fully thought through.

Types of brush strokes

Petrykivka painting makes use of four characteristic brush strokes:

 “Hrebinets’” (“Comb") - a brush stroke that begins with a heavier pressure and thick line, then finished with a lighter touch and thin line. So called because a series of such strokes look like a hair comb.
 “Zerniantko” (“Seed”) - a brush stroke that is the reverse of the “hrebinets’", with initial light and final heavy pressure. When such strokes are used on either side of a stem, the result resembles an ear of wheat.
 “Horishok” (“Nut") - consists of two “hrebinets’" strokes that are curved and placed next to each other. Filling the resulting central negative space with a “zerniatko” stroke produces a form similar in shape to a hazelnut.
 “Perekhidnyi mazok” ("Transitional stroke”) - made by a single brush with two differently colored pigments. A dry brush is dipped first into one (e.g. green) and then another (e.g. yellow) paint. The result is a line of yellow paint, which gradually turns into green.

Materials

Pigments were traditionally extracted from herbs, leaves, berries and flowers using specific preparation methods. Red was made from cherry juice, green - from grasses and nightshades, and blue - from snowdrop flowers. Various shades of yellow were obtained from sunflower petals, onion skins, and the bark of apple seedlings. Pigments were thinned using egg yolk or milk, and fixed using cherry sap or sugar from sugar beets. Synthetic dyes appeared much later, and gouache and watercolor were used only in the post-war period. The painting tools themselves also were of natural origin: brushes were made from tree shoots, stems of marsh grasses (especially rushes and cattails), and cat hair.

Well-known artists in the Petrykivka tradition

There are no historical records of Petrykivka painting prior to the beginning of the 20th century, and therefore the names of early artists have not been recorded. Largely thanks to the work of Dmytro Yavornytsky, the names of Petrykivka masters of the early 20th century (born in the 1880s and 1890s) were recorded, such as Tatiana Pata, Nadia Bilokin', Yaryna Pylypenko, and Paraska Pavlenko. These artists are the only ones of their generation whose works are known and are preserved in museums with attribution.

In addition, there are a few known artists born in 1908-1919 who learned the tradition in their families (particularly in the families of the above-mentioned Paraska Pavlenko and Yaryna Pylypenko), but who developed creatively under the strong influence of Tatiana Pata. These include Hanna Isaieva (née Pylypenko), Nadia Tymoshenko, Vasyl' Vovk, Vera Pavlenko, and Halyna Pavlenko (later Pavlenko-Chernychenko).

All of the other famous artists of this generation were students of Tatiana Pata and studied at the Petrykivka Art School between 1936 and 1941. These include: Fedir Panko, Vasyl' Sokolenko, Marfa Tymchenko, Vira Klymenko (later Klymenko-Zhukova) Pelahia Hlushchenko, Yavdokha (Evdokia) Kliupa, Maria Shyshat'ska, Oleksandra Pikush, Ivan Zavhorodniy, Halyna Prudnikova (Zavhorodnia), Nadia Shulyk, Zoia Kudish, Vekla Kucherenko (Pata), Hanna Danyleiko, Nadia Pikush, and others.

Distinctive among the masters of the Petrykivka style is Anna Samara, who was the only known member of the older generation of painters that was not born and trained in Petrykivka village. She mastered the style and technique in Kyiv under the indirect influence of Petrykivka masters such as Marfa Tymchenko, and continued to develop her skills at the Kyiv Taras Shevchenko Souvenir Factory.

The vast majority of the next generation studied Petrykivka painting under Fedir Panko and/or Vasyl' Sokolenko, as well as in some cases with one of the other master artists mentioned above. These include: Volodymyr Hlushchenko, Nina Turchyn (Shyshats’ka), Tamara Kudish, Nina Shulyk, Vira Tezyk, Anatolii Chernus'kyi, Nina Chernus’ka, Andrii Pikush, Maria Pikush, Uliana Skliar, Valentyna Panko, Valentyna Deka (Statyva), Lidia Bulavin (Statyva), Maria Yanenko (Statyva), Natalia Statyva-Zharko, Halyna Nazarenko, Tatiana Har'kava (Lapshyn), Liudmyla Horbulia, Olena Zinchuk, Yulia Nahai, Yaryna Nazarenko, Serhii Dreshpak, Valentyna Khomenko, Nina Borodina, Kateryna Tymoshenko, Tamara Teslenko, Natalia Kaliuha, Maria Kurin'ka (Bel’mas), Iryna Kibets', Olena Yarmoliuk, Olena Skytsiuk (daughter of Marfa Tymchenko), and others.

Additional significant artists of this generation include Valentyna Karpets’-Yermolaieva, Valentyna Milenko, Natalia Rybak, Liana Skliar, Tatiana Pata (Skliar), Tamara Vakulenko (Samars'ka), Oleksandr Vakulenko, Viktoriya Tymoshenko, Mykola Deka, Svitlana Bilenko, Natalia Maliarchuk, Volodymyr Padun, and others.

Among the most active contemporary Petrykivka-style artists are Halyna Nazarenko, Valentyna Panko, Viktoria Tymoshenko, Natalia Statyva-Zharko, Olena Yarmoliuk, and Natalia Maliarchuk.

Petrikivka painting has often been a family craft, and many well-known Petrykivka artists (both historical and contemporary) often have well-known artists in their immediate family. Among the more famous of these “dynasties” are those of Panko, Pikush, Statyva, and Skliar. In some cases, these links are not obvious, as the carriers of the tradition were often women who changed their surname after marriage. It is also complicated by the fact that some relatively unusual surnames happen to be quite common in Petrykivka village, and two artists with the same name may in fact not be close relatives.

Gallery

References

Category:Ukrainian art
Category:Masterpieces of the Oral and Intangible Heritage of Humanity
Category:Handicrafts
Category:Decorative arts


Alok Tandon

Alok Tandon is the Chief Executive Officer (CEO) of INOX Leisure Limited, the 2nd largest multiplex chain in India. He has led the company for two decades since its inception. As of June 2019, the company operates 583 cinema screens across India.

In 2016, he was included in Business Today-PwC's list of India's Top 100 CEOs 2016. In June 2019, Business World included him in its list of the 20 most valuable CEOs in India.

Awards and recognition

 'India's top 100 CEOs 2016''' by Business Today-PwC
 '20 Most Valuable CEOs in India'''  by Business World, 2019

References

Category:Living people
Category:Indian chief executives
Category:Year of birth missing (living people)


Deborah Randall

Deborah Randall (born 1957) is a British poet. Randall started writing in 1986, and in 1988 she won the first (and only) Bloodaxe National Poetry Competition. Her debut poetry collection, The Sin Eater (1989) was a Poetry Book Society Recommendation, and won a Scottish Arts Council Book Award. Her second collection, White Eyes Dark Ages (1993), was a portrait in verse of John Ruskin.

Randall was born in 1957 in Gosport, Hampshire. She worked in various places – including a plastics factory, hotels and a children's home – before studying English at Sheffield University. She moved to live in Kirkwall in the Orkneys, and later Ullapool in Scotland.

