title: The Desperate Hours (Porridge)

abstract: "The Desperate Hours" is the second Christmas special of the BBC sitcom Porridge. It first aired on 24 December 1976. In this episode, Fletcher and Godber are in trouble for brewing liquor in the lead-up to Christmas, but are caught up in a hostage situation in the Governor's office. It was the only episode of Porridge to air in 1976.

text:
# The Desperate Hours (Porridge)

"**The Desperate Hours**" is the second Christmas special of the BBC sitcom *Porridge*. It first aired on 24 December 1976. In this episode, Fletcher and Godber are in trouble for brewing liquor in the lead-up to Christmas, but are caught up in a hostage situation in the Governor's office. It was the only episode of Porridge to air in 1976.

## Synopsis

It is nearly time for Christmas, and Fletcher has been making wine for the prisoners of Slade Prison. The Governor, who is strictly teetotal, has a zero tolerance on illicit drinking in Slade Prison. After Mr Barrowclough fails to discover alcohol in Fletcher and Godber's cell, Fletcher reveals to Godber that he hid the booze in their metal bedpost. Unfortunately, Mr Mackay catches them in the act, and takes them to see the Governor.

It turns out that the Governor is feeling ill with an upset stomach, and has to keep running to the toilet. Urwin, the new trusty, comes in with the Governor's cup of tea. As the Governor is making another visit to the toilet, Urwin reveals his plan. He produces a gun and takes Barrowclough and the Governor's secretary, Mrs Jamieson, hostage.

Urwin makes Mackay leave and forces Barrowclough to phone the nearest RAF base to demand a helicopter and 10,000 in used notes. Word soon gets out about the kidnapping; however, Fletcher and Godber are also implicated in it. Mackay arrives with several cups of coffee, which Urwin accepts. One of these cups is drugged, and intended to knock out Urwin, but Barrowclough messes up the procedure and Fletcher drinks it instead and falls asleep.

While Fletcher is fast asleep, it is revealed that Barrowclough has been having an affair with Mrs Jamieson. Upon waking up, Fletcher requests to look at Urwin's file. It turns out that he has been recommended for psychiatric treatment several times before, but has been turned down. Fletcher persuades Urwin to give him the gun and to give himself up. Godber is amazed at Fletcher's bravery, but Fletcher knew the gun was a fake as he saw Urwin make it in the hobby shop. Fletcher fires the gun in the air to prove his point, and the shot hits the ceiling, showering them with plaster, meaning that the gun was in fact loaded. Luckily, no one is hurt.

Later, Barrowclough visits Fletcher and informs him that Urwin is now receiving psychiatric treatment like he requested. Also, the charges against Fletcher and Godber of brewing the illegal alcohol have been dropped. Barrowclough asks Fletcher to forget about the affair between him and Mrs Jamieson. Fletcher points out that he was asleep during this revelation, but then calls Barrowclough "Henry", revealing that he was not entirely unconscious and had heard the conversation.

## Episode cast

| Actor | Role |
| --- | --- |
| Ronnie Barker | Norman Stanley Fletcher |
| Brian Wilde | Mr Barrowclough |
| Fulton Mackay | Mr Mackay |
| Richard Beckinsale | Lennie Godber |
| Dudley Sutton | Reg Urwin |
| Sam Kelly | Warren |
| Tony Osoba | McLaren |
| Ken Wynne | Keegan |
| Michael Redfern | Tulip |
| Michael Barrington | Governor Venables |
| Jane Wenham | Mrs Jamieson |
| Pat Gorman | Prisoner Officer (uncredited) |
|

## InfoBox

| "**The Desperate Hours**" | |
| --- | --- |
| *Porridge* episode | |
| Episode no. | Episode Christmas Special 2 |
| Directed by | Sydney Lotterby |
| Written by | Dick Clement<br>Ian La Frenais |
| Original air date | 24 December 1976 (1976-12-24) |
|
|


title: Dewey Peak

abstract: Dewey Peak is a 6,710-foot (2,045 m) summit located on the shared border of Mount Rainier National Park and William O. Douglas Wilderness. It is also on the shared border of Pierce County and Yakima County in Washington state. Dewey Peak is situated on the crest of the Cascade Range southeast of Chinook Pass, east of Seymour Peak, and northeast of Shriner Peak. The nearest higher peak is Chinook Peak, 3.97 mi (6.39 km) to the north. Dewey Peak is named in association with Dewey Lake which is set below its north aspect. Precipitation runoff from Dewey Peak drains into tributaries of the Cowlitz River and Yakima River.

text:
# Dewey Peak

**Dewey Peak** is a 6,710-foot (2,045 m) summit located on the shared border of Mount Rainier National Park and William O. Douglas Wilderness. It is also on the shared border of Pierce County and Yakima County in Washington state. Dewey Peak is situated on the crest of the Cascade Range southeast of Chinook Pass, east of Seymour Peak, and northeast of Shriner Peak. The nearest higher peak is Chinook Peak, 3.97 mi (6.39 km) to the north. Dewey Peak is named in association with Dewey Lake which is set below its north aspect. Precipitation runoff from Dewey Peak drains into tributaries of the Cowlitz River and Yakima River.

## Climate

Dewey Peak is located in the marine west coast climate zone of western North America. Most weather fronts originating in the Pacific Ocean travel northeast toward the Cascade Mountains. As fronts approach, they are forced upward by the peaks of the Cascade Range (orographic lift), causing them to drop their moisture in the form of rain or snow onto the Cascades. As a result, the west side of the Cascades experiences high precipitation, especially during the winter months in the form of snowfall. Because of maritime influence, snow tends to be wet and heavy, resulting in high avalanche danger. During winter months, weather is usually cloudy, but due to high pressure systems over the Pacific Ocean that intensify during summer months, there is often little or no cloud cover during the summer.

## InfoBox

| Dewey Peak | |
| --- | --- |
| Dewey Peak seen from Dewey Lake | |
| Highest point | |
| Elevation | 6,710 ft (2,045 m) |
| Prominence | 1,390 ft (424 m) |
| Parent peak | Chinook Peak (6,904 ft) |
| Isolation | 4.01 mi (6.45 km) |
| Coordinates | 46°50′30″N 121°29′06″W / 46.841715°N 121.484986°W / 46.841715; -121.484986 |
| Geography | |
| Dewey PeakLocation of Dewey Peak in WashingtonDewey PeakDewey Peak (the United States) | |
| Country | United States |
| State | Washington |
| County | Pierce / Yakima |
| Protected area | Mount Rainier National Park<br>William O. Douglas Wilderness |
| Parent range | Cascades |
| Topo map | USGS *Cougar Lake* |
| Climbing | |
| Easiest route | Scrambling class 4 |


title: Rajendirapattinam

abstract: Rajendirapattinam is a village in Tamil Nadu, India.

text:
# Rajendirapattinam

**Rajendirapattinam** is a village in Tamil Nadu, India.

## The village

* Assembly Constituency  : Virudhachalam (152)
* Parliamentary Constituency : Cuddalore (26)
* Total Electors  : 1784 (as of January 2014)
* Total Male Electors  : 913
* Total Female Electors  : 871

## InfoBox

| Rajendrapattinam | |
| --- | --- |
| village | |
| Coordinates: 11°25′29″N 79°20′36″E / 11.4247855°N 79.3434388°E / 11.4247855; 79.3434388 | |
| Country | India |
| State | Tamil Nadu |
| District | Cuddalore |
| Taluk | Virudhachalam |


title: Diasporus

abstract: Diasporus is a genus of frogs in the family Eleutherodactylidae. The genus was first described in 2008. They are found in Central and northern South America. They are sometimes referred to as dink frogs, in reference to the "tink" sound that males make during the mating season.

text:
# Diasporus

***Diasporus*** is a genus of frogs in the family Eleutherodactylidae. The genus was first described in 2008. They are found in Central and northern South America. They are sometimes referred to as **dink frogs**, in reference to the "tink" sound that males make during the mating season.

## Characteristics

*Diasporus* are small frogs, with a snout–vent length varying between 11 mm (0.43 in) in male *Diasporus quidditus* to 26 mm (1.0 in) in female *Diasporus hylaeformis*. They have a relatively large, distinct head. All members have direct development, skipping a tadpole stage. The male advertisement call is either a "whistle" or a "tink" (or "dink"), depending on the species.

## Etymology

The name is from the Greek *diaspora* ("a dispersion from"). It refers to the relationship of this genus to the Caribbean clade of *Eleutherodactylus*.

## Distribution

*Diasporus* spp. inhabit humid lowland and montane forests from eastern Honduras through Panama to the Pacific versant of Colombia and northwestern Ecuador.

## Species

The following species are recognised in the genus *Diasporus*:

## InfoBox

| *Diasporus* | |
| --- | --- |
|  | |
| *Diasporus diastema* | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Amphibia |
| Order: | Anura |
| Family: | Eleutherodactylidae |
| Subfamily: | Eleutherodactylinae |
| Genus: | *Diasporus*
Hedges, Duellman, and Heinicke, 2008 |
|
| Type species | |
| *Lithodytes diastema*
Cope, 1875 | |
| Species | |
| See text | |


title: Ralph Camargo

abstract: Ralph Jaime Camargo was an American actor, best known for his work in theater. He was also well known for being "the voice of Dynamic," narrating many short films in the 1950s and 1960s for the Firestone Tire and Rubber Company. Camargo was an actor in the soap opera Guiding Light in the era of old-time radio. He acted on the television version of that program and on The Edge of Night, Playhouse 90, The United States Steel Hour and other TV programs. Camargo's Latino ethnicity limited his opportunities in acting. His grandson said, "He had to hide behind radio because they typecast him as an evil person or 'the Indian.'" In the 1930s Camargo "was prominently identified" with stage productions on the West Coast. His theatrical work included directing Hay Fever for the Lakewood Players in Tacoma, Washington, in 1939.

text:
# Ralph Camargo

**Ralph Jaime Camargo** (February 27, 1912  January 15, 1992) was an American actor, best known for his work in theater. He was also well known for being "the voice of Dynamic," narrating many short films in the 1950s and 1960s for the Firestone Tire and Rubber Company.

Camargo was an actor in the soap opera *Guiding Light* in the era of old-time radio. He acted on the television version of that program and on *The Edge of Night*, *Playhouse 90*, *The United States Steel Hour* and other TV programs.

Camargo's Latino ethnicity limited his opportunities in acting. His grandson said, "He had to hide behind radio because they typecast him as an evil person or 'the Indian.'"

In the 1930s Camargo "was prominently identified" with stage productions on the West Coast. His theatrical work included directing *Hay Fever* for the Lakewood Players in Tacoma, Washington, in 1939.

## Personal life

Camargo was a member of The Players social club for actors in New York.

He was married to actress Florence Skeels. Their daughters are actresses Victoria Wyndham and Felice Camargo. His grandson is film and television actor Christian Camargo.

## InfoBox

| Ralph Camargo | |
| --- | --- |
| Camargo as the justice of the peace on *Another World*, 1975. The scene includes his daughter, Victoria, and was the first time the two had acted together. | |
| Born | Rafael Jaime Camargo<br>(1912-02-27)February 27, 1912 |
| Died | January 15, 1992(1992-01-15) (aged 79) |
| Occupation(s) | Stage, film, television actor |
| Spouse | Florence Skeels |
| Children | 2, including Victoria Wyndham |
| Relatives | Christian Camargo (grandson) |


title: Diasporic Vietnamese narratives

abstract: Diasporic Vietnamese narratives refer to the stories, memories, and experiences written about the Vietnamese diaspora. Vietnamese diaspora is the dispersion of Vietnamese people living outside of Vietnam. Scholars indicate that the Vietnamese diaspora is unique because of its complex "historical roots of refugee-exile circumstances." At the same time, Priscilla Koh asserts that "overseas Vietnam" should not be grouped as one massive "undifferentiated category" because periods of departure are not only complex, but their political eras should also be thoughtfully considered. Koh further states that during the 20th century, Vietnam has experienced several instances of "mass emigration" due to war, poverty, opportunities to study abroad, and political changes. In many cases, narratives of the Vietnamese diasporic community often foregrounds the memories and experiences of pre-1975 wartime, or pre-war narratives, and post-war refugees, particularly the Fall of Saigon on April 30, 1975. Stuart Cunningham and Tina Nguyen state that from 1965 to 1975, during the "height" of the Vietnam War, or what is often considered and labeled as the "American War," more than half of Vietnam's population were "displaced internally," being dispersed throughout the world and into "host countries" such as the United States, France, Canada, Australia, or Germany. It was reported that about a hundred thousand Vietnamese were in other countries outside of Vietnam in 1975. According to a 2018 report from the Migration Policy Institute, at the end of the Vietnam War, about 125,000 Vietnamese refugees were evacuated and brought into United States sponsored bases and refugee camps. In 1975, displaced refugees - as they were labeled - from Vietnam, Laos, and Cambodia increased, allowing families to be "admitted" into the United States. The Vietnamese immigration population has increased every decade. The Migration Policy Institute reports that more than 1.3 million Vietnamese relocated to the United States, making the Vietnamese community the sixth largest community to reside in the country. Between the years of 2012 to 2016, immigrants from Vietnam often relocated to California (39%), Texas (13%), and Washington State and Florida.

text:
# Diasporic Vietnamese narratives

**Diasporic Vietnamese narratives** refer to the stories, memories, and experiences written about the Vietnamese diaspora. Vietnamese diaspora is the dispersion of Vietnamese people living outside of Vietnam. Scholars indicate that the Vietnamese diaspora is unique because of its complex "historical roots of refugee-exile circumstances." At the same time, Priscilla Koh asserts that "overseas Vietnam" should not be grouped as one massive "undifferentiated category" because periods of departure are not only complex, but their political eras should also be thoughtfully considered. Koh further states that during the 20th century, Vietnam has experienced several instances of "mass emigration" due to war, poverty, opportunities to study abroad, and political changes.

In many cases, narratives of the Vietnamese diasporic community often foregrounds the memories and experiences of pre-1975 wartime, or pre-war narratives, and post-war refugees, particularly the Fall of Saigon on April 30, 1975. Stuart Cunningham and Tina Nguyen state that from 1965 to 1975, during the "height" of the Vietnam War, or what is often considered and labeled as the "American War," more than half of Vietnam's population were "displaced internally," being dispersed throughout the world and into "host countries" such as the United States, France, Canada, Australia, or Germany. It was reported that about a hundred thousand Vietnamese were in other countries outside of Vietnam in 1975. According to a 2018 report from the Migration Policy Institute, at the end of the Vietnam War, about 125,000 Vietnamese refugees were evacuated and brought into United States sponsored bases and refugee camps. In 1975, displaced refugees - as they were labeled - from Vietnam, Laos, and Cambodia increased, allowing families to be "admitted" into the United States. The Vietnamese immigration population has increased every decade. The Migration Policy Institute reports that more than 1.3 million Vietnamese relocated to the United States, making the Vietnamese community the sixth largest community to reside in the country. Between the years of 2012 to 2016, immigrants from Vietnam often relocated to California (39%), Texas (13%), and Washington State and Florida (both 4%).

## Narratives

Currently, post-war narratives are centralized in both Vietnamese and Vietnamese-American writing, further exemplifying memories of pre-1975 and colonialism through a reflective post-war lens. An emergence of Vietnamese literature, specifically diasporic Vietnamese literature, has become more visible in recent years. This is perhaps due to how Western historians, scholars, and writers often report on the Vietnam War. Ken Burns' and Lynn Novick's documentary about the Vietnam War, a ten-part, eighteen hour documentary that aired on PBS, for example, included personal stories from both U.S. and Vietnamese participants in the war. Even Aimee Phan notes, expectations for the documentary were high because Burns' approach to the topic was going to be different as the producers were aiming to be more inclusive in their documentary, including multiple perspectives and sides of the war, both from South Vietnamese and North Vietnamese soldiers and civilians. However, Phan further notes that she was disappointed with the documentary because Burns and Novick, who both directed the documentary, seemed to re-center the narrative back to "its shiny centers: the white American soldier and his complex feelings of fear, hatred, guilt and remorse." The narrative becomes historically normative, canonical, excluding other perspectives and voices that are considered *otherized* or *othered*. Phan further critiques the documentary, asserting:

> The little coverage these other voices receive does little to right the balance. Like nearly every movie or book about the war, Vietnamese lives remains in the background, no matter that it is their land, homes and people the war is destroying. American prisoners of war receive significant airtime, while the aftermath of the war and the refugee experience are hardly acknowledged. Little respect is paid to the Vietnamese voices, which are diverse and complicated, and communicate as much pain and regret as the Americans'.

Linda Trinh Võ shares a similar perspective, noticing that whenever she hears anything about the "Vietnam War" in the media, the references are almost never about Vietnamese or Vietnamese-Americans. Because of stereotypes and caricatures created by Western media such as the categorical label of FOB (fresh off the boat), Vietnamese and Vietnamese-Americans find it difficult to situate themselves into their own narratives, theories, research, teachings, or pedagogies. In many cases, they dissociate themselves from their own identities or are completely excluded from their own cultural and historical narratives, which is often an exclusionary practice within academia.