Works
 The Sin Eater. Newcastle upon Tyne : Bloodaxe, 1989.
 White Eyes Dark Ages. Newcastle upon Tyne : Bloodaxe, 1993.

Rferences

CAtegory:1957 births
Category:Living people
Category:20th-century British poets
Category:British women poets
Category:People from Gosport


Bum Bum Tam Tam

"Bum Bum Tam Tam" (also known by the title "Joga O Bum Bum Tam Tam") is a song recorded by Brazilian singer and producer MC Fioti. A music video was released on 8 March 2017. The song samples Johann Sebastian Bach's Partita in A minor for solo flute.  The song has peaked at number one in the Netherlands and the top 5 in France.

Critical reception
The song received positive reviews from critics. Billboard said the song "might just qualify as the biggest international banger the world has ever seen." ClashMusic.com described the song saying "'Bum Bum Tam Tam' is the carefree phenomenon 2017 needs, the sort of ear-worm pop melody that can bring entire nations together." Vice described the song questioning if "Bum Bum Tam Tam is the best funk song in history?"

Music video
The official music video was released on 8 March 2017 on the Kondzilla channel. It cost R$30,000 (Roughly US$7,700) to make. According to Fioti, "It was all last minute and it was perfect."

The music video has over 1.4 billion views and 10 million likes as of January 2020. It is also the most-viewed Brazilian music video and the first to hit 1 billion views.

Track listing

Charts

Release history

Remixes

Future, J Balvin, Stefflon Don and Juan Magán Remix

"Bum Bum Tam Tam (Remix)" is a song recorded by Brazilian singer and producer MC Fioti, Colombian singer J Balvin, American rapper Future, British rapper Stefflon Don and Spanish singer Juan Magán. It was released on 15 December 2017 through Island Records and Universal Music. It is a remix of MC Fioti's song "Bum Bum Tam Tam".

Other versions
A version by Jonas Blue was released in March 2018. ClashMusic.com describes this version as a "fiery Friday anthem".

A version by Jax Jones was released in January 2018. Billboard has ranked the remix as one of the best Dance/Electronic remixes of 2018. Billboard also described the song saying "Jax Jones ships the record straight to the club, adding a bassy four-on-the-floor beat while letting the flutes shine."

A version by David Guetta was released on April 27, 2018. As described by Billboard, "Guetta gives Fioti's anthem a big, boisterous intro and some serious snare drum, plus a few electronic elements to let you know you've arrived at the middle of the megaclub dance floor."

Track listing

Charts and certifications

Weekly charts

Year-end charts

Certifications

Release history

References

Category:2017 songs
Category:2017 singles
Category:J Balvin songs
Category:Juan Magan songs
Category:Future (rapper) songs
Category:Stefflon Don songs
Category:Songs about dancing
Category:Songs written by J Balvin
Category:Songs written by Future (rapper)
Category:Songs written by Stefflon Don


Oakes College

Oakes College is a residential college at the University of California, Santa Cruz. It is on the southwestern corner of the campus, south of Rachel Carson College and east of the Family Student Housing complex.

Oakes was founded in 1972 as College Seven by Professors Herman J. Blake and Ralph C. Guzmán. In 1968, the Black Liberation Front, a black power group, demanded an all-black college. Blake, UCSC's only African American faculty member at the time, along with Guzmán, one of the few Mexican-American faculty on campus, proposed a compromise in which College Seven's academic program would focus on ethnic studies, particularly the studies of minority groups in California. Though the term ethnic studies was dropped in the planning phases, the college has always stressed racial, ethnic and cultural diversity, along with the representation and support of students from historically disadvantaged groups.

Oakes is perceived by some students as a "minority college", partly due to its roots in radical elements of the Civil Rights Movement. Comparative racial and ethnic statistics do show that Oakes' student body has slightly higher percentages of minorities than a number of other UCSC colleges and UCSC's student body as a whole. For example, 9.8% of Oakes's students are African American and 12.2% are Filipino American, compared with 2.7% and 4.5%, respectively, among UCSC's general student body.

College Seven was renamed Oakes in 1975 after philanthropists Roscoe and Margaret Oakes, whose endowment contributed significantly to the founding of the college.

Noted political activist Angela Davis, an Oakes affiliate,

is a professor of history of consciousness, an unconventional program centering on the history of struggles for racial, economic and social justice and equality.

Theme housing

Oakes College provides theme housing for their students that want to live on campus. There are four dormitory buildings and four apartment blocks.

Dormitory buildings
Biko House – African American theme
Hong-Lim House - Asian American/Pacific Islander themes
Bayit Wiesel - Jewish, GLBTI themes
Casa Huerta - Chicano/Latino theme

Apartment blocks
Casa Kahlo - Chicano/Latino Theme
Shabazz Block - African American Theme
Milk Block - Jewish, GLBTI Themes
Lili'uokalani Minami Block - Asian American/Pacific Islander Themes

Notes

External links

Category:University of California, Santa Cruz colleges


Geyser Crest

Geyser Crest is a residential neighborhood in the southwest section of the city of Saratoga Springs, New York and the town of Milton. It is separated from downtown Saratoga Springs by Geyser Road and Route 50. Most of the neighborhood homes were built in the 1970s. Most children attend Geyser Road Elementary School, Maple Avenue Middle School, and Saratoga Springs High School; a small number who live in the far west section attend Ballston Spa Central Schools.
Geyser Crest has an elevation of . Geyser Crest appears on the Saratoga Springs U.S.Geological Survey Map and is in the Eastern Time Zone (UTC -5 hours). Geyser Crest also observes daylight saving time.

References

Category:Saratoga Springs, New York
Category:Populated places in Saratoga County, New York


Dorena–Hickman Ferry

The Dorena–Hickman Ferry is a ferry across the Mississippi River between Dorena, Missouri and Hickman, Kentucky. A single boat takes vehicular traffic across the river seven days a week during daylight hours.

It provides the only direct road connection between the two U.S. states' mainlands; however, they are indirectly connected at Cairo, Illinois via U.S. 60 & U.S. 62 over the Cairo Mississippi River Bridge and the Cairo Ohio River Bridge, both just above the mouth of the Ohio River. Nonetheless, since the Ohio is the historic division between the upper & lower parts of the Mississippi, this ferry is the farthest-upstream crossing of the Lower Mississippi; the two Cairo bridges are the farthest-downstream crossings of the Upper Mississippi and the Ohio, respectively.

See also
List of crossings of the Lower Mississippi River

References

External links
Ferry

Category:Ferries of the Mississippi River
Category:Ferries of Kentucky
Category:Water transportation in Missouri
Category:Transportation in Fulton County, Kentucky
Category:Transportation in Mississippi County, Missouri


DLR Smartfish

Smartfish is a proposed two seat experimental aircraft design by Konrad Schafroth which uses a lifting body configuration.

There are a few working model examples of the Smartfish. A fuel cell-powered model has been built in collaboration with German Aerospace Center (DLR) and, according to the factory, flew in April 2007.

Unlike most aircraft designs, the Smartfish is modeled after the Tuna species of fish. This makes the plane fly steadily without error-prone slats, spoilers or flaps. The projected range of the aircraft is 8000 km at about Mach 0.9.