In an op-ed titled, "The Great Vietnam War Novel Was Not Written by an American," published by *The New York Times*, Viet Thanh Nguyen, author of *The Sympathizer* and *The Refugees* argues that several works written by Vietnamese-Americans are often ignored by "the American and Vietnamese mainstream." Nguyen specifically mentions Bao Ninh's novel *The Sorrow of War*, which Nguyen considers a "North Vietnamese war classic" is a "worthy" historical based novel that is often ignored in mainstream historical canon. He further contends that Vietnamese-American voices are only sporadically visibly "heard here" and then "forgotten" and "rarely heard in Vietnam." Diaspora becomes a poignant focal point in Vietnamese literature. In an interview with *diaCRITICS*, Viet Thanh Nguyen, who is also the founding editor of *diaCRITICS*, states that definition of diaspora derives from the displacement and exile of Jewish communities. In the same interview, Nguyen asserts the importance of diaspora:

> There are very strong connotations of an originary homeland, a sense of persecution, and a nostalgic desire for home. If we look at contemporary Jewish and Israeli discourses, there is also a strong sense of essentialism and nationalism, and a potential for both progressive and reactionary politics. All of these features, to me, seem accurate in describing how many, if not all, Vietnamese migrants of the 1970s until recently felt. In the largest overseas Vietnamese communities of the United States, France, Germany, Canada, and Australia, it seems that there is a diasporic consciousness, even if they are not all the same. The French Vietnamese, for example, go back to the early 20th century and include explicitly vocal leftist and communist people, completely unlike Vietnamese Americans. But diaspora can include differences, and part of the purpose of diaCRITICS is to show what we as Vietnamese people share and do not share.

## Themes

Recurring themes include isolation, displacement, dislocation, alienation, reconciling cultural and generational complexities, identity loss, familial piety and individual autonomy, citizenship, assimilation and acculturation are common in diasporic Vietnamese literature. Such themes explore the complexities of cultural conflicts and raises questions on the complexities of transnational identities.

## Pre-1975 Music: *Nhạc Vàng*

### The Emergence of Pre-1975 *Nhạc Vàng*

Aside from Vietnamese literature, pre-war and postwar Vietnamese narratives arguably gained mass and public interest through the broadcasting of Vietnamese music. While Vietnamese music encompasses different genres such as *nhã nhạc, chèo, dân ca, quan họ, hát chầu văn, ca trù, hò, hát xẩm,* and *tuồng cải lương,* it was arguably pre-1975 music or *nhạc vàng (*literal translation: golden music) and *nhạc tiền chiến* (pre-Indochina War music) that highlighted, and eventually archived, the experiences, thoughts, and feelings of civilians through the pre-war, during the war, and post-war eras.

Kieu Linh Caroline Valverde notes that *tân nhạc* (modern music) was influenced by the "French presence" in the early 19th century. Vietnam was introduced to French music after the French's military occupation of Hà Nội in 1873. Perhaps due to the French colonization, the French “injections” of their popular music became infused with Vietnamese contemporary music, which was increasingly influenced by other cultural and international influences as well. Singers such as Thái Thanh and Khánh Ly, the latter is known for singing songs composed by Trịnh Công Sơn, were/are labeled as “sang” singers while singers such as Thanh Tuyền and Chế Linh, the latter also a recognized pre-1975 composer were/are considered sến or bình dân (traditional folk) singers. Bolero music remains the most popular music genre in Vietnam. The style was influenced from Latin American music and was introduced in Vietnam in the 1950s, becoming a staple musical genre in South Vietnam, and much of its popularity is attributed to the emergence of pre-1975 music, which carried over into diasporic Vietnamese communities.

Some of the many famous and recognized composers of pre-1975 Vietnamese songs include: Trúc Phương, Trần Thiện Thanh (also a singer, director, and actor), Châu Kỳ, Duy Khánh (also a famous singer and music teacher), Hoàng Thi Thơ, Hồ Đình Phương, Nhật Ngân, Lê Dinh, Minh Kỳ, Anh Bằng, Lam Phương, Y Vân, Tâm Anh, and several composers who have been recognized for the contributions in the Vietnamese music industry pre-war and post-war.

There were several singers who emerged during the pre-1975 Vietnamese music era. Some of the many artists, who remain popular today, include: Thanh Thúy, Hương Lan, Phương Dung**,** Hoàng Oanh, Tuấn Vũ, Giang Tử among many.

### From Pre-War to Diasporic: The Flourishing of Pre-1975 Vietnamese Music

The term diasporic Vietnamese music was strongly associated with pre-1975. Vietnamese music became diasporic, or sometimes known as Việt Kiều (often translates to overseas Vietnamese population) music has currently progressed in the United States since 1975. Valverde further notes that pre-1975 music is "influenced by sentiments of exile and ideologies of anti-communism" and additionally, diasporic Vietnamese music "has a special blend of nostalgia that appeals not only to members of diasporic communities but also to residents of Viet Nam." Vietnamese musicians and singers, most of whom were refugees and immigrants, were apprehensive on adapting and acculturating to their new homes or host countries. Vietnamese recording artists found that music served as bridge that connected refugees and "exiles to the homeland they thought they had lost." Overseas, or diasporic, singers today, those who were born during the war as children or born after 1975 such as Như Quỳnh, Trường Vũ, and Thế Sơn continue to record, sing, and perform various songs written and composed by several pre-1975 Vietnamese composers.

Vietnamese music began to flourish in the Vietnamese entertainment industry in the late 1970s and early 1980s, mobilizing a new industry for the Vietnamese community.

### Thúy Nga Productions

One of the many popular Vietnamese music recording studios that continues to exist today is Thúy Nga Productions, founded by Tô Văn Lai, who was a university psychology, in 1963. Though, conflicting research indicates that Lai founded Thúy Nga in 1969.

Thúy Nga, which Tô named after his wife, is perhaps the largest and "most successful" recording company, creating a marketing "vision" called *Paris by Night*. Tô experienced "alienation" as a refugee, a feel shared by other Vietnamese refugees, and worked to "to find a solution" that could be both distracting and entertaining." His goal was to establish Thúy Nga as a recording and production label, which "actuated Tô's stance as a cultural intellectual bringing traditional folk and contemporary Vietnamese music traditions into contact with popular American and French music." *Paris by Night* products, particularly the live recording shows sold in VHS, DVD, and Blu-rays formats and mass productions of CDs, evoked a sense of nostalgic pre-1975 sentiments and re-generating a "revival of cabaret music and entertainment from previously well-established Vietnamese performers." Pre-1975 never disappeared for Vietnamese refugees and immigrants. Kieu Linh Caroline Valverde adds:

> In the first decade after the fall of Sai Gon, pre-1975 music was the staple of the Vietnamese American community. So popular was this genre of maudlin ballads from the wartime years that it has invoked some to call Vietnamese American popular music 'culture in a bubble.' Indeed, for over a decade after 1975, the same songs - be it western or Vietnamese that were popular in the nightclubs of Sai Gon during the Viet Nam war - were still being heard in coffee shops and nightclubs and sold in music stores.

The first video produced by *Paris by Night* was produced and recorded in Paris, costing about $19,000 in U.S. dollars. By the 1990s, *Paris by Night* products increased in production values, the mass production of their products, and popularity, allowing Thúy Nga to consistently to "release at least four videos a year, consisting of usually 24 performances from a range of international Vietnamese performers, a stage and technical crew of approximately three hundred people, often recording in front of packed audiences. Production costs per video have moved to US$500,000." Nguyễn Ngọc Ngạn, a Vietnamese-Canadian writer and essayist, and Nguyễn Cao Kỳ Duyên, the only daughter of Nguyễn Cao Kỳ, often appear as the hosts of *Paris by Night* live recording shows.

Tô eventually moved Thúy Nga's headquarters to Orange County, California, maintaining operations there since December 29, 1995. The decision to move headquarters was due to both "rising costs of production" and an increasing demand for live recordings to be produced in the U.S. and Canada.

### Asia Entertainment

Asia Entertainment is another Vietnamese-oriented production and recording studio and company that is dedicated in offering high production values. Asia Entertainment was first established in the U.S. in the early 1980s and is owned by "shareholders and run by a manager." Cunningham and Nguyen note one of the main distinctions between Asia Entertainment and Thúy Nga:

> Asia reaches out beyond the established community performers, focusing on promoting new talent in the U.S. and Canada. Through an annual 'star search' competition, Trúc Hồ, Asia's music director \[and musician and producer\], scouts for talent, offering contracts to perform live shows, video-taping and CD recordings for the company. It also encourages its audiences to take part in the 'quest of stardom' by testing talent using its karaoke recordings, and then sending in tapes of the performances.

And like many Vietnamese-based production companies, Asia maintains their revenue and profit from ticket sales of their live shows and "the domestic sale of CDs, videos and karaoke discs."

### Music of the Exilic: An Industry of Nostalgia

The Vietnamese music industry flourished due to nostalgic memories of Vietnam, specifically the nostalgia "of a homeland before communism remains strong" for first-generation Vietnamese refugees because the songs, which were "nationalistic in nature, carried images of a glorious past and a hope of returning to the homeland." Songs about the homeland were/are now considered memories of the past for the exiled. Kieu Linh Caroline Valverde specifically references Phạm Duy's song, "1954 Cha Bo Que - 1975 Con Bo Nuoc" (translation: "The Exiles of a Father and His Son"\]. This song was a reflection of how a father "had to leave the communist-controlled north in 1954 for the south; twenty years later his son had to feel Viet Nam altogether for the same reasons."

1. Cunningham, Stuart; Nguyen, Tina (1999). "Popular Media of the Vietnamese Diaspora". *The Public*. **6** (1): 71–72.
2. Koh, Priscilla (2015). "You Can Come Home Again: Narratives of Home and Belonging Among Second-Generation Việt Kiều in Vietnam". *Journal of Social Issues in Southeast Asia*. **30** (1): 174. doi:10.1355/sj30-1f. S2CID 145589360.
3. Cunningham, Stuart D.; Nguyen, Tina (2003). "Actually Existing in Hybridity: Vietnamese Diasporic Music Video". In Karim, Karim H. (ed.). *The Media of Diaspora: Mapping the Globe*. Routledge. pp. 119. ISBN 978-0415406758.
4. Batalova, Jeanne Batalova Elijah Alperin and Jeanne (2018-09-13). "Vietnamese Immigrants in the United States". *migrationpolicy.org*. Retrieved 2018-09-25.
5. "Ken Burns' 'The Vietnam War' offers same narrative, with little perspective". *SFChronicle.com*. 2017-10-03. Retrieved 2018-09-25.
6. Võ, Linda Trinh (2003). "Vietnamese American Trajectories: Dimensions of Diaspora". *Amerasia Journal*. **29** (1): ix.
7. Nguyen, Viet Thanh. "Opinion | The Great Vietnam War Novel Was Not Written by an American". Retrieved 2018-09-26.
8. "In Conversation With Viet Thanh Nguyen: On Diaspora & Culture As Plurality". *diaCRITICS*. 2018-02-15. Retrieved 2018-09-25.
9. Valverde, Kieu Linh Caroline (2003). "Making Vietnamese Music Transnational: Sounds of Home, Resistance and Change". *Amerasia Journal*. **29** (1): 30. doi:10.17953/amer.29.1.1g7nm7m4715l40hv. S2CID 147348467.
10. Valverde, Kieu Linh Caroline (2003). "Making Vietnamese Music Transnational: Sounds of Home, Resistance and Change". *Amerasia Journal*. **29** (1): 29–50. doi:10.17953/amer.29.1.1g7nm7m4715l40hv. S2CID 147348467.
11. Valverde, Kieu Linh Caroline (2003). "Making Vietnamese Music Transnational: Sounds of Home, Resistance and Change". *Amerasia Journal*. **29** (1): 31. doi:10.17953/amer.29.1.1g7nm7m4715l40hv. S2CID 147348467.
12. Cunningham, Stuart D.; Nguyen, Tina (2006). "Actually Existing in Hybridity: Vietnamese Diasporic Music Video". In Karim, Karim H. (ed.). *The Media of Diaspora: Mapping the Globe*. Routledge. pp. 121. ISBN 978-0415406758.
13. Valverde, Kieu Linh Caroline (2003). "Making Vietnamese Music Transnational: Sounds of Home, Resistance and Change". *Amerasia Journal*. **29** (1): 32. doi:10.17953/amer.29.1.1g7nm7m4715l40hv. S2CID 147348467.
14. Cunningham, Stuart D.; Nguyen, Tina (2006). ""Actually Existing in Hybridity: Vietnamese Diasporic Music Video"". In Karim, Karim H. (ed.). *The Media of Diaspora: Mapping the Globe*. Routledge. pp. 122. ISBN 978-0415406758.


title: Risto Ratković

abstract: Risto Ratković was a Serbian avant-garde (surrealist) writer and diplomat.

text:
# Risto Ratković

**Risto Ratković** (3 September 1903 – 18 June 1954) was a Serbian avant-garde (surrealist) writer and diplomat.

## Biography

He was born in an impoverished trading family in Bijelo Polje in Montenegro. He finished Gymnasium in Novi Pazar, and in 1923 went to Belgrade where he enrolled in Faculty of Philosophy. In the period from 1927 to 1931. He worked in the Ministry of Education and the Ministry of Foreign Affairs, and spent seven years in the diplomatic service in France, Soviet Union, Egypt (1938–1945). He returned home in 1945.

## Literary work

### Literary Orientation

Ratković belongs to the moderately modernist, and ideologically leftist orientation in Serbian expressionism, which in the further course of interwar literature approached Serbian Surrealism and social literature, but still remained independent. He was the main figure of that group and contributed the most to its theoretical self-determination.

### Understanding poetry

He presented his understanding of poetry in the program article "On Surrealism from My Life". In form and intention, the article is reminiscent of the explanation of "Sumatra" of Miloš Crnjanski, and the poetry is explained mostly in the mystical key of the song entitled "Maybe Sleeping" by Vladislav Petković Dis. Ratković understood surrealism as bringing a dream into reality, and he expressed his poetic determination with the somewhat brutal motto "to rape reality with a dream". A song is created in a dream, it is a photograph of a dream, and the role of reason is secondary, it only organizes the poetic material.

### Poetry

Continuing Vladislav Petković Dis's visionary, dreamy line of Serbian poetry, Ratković sees secret connections and elusive meanings in everything. Similar to Dis and Rade Drainac, he was a newcomer from the province. It is deeply ingrained patriarchal sense of life and the mysticism of the primitive mentality. On this basis, the ideas were upgraded in the twentieth century with Freud psychoanalysis, atheism and Marxism. This meeting of mentality and education brought Ratković's poetry unusual visions, contacts with the afterlife, communication with unknown beings or with dead, close people. These poetic images are concretized in sudden metaphors and unusual syntactic twists, which affects the partial or complete absence of a strictly understood logic.

The language of his poetry seems clumsy, torn as if trying to tell us some deep secret or tonight's dream.

These features are especially characteristic of songs from the earlier period of creation, in the collection "Dead Gloves" and the short poem "Leviathan". Among them, the song "Midnight of me" (Ponoc Mene) stands out, created during night vigils in front of the shadow of a dead woman. In another poem, the poet is so convinced of the reality of the dead that he is surprised that his dead wife does not appear to him ("you are dead and you are not there").

In the thirties, Ratković also wrote social poems, but they are few and poetically weaker.

His diplomatic mission in Egypt brought the last collection of poems "From the Orient" (*Sa Orijenta*). It poetically deals with the experience of Saharan Desert, Oriental Misery and Mediterranean Sun, as well as contact with the history and present of the Middle East.

### Prose

Ratković also wrote a short novel *Nevidbog* ("Invisible God").*Nevidbog* is a kind of family sage, a story about the downfall of some and the rise of other families in his homeland. The novel is composed as a series of independent stories, and among the best are those about the main character's memories of his childhood and his experiences under Austrian occupation. It was first published in 1933 and many more times since.

He also wrote \[essays\] on literary issues and criticism of certain books.

## Works (partial list)

* "Dead Gloves" and "Leviathan" (1927), collections of poems,
* "Silences on Literature" (1928), essays,
* "Dawn" (*Zora*, 1929), Drama,
* "Invisible God" (*Nevidbog*, 1933), Novel,
* "Touches" (1952), A selection from poetry,
* "From the Orient" (*Sa Orijenta*, 1955), travel prose.
* Risto Ratković (1962)
* Poetry (*Poezija*, 1991)
* Selected Poems: Roman, drama - Volume 1-4 (*Izabrana djela*)

## Legacy

* Risto Ratković Award: Since 1973, "Ratković's Poetry Evenings" were awarded the Ratković Prize for a book of poetry.


title: Rethymno Cretan Kings B.C.

abstract: Rethymno Cretan Kings B.C., or simply Cretan Kings, is a Greek formerly professional sports basketball club that was founded on the Greek island of Crete, in Rethymno, Greece, in 1986. The club is also commonly known as Rethymno B.C.. The team was previously known as Rethymno Aegean B.C., or Athlitikos Gymnastikos Omilos Rethymnou (Α.G.Ο.R.) (Αθλητικός Γυμναστικός Όμιλος Ρεθύμνου. The team's parent athletic club was founded in 1965.

text:
# Rethymno Cretan Kings B.C.