A proposal for a hybrid airship based on the Smartfish's geometry has also been published.

See also
 Hydrogen planes
 Hyfish

References

External links
 Smartfish Homepage
 DLR model

Category:2000s international experimental aircraft
Category:Hydrogen-powered aircraft
Category:Lifting bodies


Ted D. Clark

Ted D. Clark (June 12, 1920 – May 3, 1980) was an American politician from the state of Iowa.

Clark was born in Detroit, Michigan in 1920 and moved with his parents to Appanoose County, Iowa a year later. He graduated from Mystic High School. He served as a Republican in both the Iowa House of Representatives from 1949 to 1953, and in the Iowa Senate from 1953 to 1957. Clark died in 1980 and was interred in Highland Cemetery in Mystic, Iowa.

References

|-

Category:1920 births
Category:1980 deaths
Category:Politicians from Detroit
Category:People from Appanoose County, Iowa
Category:Iowa Republicans
Category:Members of the Iowa House of Representatives
Category:Iowa state senators

Category:20th-century American politicians


Leopolis, Missouri

Leopolis is an extinct town in Livingston County, in the U.S. state of Missouri.

Leopolis was settled by a colony of Catholics, and most likely was named after a seminary of the same name near the original town site. A post office called Leopolis was established in 1892, and remained in operation until 1901.

References

Category:Ghost towns in Missouri
Category:Former populated places in Livingston County, Missouri


Goure

Goure (fr. Gouré) is a town in southeastern Niger, Zinder Region, Goure Department, of which it is the seat.

Situation
Situated on the main all-weather east–west highway in Southern Niger, it is about 170 km east of regional capital, Zinder, on the route east to Diffa, N'Guigmi, and the Lake Chad area along Niger's border with Chad.  Around 40 km to the north of Goure are the Koutous hills, which form the first foothills of the Termit Massif.  These hills also mark the northeastern boundary of Hausa settlement in Niger, with the desert and hills to the north sparsely populated by seasonal nomadic encampments, and the area to the east populated by a majority of settled Kanouri ethnic groups and Toubou pastoralists.

Agriculture and environment
The surrounding land is mostly dry grass Sahel dotted with acacia trees, with green patches formed by kouris (seasonal watercourses with underground water) and cuvettes (natural depressions which retain seasonal rain water.  Farming is dominated by millet production.

The area around Goure is particularly threatened by desertification, and was in 2005 designated at the very northeastern edge of Nigerien farm land able to support its population. The area has thus become a centre for international anti-desertification efforts, where experiments by local and foreign organisations promote the use of windbreaks and scrub grids to fix soil and stop the influx of dunes.

The agricultural region around Goure was devastated at several points since independence, with major droughts in the early 1970s, the mid 1980s, and locust-induced crop loss famine in 1977 and 2005.

Population
The town has grown since the 1960s, with its importance as a weighstation on Niger's primary east–west highway.  In 1970, the town had a population of 2,124, 7,612 in 1977, 8,951 in 1985, and a population of 13,422 by 2001. Goure also has a landing strip, with ICAO Code DRZG.

References

 Population figures from citypopulation.de, citing (2001) Institut National de la Statistique du Niger.
 James Decalo. Historical Dictionary of Niger. Scarecrow Press/ Metuchen. NJ – London (1979)  p. 153
 Finn Fuglestad. A History of Niger: 1850–1960. Cambridge University Press (1983)  p. 133–140
 Jolijn Geels. Niger. Bradt UK/ Globe Pequot Press USA (2006)  pp. 223–224

Category:Communes of Niger
Category:Populated places in Niger


Walter Price (MP)

Walter Price (fl. 1571), of Monaughty, Radnorshire, was a Welsh politician.

He was a Member (MP) of the Parliament of England for Radnorshire in 1571.

References

Category:Year of birth missing
Category:Year of death missing
Category:16th-century Welsh people
Category:People from Radnorshire
Category:People of the Tudor period
Category:English MPs 1571


Playtime

Playtime (sometimes written PlayTime) is a 1967 French-Italian comedy film directed by Jacques Tati. In Playtime, Tati again plays Monsieur Hulot, a character who had appeared in his earlier films Mon Oncle and Les Vacances de Monsieur Hulot. As mentioned on the production documentary that accompanies the Criterion Collections DVD of the film, by 1964 Tati had grown ambivalent towards playing Hulot as a recurring central role. Unable to dispense with the popular character altogether, Hulot appears intermittently in Playtime, alternating between central and supporting roles.

Playtime was made from 1964 through 1967. Shot in 70 mm, the work is notable for its enormous set, which Tati had built specially for the film, as well as Tati's trademark use of subtle, yet complex visual comedy supported by creative sound effects; dialogue is frequently reduced to the level of background noise.

Playtime is considered Tati's masterpiece, as well as his most daring work. In 2012, Playtime was 43rd in the British Film Institute's critics' list and 37th in their directors' list of Top 50 Greatest Films of All Time.

Plot
Playtime is structured in six sequences, linked by two characters who repeatedly encounter one another in the course of a day: Barbara, a young American tourist visiting Paris with a group composed primarily of middle-aged American women, and Monsieur Hulot, a befuddled Frenchman lost in the new modernity of Paris. The sequences are as follows:
 The Airport: the American tour group arrives at the ultra-modern and impersonal Orly Airport.
 The Offices: M. Hulot arrives at one of the glass and steel buildings for an important meeting, but gets lost in a maze of disguised rooms and offices, eventually stumbling into a trade exhibition of lookalike business office designs and furniture nearly identical to those in the rest of the building.
 The Trade Exhibition: M. Hulot and the American tourists are introduced to the latest modern gadgets, including a door that slams "in golden silence" and a broom with headlights, while the Paris of legend goes all but unnoticed save for a flower-seller's stall and a single reflection of the Eiffel Tower in a glass window.
 The Apartments: as night falls, M. Hulot meets an old friend who invites him to his sparsely furnished, ultra-modern and glass-fronted flat. This sequence is filmed entirely from the street, observing Hulot and other building residents through uncurtained floor-to-ceiling picture windows.
 The Royal Garden: This sequence takes up almost the entire second half of the film. At the restaurant, Hulot reunites with several characters he has periodically encountered during the day, along with a few new ones, including a nostalgic ballad singer and a boisterous American businessman.
 The Carousel of Cars: Hulot buys Barbara two small gifts as mementos of Paris before her departure. In the midst of a complex ballet of cars in a traffic circle, the tourists' bus returns to the airport.

Cast
When possible, Tati cast nonprofessionals. He wanted people whose inner essence matched their characters and who could move in the way he wanted.

 Jacques Tati as Monsieur Hulot
 Barbara Dennek as Barbara, a young American tourist
 Jacqueline Lecomte as Barbara's travel companion
 Valérie Camille as Mr. Lacs's secretary
 France Rumilly as a seller of glasses
 Laure Paillette as 1st lady at the lamppost
 Colette Proust as 2nd lady at the lamppost
 Erica Dentzler as Mrs. Giffard
 Yvette Ducreux as coat check girl
 Rita Maiden as Mr. Schultz's companion
 Nicole Ray as the nostalgic ballad singer
 Luce Bonifassy as a customer at Royal Garden
 Evy Cavallaro as a customer at Royal Garden
 Alice Field as a customer at Royal Garden
 Eliane Firmin-Didot as a customer at Royal Garden

 Ketty France as a customer at Royal Garden
 Nathalie Jam as a customer at Royal Garden
 Olivia Poli as a customer at Royal Garden
 Sophie Wennek as tour guide
 Henri Piccoli as an Important Man
 Léon Doyen as the doorman
 Georges Montant as Mr. Giffard
 John Abbey as Mr. Lacs
 Reinhard Kolldehoff as the German director
 Grégoire Katz as the German salesman
 Marc Monjou as the false Mr. Hulot
 Yves Barsacq as Mr. Hulot's old acquaintance
 Billy Kearns as Mr. Schulz, the American businessman
 Michel Francini as head waiter
 Peter Lennon as guide leading US businessmen

Production

The film is famous for its enormous, specially constructed set and background stage, known as 'Tativille', which contributed significantly to the film's large budget, said to be 17 million francs. The set required a hundred construction workers to construct along with its own power plant. Budget crises and other disasters stretched the shooting schedule to three years, including 1.4 million francs in repairs after the set was damaged by storms. Tati observed, correctly, that the cost of building the set was no greater than what it would have cost to have hired Elizabeth Taylor or Sophia Loren for the leading role. Budget overruns forced Tati to take out large loans and personal overdrafts to cover ever-increasing production costs.

As Playtime depended greatly on visual comedy and sound effects, Tati chose to shoot the film on the high-resolution 70 mm film format, together with a complicated (for its day) stereophonic soundtrack.

To save money, some of the building facades and the interior of the Orly set were actually giant photographs. (The photographs also had the advantage of not reflecting the camera or lights.) The Paris landmarks Barbara sees reflected in the glass door are also photographs. Tati also used life-sized cutout photographs of people to save money on extras. These cutouts are noticeable in some of the cubicles when Hulot overlooks the maze of offices, and in the deep background in some of the shots at ground level from one office building to another.

Themes

In Playtime, Tati's character, M. Hulot, and a group of American tourists attempt to navigate a futuristic Paris constructed of straight lines, modernist glass and steel high-rise buildings, multi-lane roadways, and cold, artificial furnishings. In this environment, only the irrepressible nonconformity of human nature and an occasional appreciation for the good old days breathe life into an otherwise sterile urban lifestyle. Modern industrial technologies, accepted as necessary by society, are represented by Tati as obstructions to daily life and an interference to natural human interaction.

Style

Tati wanted the film to be in color but look like it was filmed in black and white – an effect he had previously employed to some extent in Mon Oncle. Predominant colors are in shades of grey, blue, black, and greyish white. Green and red are used as occasional accent colors: for example, the greenish hue of patrons lit by a neon sign in a sterile and modern lunch counter, or the flashing red light on an office intercom. It has been said that Tati had one red item in every shot. Except for a single flower stall, there are no genuine green plants or trees on the set, though dull plastic plants adorn the outer balconies of some buildings, including the restaurant (the one location shot apart from the road to the airport). Thus, when the character of Barbara arrives at the Royal Garden restaurant in an emerald green dress seen as 'dated' by the other whispering female patrons clothed in dark attire, she visually contrasts not only with the other diners, but also with the entire physical environment of the film. As the characters in the restaurant scene begin to lose their normal social inhibitions and revel in the unraveling of their surroundings, Tati intensifies both color and lighting accordingly: late arrivals to the restaurant are less conservative, arriving in vibrant, often patterned clothing.

Tati detested close-ups, considering them crude, and shot in medium-format 70 mm film so that all the actors and their physical movements would be visible, even when they were in the far background of a group scene. He used sound rather than visual cues to direct the audience's attention; with the large image size, sound could be both high and low in the image as well as left and right. As with most Tati films, sound effects were utilized to intensify comedic effect; Leonard Maltin wrote that Tati was the "only man in movie history to get a laugh out of the hum of a neon sign!" Almost the entire film was dubbed after shooting; the editing process took nine months.

Philip Kemp has described the film's plot as exploring "how the curve comes to reassert itself over the straight line". This progression is carried out in numerous ways. At the beginning of the film, people walk in straight lines and turn on right angles. Only working-class construction workers (representing Hulot's 'old Paris', celebrated in Mon Oncle) and two music-loving teenagers move in a curvaceous and naturally human way. Some of this robotlike behavior begins to loosen in the restaurant scene near the end of the film, as the participants set aside their assigned roles and learn to enjoy themselves after a plague of opening-night disasters. Throughout the film, the American tourists are continually lined up and counted, though Barbara keeps escaping and must be frequently called back to conform with the others. By the end, she has united the curve and the line (Hulot's gift, a square scarf, is fitted to her round head); her straight bus ride back to the airport becomes lost in a seemingly endless traffic circle that has the atmosphere of a carnival ride.

The extended apartment sequence, where Tati's character visits a friend and tours his apartment, is notable. Tati keeps his audience outside of the apartment as we look inside the lives of these characters. In September 2012, Interiors, an online journal that is concerned with the relationship between architecture and film, released an issue that discussed how space is used in this scene. The issue highlights how Tati uses the space of the apartment to create voyeurs out of his audience.

Reception
On its original French release, Playtime was acclaimed by most critics. However, it was commercially unsuccessful, failing to earn back a significant portion of its production costs. The film was entered into the 6th Moscow International Film Festival where it won a Silver Prize.

One reason for the film's commercial failure may have been Tati's insistence that the film be limited to those theaters equipped with 70 mm projectors and stereophonic sound (he refused to provide a 35 mm version for smaller theaters). For another, audiences worldwide had come to love Tati's films for the character of M. Hulot; his reduction to an intermittent, occasionally supporting role in the new Tati film came as a disappointment to many (Tati himself lampooned the phenomenon in two scenes in Playtime, where a rain-coated pedestrian whose back is turned to the audience is mistakenly hailed as Hulot, the first being English and the second African-American). Others disliked its nearly plotless story line, while those who only saw a single showing frequently missed the intricate, sometimes simultaneous comic sight gags performed in the various group scenes. A final reason for the film's poor reception may have been its release date; while the film's satire of modern life may have been cutting-edge when first conceptualized in 1959, by the end of 1967 such themes were old-hat to film audiences.

Results were the same upon the film's eventual release in the U.S. in 1973 (even though it had finally been converted to a 35 mm format at the insistence of U.S. distributors and edited down to 103 minutes). Though Vincent Canby of the New York Times called Playtime "Tati's most brilliant film", it was no more a commercial success in the U.S. than in France. Debts incurred as a result of the film's cost overruns eventually forced Tati to file for bankruptcy.

Despite its financial failure, Playtime is regarded as a great achievement by many critics. The film currently holds a 98% approval rating on Rotten Tomatoes, based on 46 reviews, with an average rating of 8.9/10. The website's critical consensus reads, "A remarkable achievement, Playtime packs every scene with sight gags and characters that both celebrates and satirizes the urbanization of modern life."