**Rethymno Cretan Kings B.C.**, or simply **Cretan Kings** (Greek: Ρέθυμνο Κρητικοί Βασιλιάδες K.A.E.), is a Greek formerly professional sports basketball club that was founded on the Greek island of Crete, in Rethymno, Greece, in 1986. The club is also commonly known as Rethymno B.C. (Ρέθυμνο K.A.E.).

The team was previously known as Rethymno Aegean B.C. (Ρέθυμνο Aegean K.A.E.), or Athlitikos Gymnastikos Omilos Rethymnou (Α.G.Ο.R.) (Αθλητικός Γυμναστικός Όμιλος Ρεθύμνου (Α.Γ.Ο.Ρ.). The team's parent athletic club was founded in 1965.

## History

To date, Rethymno's greatest accomplishment occurred during the 2006–07 season, when the team qualified to play in the final of the Greek Cup, after defeating the top-tier level Greek League teams PAOK, Panionios, Sporting, and Kolossos Rodou. Rethymno was finally defeated by the EuroLeague powerhouse Panathinaikos, by a score of 87–48, in the final game of the 2007 Greek Cup, but nevertheless, Rethymno secured a new strong place in the Greek pro leagues after the team's showing.

After previously being named Rethymno Aegean, the club changed its name to Rethymno Cretan Kings, or simply Cretan Kings, in 2015.

In the summer of 2020, after the departure of owner Kostis Zobanakis, it was decided that the club would be voluntarily relegated to the local divisions and start anew.

### Logos

## Arena

Rethymno plays its home games at the Melina Merkouri Indoor Hall. The arena originally had a capacity of 1,100, but it was expanded to 1,600, when the club first joined the top-tier level Greek Basket League. There are currently plans to further expand the arena again, in the near future.

## Season by season

| Season | Tier | Division | Pos. | P/S | Greek Cup | Europe | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
|
| 2000–01 | 4 | C Basket League | 6th |  |  |  | | |
| 2001–02 | 4 | C Basket League | 3rd |  |  |  | | |
| 2002–03 | 4 | C Basket League | 4th |  |  |  | | |
| 2003–04 | 4 | C Basket League | 1st | Promoted |  |  | | |
| 2004–05 | 3 | B Basket League | 1st | Promoted |  |  | | |
| 2005–06 | 2 | A2 Basket League | 3rd |  |  |  | | |
| 2006–07 | 2 | A2 Basket League | 3rd | Promoted | Runner-up |  | | |
| 2007–08 | 1 | Greek Basket League | 13th | Relegated |  |  | | |
| 2008–09 | 2 | A2 Basket League | 6th |  |  |  | | |
|
| 2009–10 | 2 | A2 Basket League | 7th |  |  |  | | |
|
| 2010–11 | 2 | A2 Basket League | 2nd | Promoted |  |  | | |
| 2011–12 | 1 | Greek Basket League | 5th | Quarterfinalist |  |  | | |
| 2012–13 | 1 | Greek Basket League | 5th | Fourth place |  |  | | |
| 2013–14 | 1 | Greek Basket League | 9th |  |  |  | | |
| 2014–15 | 1 | Greek Basket League | 6th | Quarterfinalist |  |  | | |
| 2015–16 | 1 | Greek Basket League | 8th | Quarterfinalist | Quarterfinals |  | | |
| 2016–17 | 1 | Greek Basket League | 6th | Quarterfinalist |  |  | | |
| 2017–18 | 1 | Greek Basket League | 10th |  | | |  |  | | |
| 2018–19 | 1 | Greek Basket League | 9th |  | | |  |  | | |

## Honors and titles

**Greek Cup**

* Runner-up (1): 2006–07

**Greek B Basket League**

* **Champions (1):** 2004–05

**Greek C Basket League 2nd Group**

* **Champions (1):** 2003–04

## Notable players

Note: Flags indicate national team eligibility at FIBA-sanctioned events. Players may hold other non-FIBA nationalities not displayed.

| Criteria |
| --- |
| **To appear in this section a player must have either:**
* Set a club record or won an individual award while at the club * Played at least one official international match for their national team at any time * Played at least one official NBA match at any time. |

## Head coaches

| Head coach | Years |
| --- | --- |
| Stergios Koufos | 2003–2007 |
| Argyris Pedoulakis | 2007–2008 |
| Fotis Takianos | 2008–2009 |
| Stavros Mykoniatis | 2009 |
| Nikos Karagiannis | 2009–2010 |
| Stavros Mykoniatis | 2010 |
| Stergios Koufos | 2010–2013 |
| Thanasis Giaples | 2013–2014 |
| Georgios Kalafatakis | 2014 |
| Thanasis Skourtopoulos | 2014–2016 |
| Kostas Flevarakis | 2016 |
| Tony Konstantinidis | 2016–2017 |
| Nikos Vetoulas | 2017–2018 |
| Stavros Mykoniatis | 2018 |
| Vangelis Ziagkos | 2018–2020 |

**Media**

## InfoBox

| Rethymno Cretan Kings | |
| --- | --- |
|  | |
| Leagues | Greek Local 1st Division, Crete (EKASK) |
| Founded | 1986 (1986) |
| History | List * **A.G.O. Rethymno**
(1986–2008)
**Rethymno B.C.**
(2008–2013)
**Rethymno Aegean B.C.**
(2013–2015)
**Rethymno Cretan Kings B.C.**
(2015–present) |
| Arena | Melina Merkouri Indoor Hall |
| Capacity | 1,600 |
| Location | Rethymno, Crete, Greece |
| Team colors | Gold and Wine
 |
| Main sponsor | Cretan Kings Zythos |
| President | Giannis Kalaitzakis |
| Head coach | Dimitris Mitropoulos |
| 2019–20 position | Greek League, **11th** |
| Championships | **1** Greek 3rd Division
**1** Greek 4th Division |
| Website | rethymnobc.gr |
|  | |
|  | |
|  | |


title: Plaxton Expressliner

abstract:
The name Plaxton Expressliner or National Expressliner can refer to one of three designs of coach built by Plaxton for National Express use:
  - The original Expressliner was a Plaxton Paramount III 3500 to National Express specification, easily recognisable from the standard Paramount by having a windowless rear end incorporating the National Express logo.
  - The Expressliner II was a continuation of the same concept using the Plaxton Premiere 350 body, which replaced the Paramount.
  - The Paragon Expressliner is based on the Paragon and replaced the Expressliner II in 2000.

text:
# Plaxton Expressliner

The name **Plaxton Expressliner** or **National Expressliner** can refer to one of three designs of coach built by Plaxton for National Express use:

* The original Expressliner was a Plaxton Paramount III 3500 to National Express specification, easily recognisable from the standard Paramount by having a windowless rear end incorporating the National Express logo.
* The Expressliner II was a continuation of the same concept using the Plaxton Premiere 350 body, which replaced the Paramount.
* The Paragon Expressliner is based on the Paragon and replaced the Expressliner II in 2000.


title: East Lancashire Railway (1844–1859)

abstract: The East Lancashire Railway operated from 1844 to 1859 in the historic county of Lancashire, England. It began as a railway from Clifton via Bury to Rawtenstall, and during its short life grew into a complex network of lines connecting towns and cities including Liverpool, Manchester, Salford, Preston, Burnley and Blackburn. During a period of rapid growth the company acquired several of its competitors, including the Blackburn and Preston Railway, which it purchased to gain access to Preston. It faced competition from companies such as the North Union Railway, and was involved in a notable stand-off in 1849 with the Lancashire and Yorkshire Railway. Following several years of discussions, the East Lancashire Railway was in 1859 amalgamated with the Lancashire and Yorkshire Railway. Parts of the network remain in use today, and a section of the original line between Bury and Rawtenstall is now operated as a heritage railway.

text:
# East Lancashire Railway (1844–1859)

The **East Lancashire Railway** operated from 1844 to 1859 in the historic county of Lancashire, England. It began as a railway from Clifton via Bury to Rawtenstall, and during its short life grew into a complex network of lines connecting towns and cities including Liverpool, Manchester, Salford, Preston, Burnley and Blackburn.