Most critics have noted the film's subtlety and complexity: it is not easily absorbed in one viewing. Noël Burch has noted that the film has to be viewed "several times, each from a different seat in the auditorium" in order to view the many small, tightly-choreographed sight gags by several different actors, sometimes displayed nearly simultaneously on the huge screen required for 70 mm film. François Truffaut wrote that Playtime was "a film that comes from another planet, where they make films differently".

In 2012, Playtime was 43rd in the British Film Institute's critics' list and 37th in their directors' list of Top 50 Greatest Films of All Time.

References

External links

PlayTime an essay by David Cairns at the Criterion Collection
 DVDTalk review of the 2006 Criterion DVD, and comparison with the 2001 version
 Article from The Guardian by Playtime extra and writer Peter Lennon

Category:1967 films
Category:French films
Category:French comedy films
Category:French satirical films
Category:1960s comedy films
Category:Films directed by Jacques Tati
Category:Films set in Paris
Category:German-language films
Category:French-language films
Category:English-language films
Category:Films set in airports


Natural Law Party of Quebec candidates in the 1998 Quebec provincial election

The Natural Law Party of Quebec ran thirty-five candidates in the 1998 Quebec provincial election, none of whom were elected. Information about these candidates may be found on this page.

Candidates

Berthier: Louise Roy
Louise Roy received 268 votes (0.72%), finishing fifth against Parti Québécois incumbent Gilles Baril. She is not to be confused with a better known Montreal administrator of the same name.

Brome—Missisquoi: Jean-Charles Rouleau
Jean-Charles Rouleau became active with the transcendental meditation movement in 1984 and identifies as an Ayurvedic scholar. He received 194 votes (0.61%), finishing fourth against Liberal Party incumbent Pierre Paradis.

Louis-Hébert: Jean Cerigo
Jean Cerigo was a Natural Law Party candidate in one federal and two provincial elections. He has lectured on transcendental meditation. In 2003, he led a group of the Maharishi Mahesh Yogi's Montreal followers in a bid to construct a twelve-thousand square-foot "peace palace" on the West Island.

Mercier: Pierre Bergeron
Pierre Bergeron was a Natural Law candidate in one federal and two provincial elections. He described himself as a professor in 1993.

References

Category:Candidates in Quebec provincial elections


Tijuana Slough National Wildlife Refuge

Tijuana Slough National Wildlife Refuge is located in the most southwestern corner of the contiguous United States. As a National Wildlife Refuge, it is administered by the U.S. Fish and Wildlife Service. It was established in 1980.

The refuge forms the northern part of the Tijuana River National Estuarine Research Reserve, one of 22 National Estuarine Research Reserves created nationwide to enhance scientific and public understanding of estuaries, and thereby contribute to improved estuarine management.  It is also part of the San Diego National Wildlife Refuge Complex.

Description
The slough is one of southern California's largest remaining salt marshes without a road or railroad trestle running through it. This important salt marsh is surrounded by San Diego County and Tijuana, Mexico, with a population of 4.3 million people. Within this international bioregion, the refuge maintains essential habitats for many migrating shorebirds and waterfowl along the Pacific Flyway.

Tijuana Slough provides critical habitat for the federally listed endangered California least tern (Sterna antillarum browni), light-footed rail (Rallus obsoletus levipes) and least Bell's vireo (Vireo bellii pusillus), as well as the salt marsh bird's-beak (Cordylanthus maritimus maritimus), an endangered plant species. Designated as a Globally Important Bird Area by the American Bird Conservancy, over 370 species of birds have been sighted on the refuge.

The refuge's habitat and wildlife management programs focus on the recovery of endangered species through research, habitat restoration, and environmental education.

See also
 Tijuana River Estuary

References

Category:National Wildlife Refuges in California
Category:Marshes of California
Category:Protected areas of San Diego County, California
Category:South Bay (San Diego County)
Category:Landforms of San Diego County, California
Category:Protected areas established in 1980
Category:1980 establishments in California


CJEC-FM

CJEC-FM is a French-language Canadian radio station located in Quebec City, Quebec.

Owned and operated by Leclerc Communication, it broadcasts on 91.9 MHz using a directional antenna with an average effective radiated power of 13,910 watts and a peak effective radiated power of 31,000 watts (class C1). The station's transmitter is located at Mount Bélair. The station was licensed by the CRTC in 2002.

The station has a modern adult contemporary format. Until May 2012, it was also a part of Cogeco's adult contemporary Rythme FM network of stations across much of Quebec.

On April 30, 2010, then-owner Cogeco announced it would purchase Corus Quebec's radio stations. The sale was approved by the CRTC on December 17, 2010, on the condition that CJEC-FM be sold to another party by December 2011.

On November 9, 2011, Cogeco announced a deal to sell CFEL-FM and CJEC-FM to Leclerc Communication Inc., a broadcaster owned by Jacques Leclerc, a local businessman who owns Laura Secord Chocolates and Biscuits Leclerc.  The sale was approved by the CRTC on January 19 and completed on January 31, 2012.  The stations were delisted from Cogeco Diffusion's website shortly thereafter. For a time CJEC's website still identified the station as a Cogeco station, which was no longer true; also, the station retained the Rythme FM name and simulcasted most of its networked Rythme FM programming from former sister station CFGL-FM in Montreal. However, on May 21, 2012 at 12 Midnight, Leclerc dropped the Rythme FM branding and adult contemporary programming from CJEC-FM, and began to identify itself as Le 91,9 FM Québec, playing a selection of hot adult contemporary music without use of personalities—the station was relaunched as WKND 91.9 (pronounced on-air as Weekend Radio 91.9) on June 20, 2012 at 6PM.  The station has moved away from adult contemporary programming and shifted to modern adult contemporary by adding some alternative rock artists to the playlist.

References

External links
WKND 91.9

Jec
Jec
Jec
Category:Radio stations established in 2003
Category:2003 establishments in Quebec


Thai Lion Air

Thai Lion Mentari Co. Ltd, trading as Thai Lion Air (), is a Thai low-cost airline, operating with Thai partners as an associate company of Lion Air of Indonesia. The carrier operates from Bangkok's Don Mueang International Airport, with plans to serve domestic and international scheduled flights from other cities in Thailand. Its head office is in the Don Mueang District, Bangkok.

Its inaugural flight was on December 4, 2013 on Bangkok - Chiang Mai route, with full services one day later. Thai Lion Air concluded the agreement with fellow Lion Air subsidiary Malindo Air on December 10, 2013, allowing both carriers to serve the flight between Kuala Lumpur–International and Bangkok.

Destinations

Fleet

, the Thai Lion Air fleet consists of the following aircraft:

The airline fleet previously included the following aircraft as of June 2015:
 ATR 72-600

References

External links

 Official Thai Lion Air Holidays Website
 Global Lion Air

Category:2013 establishments in Thailand
Category:Airlines established in 2013
Category:Airlines of Thailand
Category:Companies based in Bangkok
category:IATA members
Category:Lion Air
Category:Low-cost carriers


184th Warsaw Infantry Regiment

The 184th Warsaw Infantry Regiment () was an infantry regiment of the Imperial Russian Army. The regiment was formed on March 27, 1811 in the reign of Alexander I of Russia. The distinctive "Warsaw" received during Congress Poland. The festival was celebrated on March 27. In 1914 the unit was stationed in Shuya, Ivanovo Oblast, located 300 miles northeast of Moscow. In the 46 infantry division (xxv army corps). soldier regiment was, inter alia, Pavel Argeyev, późnieszy as hunting of World War I, and from 1907 - 1909 Konstantin Kalinin known aircraft.

Bibliography

 Spis pułków armii carskiej (pl)
 http://www.grwar.ru/regiments/regiments.html?form_type_id=7&id=500 (ru)
 http://mosgrenadier.narod.ru/dip/inf157208.htm (ru)

Category:Infantry regiments of the Russian Empire


Pacheco Pereira

Pacheco Pereira is Portuguese surname. Notable people with the surname include:
Duarte Pacheco Pereira (c. 1460-1533), Portuguese sea captain, explorer and cartographer
José Pacheco Pereira (born 1949), Portuguese historian, professor and political analyst

See also
Pacheco
Pereira (surname)

Category:Compound surnames
Category:Portuguese-language surnames


Ashley Church

Ashley Cameron Church (born 26 February 1964).

Biography

Early life
Church was born in Hastings and raised in Napier where he was educated at Tamatea High School.

Political career
In 1987 he stood as the National Party's parliamentary candidate for safe Labour seat of . He finished in second place. In 1989 he became the youngest person ever elected to the Napier City Council. During his time on the Napier City Council he was a polarising personality, attracting both strong support and strong opposition for his views. He was responsible for the ‘NapierLife’ Marketing program, which was a key driver in reversing population decline and re-energising economic activity in Hawke's Bay during the 1990s. He lost his Council seat in 1998 after serving three terms.

Community activities
His community activity has included roles as National Council Member of New Zealand Jaycees, Executive Councillor of the North Shore Chamber of Commerce, National Board member of Towns & Cities New Zealand, Creator and Organiser of the Hawke's Bay Summer Festival, and Organiser of the 1985 North Shore Telethon Centre.
He is also a past Director of the Hawke's Bay Airport, Marineland of New Zealand and the National Aquarium of New Zealand.

Work History
Church was the CEO of the Property Institute of New Zealand from 2015 after leaving the Newmarket Business Association in 2014. He is a past Chief Executive Officer of the Auckland Property Investors Association (between 2005 and 2007) . He is also a past National Sales and Marketing Manager of Pulse Energy and Mercury Energy.
He is currently employed by NZME as a correspondent, Energy, and Business issues and has appeared on My House My Castle, NZ Open Home, ASB I Want to Buy a Home and TVNZ Breakfast.. He is a current director of the Israel Institute of NZ and has a business partnership with media star Rawdon Christie. In 2020 he was appointed Chief Executive of Survey and Spatial NZ.

Notes

References

Category:1964 births
Category:Living people
Category:People from Hastings, New Zealand
Category:People from Napier, New Zealand
Category:Napier City Councillors
Category:New Zealand National Party politicians
Category:Unsuccessful candidates in the 1987 New Zealand general election


Luis Ceballos y Fernández de Córdoba

Luis Ceballos y Fernández de Córdoba (31 July 1896 in San Lorenzo de El Escorial – 26 September 1967) was a
Spanish forest engineer and botanist. He was member of the Spanish Royal Academy of Sciences and the RAE.

One of his major works was the General Plan of Reforestation of Spain, made in 1938, which is the foundation of a philosophy, ahead for the time, in which established the modern ecological basis for afforestation. But his great work, that had been long planned and organized, was the development of the first Forestal Map of Spain, which was introduced in June 1966.

His brother Gonzalo was an entomologist who specialised in Ichneumonidae.

References and external links

Colegio Montes Biography, portrait,bibliography (partial) (in Spanish)

Category:Spanish botanists
Category:Spanish entomologists
Category:Hymenopterists
Category:1896 births
Category:1967 deaths


Hu Di

Hu Di (; 1905 – September 1935) was a Chinese filmmaker and Communist secret agent during the Republic of China era. After the Kuomintang (KMT) began its suppression of the Communists in 1927, Hu worked as a mole in the Kuomintang secret service, together with Qian Zhuangfei and Li Kenong. Chinese Premier Zhou Enlai called them "the three most distinguished intelligence workers of the Party." Hu was executed in September 1935 by the renegade Communist commander Zhang Guotao during the Long March.

Life and career
Hu was born Hu Baichang () in 1905 in Shucheng County, Anhui Province. He also used the names Hu Beifeng () and Hu Ma ().

In 1923, he was admitted to China University in Beijing, where he befriended Qian Zhuangfei and his wife Zhang Wenhua. In 1925, the three secretly joined the Communist Party of China, and they worked closely together. They established the Guanghua Film Company, using filmmaking as a cover for their underground activities. After the KMT's April 1927 massacre of the Communists in Shanghai, and the execution of Communist leader Li Dazhao in Beijing, the three moved to Shanghai, where Hu found work at the Shanghai Film Company. He met the experienced Communist underground worker Li Kenong and introduced him to Qian.

In 1929, Qian successfully infiltrated the KMT's secret service and was appointed the chief coordinator of the central intelligence headquarters in Nanjing, in charge of recruiting more special agents. This created opportunities for Hu Di and Li Kenong to join the KMT secret service as moles. Hu was made the chief of the KMT's Tianjin secret service unit, disguised as the Great Wall News Agency, while Li ran the Shanghai unit, ostensibly the Broadcast News Service. Their intelligence reports helped the Red Army in the Jiangxi Soviet thwart the first two of Chiang Kai-shek's Encirclement Campaigns.

On 24 April 1931, Gu Shunzhang, Zhou Enlai's security chief and head of the Communist Party's dreaded Red Brigade, was arrested in Wuhan while on a mission to assassinate Chiang Kai-shek. To save himself, Gu defected to the KMT, and disclosed his extensive knowledge about Communist organizations. Qian Zhuangfei intercepted a telegram sent by the Wuhan police to the Nanjing headquarters, and delivered the message to Li Kenong in Shanghai, who in turned informed Zhou Enlai and telegraphed Hu Di, who immediately boarded a foreign ship and left Tianjin for Shanghai. In August 1931, Hu Di and Qian Zhuangfei left Shanghai for the Jiangxi Soviet, the Communist base area in Jiangxi Province.

Death and legacy
In 1934, the Communists were forced to evacuate the Jiangxi base area and begin the Long March. In June 1935, the Red Army arrived in Sichuan Province, where the commanders Zhu De and Zhang Guotao disagreed on the direction to continue. Zhu wanted to go north to Yan'an but Zhang ordered his soldiers to head south. Hu Di opposed Zhang's move. In revenge, Zhang labelled Hu a KMT spy and had him executed in September.