During a period of rapid growth the company acquired several of its competitors, including the Blackburn and Preston Railway, which it purchased to gain access to Preston. It faced competition from companies such as the North Union Railway, and was involved in a notable stand-off in 1849 with the Lancashire and Yorkshire Railway. Following several years of discussions, the East Lancashire Railway was in 1859 amalgamated with the Lancashire and Yorkshire Railway. Parts of the network remain in use today, and a section of the original line between Bury and Rawtenstall is now operated as a heritage railway.

## History

### Manchester and Bolton Railway

In 1830, the Manchester Bolton & Bury Canal Company began to promote the construction of a railway along the line of their canal from Salford, to Bolton and Bury. Following an act of parliament to enable them to become a railway company, they built their line from Manchester to Bolton, although on a slightly different alignment than was first planned. This was mainly to preserve the canal for the use of mine traffic, which would not have been provided for if the canal had been infilled and replaced by a railway. A new Act had been required for the new alignment, but due mainly to the objections of the company's engineer, the connection to Bury was never built, as it would have required a 1,100-yard (1,000 m) tunnel on a gradient of 1 in 100, at the time a difficult and expensive proposition. The new railway therefore became known as the Manchester and Bolton Railway.

### Manchester, Bury and Rossendale Railway

On 14 September 1843, a group of local businessmen including John Grundy, Thomas Wrigley and John Robinson Kay met at a public house in Bury to discuss the creation of a railway connection for the Bury and the Rossendale districts. Their proposed railway offered better facilities than those also proposed by the Manchester and Leeds Railway (M&LR), whose planned connection at Bury would be made with their Heywood branch line from Castleton. The Manchester, Bury and Rossendale Railway Company (MB&RR) was thus created, its purpose to build a railway from Bury to Clifton, where it would connect to the Manchester and Bolton Railway. The company also promoted the idea of extending the line northwards to Rawtenstall. On 4 July 1844 their local bill was granted royal assent as the **East Lancashire Railway Act 1844** (7 & 8 Vict. c. 60). The act authorised the company to raise £300,000, and also to borrow £100,000 (£38 million and £13 million respectively in 2024).

The land between Clifton and Bury, partly owned by the Earl of Derby, John Robinson Kay, William Grant and others, was mostly "waste, woodland, pasture or reservoirs, except at Brookbottoms where arable land was avoided by the tunnel". Strong financial support was offered to the MB&RR by local businesses, who were unhappy with the idea of the M&LR building their own railway. The Manchester and Leeds District Board of Trade produced a report in 1845 which gave their backing to the M&LR and the line was sanctioned in 1846, however the MB&RR project was unaffected by this connection.

Manchester contractors Pauling & Henfry, who tendered £167,529 (£21.2 million in 2024), were in May 1844 awarded two contracts to build the Clifton to Bury and Bury to Rawtenstall sections of the new railway. The work was sub-let to smaller contractors and began quickly; in July 1844 the *Manchester Guardian* wrote a favourable report on the works. However, a shortage of workers in 1845 (reflecting the amount of railway construction underway at that time) meant that some men were asked to work on Sundays, resulting in some being charged with breaking the Sabbath. Further difficulties prompted the dismissal of the original contractors, their place being taken by John Waring.

The railway ran north from Clifton through a cutting at Outwood. This required the removal of about 600,000 cubic yards (460,000 m3) of earth. It then passed north-east through Radcliffe Bridge and Withins station, and from there into Bury Bolton street station. From Bury, it ran through Summerseat, Ramsbottom, Stubbins and finally to Rawtenstall. The railway climbed a constant gradient, across a mixture of viaducts, tunnels, cuttings and embankments, one of which, the mile–long section from Ramsbottom to Stubbins, was substantial. The extant Clifton Viaduct was built to cross the River Irwell, which flowed 80 feet (24 m) below, and also the Manchester Bolton & Bury Canal. Its largest span is 96 feet (29 m) wide.

### Expansion

| East Lancashire Railway Act 1845 | |
| --- | --- |
| Act of Parliament | |
| Parliament of the United Kingdom | |
| Long title | An Act for extending the Manchester, Bury, and Rossendale Railway to the Towns of Blackburn, Burnley, Accrington, and Colne. |
| Citation | 8 & 9 Vict. c. xxxv |
| Dates | |
| Royal assent | 30 June 1845 |

| East Lancashire Railway Amalgamation Act 1846 | |
| --- | --- |
| Act of Parliament | |
| Parliament of the United Kingdom | |
| Long title | An Act to unite and consolidate the Blackburn and Preston Railway Company with the East Lancashire Railway Company.. |
| Citation | 9 & 10 Vict. c. cccii |
| Dates | |
| Royal assent | 3 August 1846 |

By 1844, the Blackburn and Preston Railway (B&PR), who shared a viaduct across the River Ribble with the North Union Railway (NUR), were planning a railway from Blackburn to Farington. Following the **East Lancashire Railway Act 1845** (8 & 9 Vict. c. xxxv) the B&PR was absorbed by the MB&RR on 3 August 1846 under the **East Lancashire Railway Amalgamation Act 1846** (9 & 10 Vict. c. cccii). The B&PR's act of Parliament also allowed for a connection with the proposed Blackburn, Burnley, Accrington and Colne Extension Railway (BBA&CER), which would run from Stubbins Junction to Accrington, providing a direct link between Blackburn and Colne. A second BBA&CER act allowed it to lease or sell itself to the MB&RR, and so in 1845 the two companies joined. The MB&RR later that year changed its name to the East Lancashire Railway (ELR).

The following year, the ELR acquired the Liverpool, Ormskirk and Preston Railway (LO&PR), which gave it direct access to Liverpool Docks. The LO&PR's line would run from a junction with the Liverpool and Bury Railway at Walton-on-the-Hill to a junction with the B&PR. The enabling act also allowed the LO&PR to build further branch lines, and the ELR obtained further acts including one which allowed it to build a connection to Preston. Following the acquisition on 3 August 1846, a disagreement ensued over traffic priorities and arrangements for the ELR at the NUR's station in Preston. The ELR proposed a new station and a separate line with a new crossing of the Ribble, but this proved controversial; Preston Corporation petitioned against the proposed line, producing a series of witnesses who attested to the damage they presumed would be caused by the embankment necessary for the scheme to proceed. Several members of the corporation were also shareholders of the rival Fleetwood, Preston and West Riding Junction Railway, and the petition's proposer was brother-in-law to a director of the rival Manchester and Leeds Railway. In the end the ELR won its bid, but had to landscape its embankment (which later became the dividing line between Avenham and Miller Parks), make an ornamental arch for carriages and pedestrians crossing under the railway, and build a footbridge on the river viaduct.

Meanwhile, the former MB&RR line from Clifton to Rawtenstall was inaugurated on Friday 25 September 1846. Surveyed two days earlier by the Inspector-General of railways, Charles Pasley, who was reportedly satisfied with the project, upwards of 1,000 invitations were delivered to local people, shareholders and other interested parties. They gathered at the new Hunts Bank station in Manchester. Leaving Manchester, the train stopped near Philips Park to collect chairman John Hodges, before continuing to Radcliffe Bridge to collect more passengers. Large crowds were gathered along the course of the railway. In Bury, the train was extended to about 30 carriages and three engines, and more passengers were collected before the train finished its journey in Rawtenstall. Passengers were provided with a large meal in a closed-off section of a power-loom shed owned by John Robinson Kay. They listened to several celebratory speeches, before re-embarking the train to head home. The railway was opened to the general public on the following Monday.

In November 1846 the company submitted proposals for a new line from Buckley Wells (south of Bury) through Whitefield and Prestwich, to a new terminus at Victoria Station. The plan did not progress any further than the initial planning stages; Whitefield and Prestwich eventually got their own railway stations in 1879.

In two years the ELR grew from a company authorised to build 14 miles (23 km) of railway into one with the authority to build 50 miles (80 km) of railway. In February 1848 with 24 miles (39 km) of track open, the company reported for the week ending 5 February 1848 an annual income of £553 18s 8d (£70,000 in 2024) for passengers and parcels, and £498 10s 4d for freight (£63,000 in 2024) – almost double the previous year's income. By March 1848 the line between Rawtenstall and Newchurch was complete, followed in June by the Blackburn to Accrington connection (5.25 miles (8.45 km)), and, in August, the Stubbins junction to Accrington section. The line was extended east to Burnley (5.5 miles (8.9 km)) by September 1848, and, in February 1849, from Burnley to Colne, where it made an end-on junction with the Leeds and Bradford Extension Railway, providing the ELR with a connection to Bradford and Leeds.