Zhou Enlai later called Qian Zhuangfei, Li Kenong, and Hu Di "the three most distinguished intelligence workers of the Party," and said that he and other Communist leaders owed their lives to them. Li, the sole survivor of the three who lived to see the founding of the People's Republic of China, was awarded the military rank of general (shang jiang) in 1955, despite having no combat experience.

References

Bibliography

Category:1905 births
Category:1935 deaths
Category:Chinese communists
Category:People from Lu'an
Category:Chinese spies
Category:People of the Chinese Civil War


Bridge River (disambiguation)

The Bridge River is a major tributary of the Fraser River in British Columbia, Canada

Bridge River can also refer to a number of other topics related to the Bridge River including:
Bridge River Country, a historic geographic region and mining district in British Columbia, Canada
Bridge River, British Columbia, the name of three separate towns or localities connected with the Bridge River and its valley
Bridge River Indian Band, a First Nations government in British Columbia, Canada
Bridge River Canyon, a  gorge on the river separating the Shulaps Range and Mission Ridge
Bridge River Power Project, a hydroelectric power development involving the river
Bridge River Cones, a volcanic field located in the uppermost basin of the river
Bridge River Ash, a large volcanic ash deposit that spans from southwestern British Columbia to central Alberta, Canada
Bridge River Ocean, an ancient ocean in the area of what is now the Interior of British Columbia
Bridge River Delta Provincial Park, a provincial park located on the river's upper reaches
Bridge River (Yukon) is a tributary of the Tatshenshini River

See also
Bridge Creek (disambiguation)


Line 1 (Navi Mumbai Metro)

Line 1 of the Navi Mumbai Metro is part of the rapid transit rail system for the city of Navi Mumbai, India. The 23.40 km line consists of 20 metro stations from Belapur to Khandeshwar. It is expected to cost .

History
The following dates represent the dates the section opened to the public, not the private inauguration.

Background
The feasibility study for the Navi Mumbai Metro was carried out by the Delhi Metro Rail Corporation (DMRC). CIDCO was authorised as the implementing agency of the Belapur-Pendhar-Kalamboli-Khandeshwar line, under the Indian Tramway Act 1886, by the Government of Maharashtra on 30 September 2010. The state government later asked the CIDCO to implement the Navi Mumbai Metro project under the Central Metro Act. The detailed master plan for Line 1 was prepared by the DMRC. The proposed route will link Belapur, Kharghar, Taloje, MIDC, Kalamboli and the Khandeshwar railway station, terminating at the proposed Navi Mumbai International Airport.

Construction
The metro's foundation stone was laid on 1 May 2011 by Chief Minister Prithviraj Chavan, and general foundation work on the system's first phase commenced in October 2011. Line 1's first girder was placed on 13 December 2012.

Line 1 is planned to be developed in 3 phases.

CIDCO awarded the contract for civil works in Phase I to six firms. The contract for technical work was awarded to one firm, at an estimated cost of . Spanish contractor San José Constructora will design and build five stations, located at Central Park, Pethpada, Sector 34, Panchanand and Pendhar. In the second phase, an  line will be built from Khandeshwar to Taloje MIDC, with seven stations. The third phase will entail the merging of two rail corridors between Pendhar and MIDC with a  link, forming a loop from Belapur to Khandeshwar. A maintenance depot will be constructed on a  plot at Taloja for the circular line, and a temporary maintenance depot will be constructed on five hectares of land at Khandeshwar.

Line 1 was expected to be completed by 2016 but its most likely to miss deadline, trains may roll out only by July 2017. CIDCO has plans to extend Line 1 up to Kalyan - Ulhasnagar -Murbad.

Funding
Phase I of Line 1 was executed using CIDCO funds. The total cost of Line 1 is estimated to be .

Stations

Stage 1

Stage 2

Stage 3
Stage 3 involves the construction of a 2 km link and one station between Pendhar and MIDC, to join Stage 1 and Stage 2.

Infrastructure
An international consortium of companies including Ansaldo STS, Tata Projects and CSR Zhuzhou will provide the electrical and mechanical systems for the first phase of  Line 1. Ansaldo will conduct systems integration and supply train control systems, telecoms, fare collection systems and equipment storage. The metro's standard gauge network would be electrified at 25 kV AC, with power provided via an overhead catenary.

Rolling stock
In 2014, the Chinese company CSR Zhuzhou signed a contract with CIDCO to supply rolling stock for the first phase of the metro’s Line 1. The three-car trainsets would be  long and  wide, with a passenger capacity of around 1,100 and a maximum speed of approximately . The trains would feature stainless steel bodies, air-conditioning and LED lighting.

References

Category:Rapid transit lines in India
Category:Transport in Navi Mumbai
Category:Navi Mumbai Metro


List of mayors of Bedford, Nova Scotia

The Town of Bedford was incorporated in 1979. It remained separate until it was incorporated with the  Cities of Halifax, Dartmouth and Halifax County into the Halifax Regional Municipality in 1996.

Mayors
Francene Cosman 1979 - 1982
Keith A. Roberts 1982 - 1988
Peter Christie 1988 - 1991
Peter J. Kelly 1991 - 1996

Bedford
Category:Government in Halifax, Nova Scotia


Bacteridium resticulum

Bacteridium resticulum is a species of sea snail, a marine gastropod mollusc in the family Pyramidellidae, the pyrams and their allies. The species remains within the Bacteridium genus of gastropods, with the exception of the other three related species being Bacteridium bermudense, Bacteridium carinatum and Bacteridium vittatum.

Description
The length of the shell measures approximately 3.5 mm, other species within this genus all measure roughly the same measurements.

Distribution
This species occurs in many geographical locations around vast marine terrains throughout the Caribbean Sea and the Gulf of Mexico, these include the following locations:
 Caribbean Sea, a large sea covering approximately 2,754,000 km2 (1,063,000 sq. mi.) Coordinates: ()
 Cayman Islands, a small group of islands lying within the Caribbean Sea, southwest of Cuba. Coordinates: ()
 Colombia, a country in northwest, South America. Coordinates: ()
 Gulf of Mexico, a country in northwest, South America. Coordinates: ()
 Mexico, a large country, exceeding the geographical limits of the Gulf of Mexico. Coordinates: ()

References

External links
 To Encyclopedia of Life
 To World Register of Marine Species

Category:Pyramidellidae
Category:Gastropods described in 1889


Justus Baldwin Lawrence

Justus Baldwin “Jock” Lawrence (December 16, 1903 – April 21, 1987) was an author, an acknowledged public relations expert in the motion picture industry, and the U.S. Army’s chief public relations officer in Europe in World War II.

Early life
Lawrence was a native of Akron, Ohio. He graduated from Yale University in 1927 and settled in Hollywood, California. From 1933 to 1939 he was an assistant to Samuel Goldwyn, and from 1939 to 1941 was director of public relations for the Motion Picture Producers Association.

Military career
In 1942 he joined the U.S. Army and was assigned to Dwight D. Eisenhower’s headquarters in England. He represented Eisenhower at the headquarters of Lord Louis Mountbatten, who oversaw the training of British commando teams. In 1943, when Mountbatten was sent to Burma, Lawrence became chief public relations officer for the European Theater of Operations, U.S. Army.

After the war Lawrence became an executive of the J. Arthur Rank Corporation (a British movie studio) in the New York City office. In 1951 he returned to military service and was public relations officer at Dwight D. Eisenhower’s headquarters at NATO until 1952. He later started his own public relations firm, J.B. Lawrence, Inc., at which he worked until he retired.

Lawrence married, first, Mary Peace, who died in the early 1960s.  His second wife, Carlene, was an airline executive.  There were no children from either marriage.

Publications
“Include Me In,” about Hollywood and Sam Goldwyn
“You Can't Shoot an Empty Gun,” about his World War II experiences

References

External links
Papers of Justus Baldwin Lawrence, Dwight D. Eisenhower Presidential Library

Category:1987 deaths
Category:1903 births
Category:20th-century American writers
Category:20th-century American male writers


Applejaxx

Ernest Owens (born October 3, 1982 in Fayetteville, North Carolina) better known as Applejaxx, is a Christian hip hop artist from North Carolina.

Background
His early influences ranged from Run DMC, N.W.A, and Nas. He grew up playing basketball and had always enjoyed hip hop. In 1997, Applejaxx started to write rhymes and freestyle. Soon after high school, Applejaxx went on to attend Campbell University in North Carolina, where he soon met Tonéx at a concert in 2003. Owens was interviewed by the prolific rapper Eminem's station Shade 45. The name Applejaxx refers to bearing good fruit as Apple, "jaxx" comes in as "jacking" someone out of the world into the light, out to bear good fruit. His first appearance was on gospel/pop artist Tonéx's album Out The Box. The single off his first project, "Nureau Anthem", which features T.Bizzy, was featured on HipHopDX.com. He has also collaborated with many in the Christian hip hop community, making guest appearances with artists such as DJ Morph, Gibraan, and The Washington Projects.

Album Title Issue
Applejaxx was set to release his debut album "Born Identity" out with Universal, but due to the Bourne Identity movies by the company and Universal being concerned about consumer confusion, they told him to change the title.  He then decided on "Back 2 The Future" instead.

Miscellaneous
Applejaxx is also a staff assistant at Harvard Law in Technology & Research.

Discography

Albums
Back 2 The Future (2009)
Organic (2012)

EPs
805 P.O.P. (2005)
Jesus High (2010)
Jesus High (Deluxe) (2011)
Appletizer (2012)

Music Videos
 2009 - Green As Luigi
 2010 - Future

References

Category:1982 births
Category:Living people
Category:American hip hop musicians
Category:American performers of Christian music
Category:Musicians from Fayetteville, North Carolina


Victorian Railways C class (diesel)

The C Class are a class of diesel locomotive built by Clyde Engineering, Rosewater for the Victorian Railways in 1977–1978.

History

The C class were purchased by the Victorian Railways for heavy freight haulage. They are a variant of the WAGR L class (itself an Australianised EMD SD40) fitted with safety cabs. Initially the first four were placed on the North East line to haul services from Melbourne to Albury while the latter six were put on the broad gauge to haul services on the Serviceton line. Following upgrades to the infrastructure they were also able to operate on the Ballarat to Geelong line and from January 1982 through to Adelaide with the standard gauge units transferred to the broad gauge.

On 3 August 1979, engines C505 and 506 ran through to Adelaide for the first time as part of a trial of through-running, in place of the previous practice involving changing locomotives at the border. C505 led on the westbound trip with a trailing load of 1,755 tonnes and 506 led on the eastbound with 1,804 tonnes. A number of stop-and-start tests were undertaken on the Adelaide hills line to test the engines' ability to handle heavy loads, and running times were tested particularly between Tailem Bend and Mile End. New radio communication systems were also trialled between the driver and guard using fixed units in lieu of the earlier portable units. The trial was deemed a success, with through-running becoming a regular feature from 12 November. At the time a number of C Class engines were running on the standard gauge between Melbourne and Albury, and it was intended to recall these for broad gauge interstate work and have them replaced by locomotives from Australian National Railways.

In September 1988, two were transferred back to the standard gauge and began to operate services through to Sydney.

Following the Melbourne-Adelaide railway being closed for gauge conversion, all remaining broad gauge units were converted to standard gauge and operated services from Melbourne to Parkes until the converted line reopened in July 1995. All were transferred by V/Line to National Rail in June 1995.

Following the delivery of National Rail's NR class locomotives, the C class were put into storage at Junee Locomotive Depot in 1997 before being moved to Islington Railway Workshops, Adelaide. Unlike the other locomotives National Rail initially used, ownership of the C class passed to National Rail. In August 1999 two were repainted in National Rail livery and returned to service as Melbourne shunters.

The class was then sold with one going to Seymour Railway Heritage Centre and the other nine to Allco Rail with two leased to Pacific National and seven to Silverton Rail as the Cs class. Following the collapse of Allco Finance three were sold to Chicago Freight Car Leasing Australia and six to Greentrains in January 2008 with all resuming their original identities.

In April 2016, the six Greentrains units were sold to Southern Shorthaul Railroad. Having been in store at South Dynon Locomotive Depot, all were taken to the Lithgow State Mine Heritage Park & Railway with the last returned to service in August 2016.

Locomotives

Model Railways
HO Scale
As of January 2020, a few companies have done or are doing the C Class in HO Scale

Auspower (SDS Models) released their C Classes in 2019 with Numbers and Liveries as follows

C501 "George Brown" (VR), C506 (VR), C507 (VR), C504 (V/Line), C505 (V/Line), C509 (V/Line), C505 (National Rail), Cs1 (Silverton), Cs2 (Silverton), C507 (South Spur Rail Services), C508 (South Spur Rail Services), C509 (Cootes), C506 (Greentrains), C502 (CFCLA), C512 (Pacific National) (Fictional), VC545 (Freight Australia) (Ficitional), 1507 (GWA) (Ficitonal), 5120 (ARG) (Fictional), FC513 (Freightlink) (Fictional), FQ515 (Qube) (Fictional), C504 (SSR Blue), C507 (SSR Blue), C510 (SSR Green) and C503 (SSR)

In Mid 2020, Auscision Models plans to release their own version of the C class with an option to have DCC with sound already fitted. Numbers and Liveries as follows

Victorian Railways Blue and Gold - C501 "George Brown", C504, C507 and C509

Victorian Railways Blue and Gold with Radio Equipped Stickers - C502, C505 and C506

V/Line Orange and Grey - C501 "George Brown". C503, C504, C506, C507 and C508

National Rail Orange and Grey - C505

Silverton Blue and Yellow - Cs4

South Spur Blue and Yellow - C508

Cootes Green and Yellow - C509

Greentrains Green and Yellow - C506

Southern Shorthaul Railroad Yellow and Black - C503

Southern Shorthaul Railroad Green - C510

Southern Shorthaul Railroad Blue - C507

Chicago Freight Car Leasing Australia Blue - C502

Gallery

References

External links

Category:Clyde Engineering locomotives
Category:Co-Co locomotives
Category:Railway locomotives introduced in 1977
C class
Category:Standard gauge locomotives of Australia
Category:Broad gauge locomotives in Australia
Category:Diesel-electric locomotives of Australia