The LO&PR line to Lostock Hall (26 miles (42 km)) was completed on 2 April 1849, and the (3 miles (4.8 km)) extension into Preston station opened on 2 September 1850. The line ran into new platforms built on the east side of the NUR's station, which were managed and staffed by the ELR, and which had their own booking hall and entrance. The new platforms were effectively a separate station.

More lines followed with a connection between Newchurch and Bacup by October 1852, and the Ormskirk to Rainford Skelmersdale Branch in March 1858. A three-mile long line to Tottington opened in 1882 from a junction with the original MB&BR line. It was electrified in 1913 before reverting to steam in 1951. It closed to passengers in 1952 and goods in 1963 and has since been reclaimed as a walkway.

### Clifton Junction

In 1846, the Manchester and Bolton Railway (whose line the ELR used to gain access to Manchester) was taken over by the Manchester and Leeds Railway, which, the following year, became part of the Lancashire and Yorkshire Railway (L&YR). The ELR's expansion and the opening of new routes—including an alternative route between Manchester and Leeds—had caused a degree of consternation at the L&YR, but the two companies initially managed to work together successfully.

After about three years a dispute flared up over the collection of tolls for the ELR's use of the line. The ELR had become accustomed to running their trains on to the L&YR line and then later declaring of the number of passengers liable for a toll but, in March 1849, the L&YR insisted that ELR trains stop at Clifton so that passenger numbers and tickets could be checked by their own employees. The ELR accused the L&YR of trying to impede their traffic, particularly as they had recently gained a connection to Bradford, in competition with the L&YR. They stated that the L&YR had access to their accounts, and to the returns made by their staff.

On the morning of 12 March 1849, despite the presence of police from Bury and Pendleton, the L&YR placed a large baulk of timber across the ELR's line at Clifton Junction, effectively blocking it. Employees from both companies arrived at the scene, and a large crowd gathered to watch events unfold. The L&YR also pulled a train past the junction, blocking the up line to the city. Its engine was pointed south-east toward Manchester, available to any ELR passengers who wished to continue their journey. An ELR train arrived from Bury, and stopped. L&YR employees attempted to take tickets from the ELR's passengers, but were refused, as the ELR had already taken tickets at their Ringley Road station. ELR employees then removed the baulk of timber, and in an effort to push the L&YR train out of the way, drove their train forward. The L&YR had anticipated this, and moved another engine (taken from a L&YR train from Manchester) to the front of their Manchester-bound train. The ELR then blocked the L&YR down line with another of their trains, laden with stone, moving it to a position directly abreast of the L&YR train. The line remained completely blocked until about mid-day, with a queue of trains from both companies, and from the Blackburn and Darwen Railway, building up on each side of the blockage. The situation was eventually defused when the L&YR withdrew their train.

The General Manager of the ELR, Richard Hacking, wrote to *The Times* newspaper expressing his annoyance at the L&YR's tactics. He claimed to have received a letter from the company sent on 9 March 1849 informing him of proposed changes to operational procedures resulting from a near-collision at Clifton Junction. The first change was that ELR trains would at all times give way to L&YR trains on the Manchester and Bolton line; a stop signal was to be placed 400 yards (370 m) along the ELR line from the junction, to be activated whenever a L&YR train was in sight. The second change was that "for the safety of the public" all ELR trains would be required to stop before the points at the junction, where all passenger tickets to Manchester would be collected by L&YR employees. A daily return would be required of all passengers and other freight booked from Salford "for the purpose of keeping regularly and balancing punctually the accounts of the two companies". Hacking claimed to have replied stating that the near-collision had occurred because the L&YR's engine driver had ignored a signal at Clifton Junction, and that the ELR would not accept the changes requested by the L&YR. The ELR refused to supply tickets at any point, although they considered it reasonable to supply more information on their traffic using the L&YR line.

Hacking stated that he had received a letter from the L&YR porter at Clifton requesting that all ELR trains stop at Clifton Junction so that tickets could be collected by L&YR staff, and that all ELR goods trains would have to supply invoices at the junction. In his letter he concluded that the purpose of the L&YR's demands was to impede the flow of ELR traffic to Manchester and onwards to Yorkshire.

Hacking's account of the events of 12 March is similar to that reported by *The Times*. He claims to have travelled to Clifton to witness an L&YR clerk being prevented from collecting tickets, and to have then continued on another train to Manchester. On his arrival there, he saw L&YR employees ready to pull up the rails to the ELR platform, although the rails were left intact. He then mentions returning to Clifton after hearing that L&YR employees had recently left for the station. He blamed the Managing Director of the L&YR, Captain Law, and Mr Blackmore, superintendent of the Bolton line, for ordering the line to be blocked with the baulk of timber. Hacking also mentions an approaching up-train from Bolton, which on encountering the blockage apparently moved across to the down line to bypass it – in the face of oncoming traffic. Expressing his shock, he claims to have ordered the ELR's stone train onto the down line, changing the signals accordingly. Hacking's account ends by claiming that Blackmore ordered the L&YR train to move, effectively resolving the dispute.

The matter was so serious that it was raised in the House of Commons. It was eventually settled in court, with the ELR thereon making a pro rata payment according to the distance travelled on each railway. The court also found in favour of the L&YR who had argued that the original agreement to share the line did not extend to a vastly extended ELR network. The amount of compensation to the L&YR was left at the discretion of both companies.

Relations between the two companies were, therefore, not entirely amicable. In 1853 the ELR made further proposals for a new line from Clifton to Salford, roughly parallel to the L&YR line, however in 1854 an agreement between the two companies meant that the Clifton Junction to Salford line was vested jointly in both companies. Amalgamation had been discussed since the early 1850s and in 1859, by an act of parliament, the ELR was absorbed by the L&YR.

### Closure and legacy

Following the Beeching Axe parts of the ELR's network were closed. The original MB&RR line between Clifton Junction and Bury closed in 1966 (although Radcliffe Bridge station was closed in 1958), but the line between Bury and Rawtenstall continued to serve passengers until 1972 and freight until 1980. This section is now used by the East Lancashire Railway, a modern heritage railway opened in 1987. The trackbed between Clifton and Radcliffe now forms a part of the Irwell Sculpture Trail. The connection from Stubbins to Accrington was closed in 1966. The ELR line across the Ribble between Preston and Bamber Bridge was closed to passengers in 1968, and to goods four years later. The East Lancashire platforms 10–13 were demolished along with Butler Street Goods Yard. The line between Preston and Colne survives as the East Lancashire Line, operated by Northern. The Skelmersdale Branch was closed to passengers in 1956 and to all traffic seven years later, however a proposal exists to reopen the line as far as Skelmersdale. Services between Liverpool and Ormskirk are now operated by Merseyrail.

## Locomotives

The ELR used a range of locomotives. One of its earliest orders was for twelve Long Boiler 2-2-2s from Fenton, Craven and Company (at least one of these was used on the inauguration of the railway), but dissatisfied with the locomotives they accepted only four,. Four were diverted to the Leeds, Dewsbury and Manchester Railway, and two to the Eastern Counties Railway. In 1848, the ELR's four 2-2-2s were rebuilt as 2-4-0s by R and W Hawthorn. In about 1858, they were again rebuilt as 0-6-0s by Sylvester Lees. Richard Walker, a director of the ELR between 1838 and 1854, was the supplier of about twenty locomotives to the company, including, in the 1850s, four 2-4-0s and several 0-6-0s.

Walker, Richard & Brother supplied four 2-2-2 locomotives, Medusa, Hecate, Diomed and Lynx. All were later rebuilt as a 2-4-0 tank engine. In 1847, two 0-4-2s were supplied by R and W Hawthorn, rebuilt in 1868 as 2-4-0s. In 1845 the MB&RR ordered four 0-6-0s from the Haigh Foundry, and a fifth engine from Fenton, Craven and Company. Another engine was built by Haigh in 1848.

The largest ELR class was a series of outside-frame 2-4-0s with 15 in × 20 in (38 cm × 51 cm) cylinders and 5 ft 6 in (1.68 m) driving wheels. Some may have originated as 2-2-2s, and some were later rebuilt as 2-4-0 tank engines. One was rebuilt as a 2-4-0 saddle tank engine. These were among the last locomotives to be built in Bury. Other manufacturers to supply the ELR were Sharp, Roberts and Company, Stothert, Slaughter and Company, and Beyer, Peacock and Company. The ELR livery for passenger locomotives was dark green with red brown frames, and polished domes and safety valves.

In 1857 (two years prior to the amalgamation with the LYR), the ELR had 32 passenger locomotives and 31 goods. They were numbered 1–63, and all were named. For a few years after the two railways amlgamated in 1859, the LYR maintained a distinct number list for locomotives of what became the East Lancashire section (EL section): new LYR locomotives intended for use on the EL section were given numbers in that section's list, instead of the main LYR list, and those built up to mid 1872 were also named. The EL section locomotive list eventually reached 142, and in March 1875, they had their numbers increased by 600, becoming LYR nos. 601–742.

The ELR locomotive works was at Bury, and the locomotive superintendent there was Sylvester Lees. He was appointed in 1846, and following the 1859 amalgamation continued in office until his death on 22 March 1865. To succeed Lees at Bury, the LYR appointed John Jacques and Henry Critchley as outdoor and indoor locomotive superintendent respectively: both took up their duties on 24 April 1865. Critchley died in September 1867 and was succeeded by William Hurst on 18 September 1867. When Hurst was transferred to Miles Platting locomotive works in January 1868 (as outdoor locomotive superintendent alongside William Yates, indoor superintendent), R. Mason was appointed to take his place at Bury. He in turn died on 15 October 1873, and was replaced by George Roberts. Having four locomotive superintendents (two at Miles Platting and two at Bury) was causing difficulties for the LYR as a whole, and on 1 November 1875, William Barton Wright was appointed chief locomotive superintendent for the LYR, combining the outdoor and indoor roles of both works. The following day, Jacques and Roberts (together with Yates and Hurst) were told that they would now report to Barton Wright. Jacques was given the opportunity to resign with six months salary, whilst Roberts became works manager at Bury. He remained in this post until the closure of Bury works in 1888, following the transfer of locomotive maintenance to the new Horwich Works.

Like many of its contemporaries, the ELR obtained its locomotives from various private manufacturers. Chief amongst these were the firms of Richard Walker and Brothers of Bury, who supplied 24 locomotives between 1846 and 1854, and Sharp Brothers of Manchester, who supplied 16 between 1846 and 1850. In 1846 the LYR had begun constructing a proportion of its locomotives in its own workshops (one of the first railways to do so) at Miles Platting, and after the 1859 amalgamation supplied a number of these to the EL section.

Bury works did not build new locomotives until 1862, and between then and 1877, approximately sixteen new locomotives were built there, although at least one incorporated parts from an older locomotive. All of them were of the 2-4-0 wheel arrangement, some being tank engines: several 2-4-0 locomotives were altered from tender to tank, or vice versa. Most had outside frames and were continuations of an ELR design dating back to 1848, but four built in 1873 had inside frames and were similar to 2-4-0s to the design of Yates that were being built at Miles Platting at the same time.

## Infrastructure

### Station buildings

Station buildings generally followed one of three designs. The principal stations at Bury and Accrington were based on the same design by a Manchester-based firm of architects. Most of the other stations were designed by the company's resident engineer. They were stone-built and consisted of a station master's room, adjoining a seated waiting area, a ladies waiting room and the booking office. The third and cheapest design followed the standard design but utilised brick and timber as materials. The platform was normally roofed.

### Signals

Track signals were based on two designs—station signals on posts, each post with two moveable arms—and portable signals; flags were used by day, and coloured lanterns at night. The signals on posts were patented semaphore designs from J Stevens & Son. Each post had two arms—linked by chain to a foot control at the base—which were used to alert drivers on both the up and down lines. Each foot control was held in place by a hook on the post. An arm set at an angle would indicate that the train should approach slowly, before stopping at the station. The same arm set vertically (and out of sight) would indicate that the train could pass through without stopping. The posts were also illuminated to allow use at night. Signals at Accrington station were more complex, linked to the station building with wires, and by default set at 'stop' when released. The coloured lanterns used as portable signals were painted red on one side (stop), green on another (go slowly), and clear on the third (proceed).

### Rails

The line was standard gauge and most sections used rails in 15-foot (4.6 m) lengths, each weighing 75 lb/yard (31.1 kg/m), fixed to wooden sleepers 9 feet (2.7 m) long and 3 feet (0.91 m) apart.

## Accidents

In the early history of the railways accidents were not uncommon, and the ELR was no exception. Several incidents were reported in *The Times*. During Whitsuntide 1849, a passenger train was in a rear-end collision with an excursion train near Burnley, Lancashire. Despite efforts to protect the rear of the passenger train, another excursion train was in a rear-end collision with it. In January 1850, three people died when a luggage train ran into a passenger train at Maghull railway station. A serious accident occurred at Clifton Junction on 19 October 1851 when a passenger train derailed passing the points on the junction, injuring several passengers, some seriously. In September 1866 a man died after jumping from the train from Blackburn. A non-fatal collision occurred at Lostock Hall railway station in November 1876.

Inclement weather was also a problem; in January 1867 trains were delayed for several hours at Hoghton due to snow on the line, and on 30 January 1877 a heavy storm blew the roof completely away from Preston railway station.

### Notes

### Bibliography

## InfoBox

East Lancashire Railway
| Industry | Railway company |
| --- | --- |
| Founded | 24 July 1845 |
| Defunct | 13 May 1859 |
| Fate | Amalgamation |
| Successor | Lancashire and Yorkshire Railway |
| Headquarters | Lancashire |
| Key people | John Shae Perring (resident engineer) |


abstract: The Philippine Senate Committee on National Defense and Security, Peace, Unification and Reconciliation is a standing committee of the Senate of the Philippines. This committee was formed after the Committee on National Defense and Security and the Committee on Peace, Unification and Reconciliation were merged on September 3, 2019, pursuant to Senate Resolution No. 9 of the 18th Congress.

text:
# Philippine Senate Committee on National Defense and Security, Peace, Unification and Reconciliation

The **Philippine Senate Committee on National Defense and Security, Peace, Unification and Reconciliation** is a standing committee of the Senate of the Philippines.

This committee was formed after the *Committee on National Defense and Security* and the *Committee on Peace, Unification and Reconciliation* were merged on September 3, 2019, pursuant to Senate Resolution No. 9 of the 18th Congress.

## Jurisdiction

According to the Rules of the Senate, the committee handles all matters relating to:

## Members, 18th Congress

Based on the Rules of the Senate, the Senate Committee on National Defense and Security, Peace, Unification and Reconciliation has 19 members.

The President Pro Tempore, the Majority Floor Leader, and the Minority Floor Leader are *ex officio* members.

Here are the members of the committee in the 18th Congress as of September 24, 2020:

| Position | Member | Party | |
| --- | --- | --- | --- |
| **Chairperson** | Panfilo Lacson |  | Independent |
| **Vice
Chairpersons** | Francis Tolentino |  | PDP–Laban |
| | Grace Poe |  | Independent |
| | Ronald dela Rosa |  | PDP–Laban |
| | Bong Go |  | PDP–Laban |
| | Richard Gordon |  | Independent |
| | Manny Pacquiao |  | PDP–Laban |
| **Members**
**for the**
**Majority** | Lito Lapid |  | NPC |
| | Joel Villanueva |  | CIBAC |
| | Imee Marcos |  | Nacionalista |
| | Nancy Binay |  | UNA |
| | Sonny Angara |  | LDP |
| | Bong Revilla |  | Lakas |
| | Win Gatchalian |  | NPC |
| | Cynthia Villar |  | Nacionalista |
| | Koko Pimentel |  | PDP–Laban |
| **Members**
**for the**
**Minority** | Francis Pangilinan |  | Liberal |
| | Risa Hontiveros |  | Akbayan |
| | Leila de Lima |  | Liberal |

**Committee secretary:** Charlyne Claire Fuentes-Olay

1. "Senate Resolution No. 9 (18th Congress)" (PDF). *Senate of the Philippines*. September 3, 2019. Retrieved September 27, 2020.
2. "Rules of the Senate" (PDF). *Senate of the Philippines*. July 2020. Retrieved September 27, 2020.  This article incorporates text from this source, which is in the public domain.
3. "Senate Permanent Committees - 18th Congress" (PDF). *Senate of the Philippines*. September 24, 2020. Archived (PDF) from the original on September 25, 2020. Retrieved September 27, 2020.

## InfoBox

| Committee on National Defense and Security, Peace, Unification and Reconciliation | |
| --- | --- |
| 18th Congress | |
|  | |
| History | |
| New session started | July 22, 2019 (2019-07-22) |
| Leadership | |
| Chairman | Panfilo Lacson (Independent)
since 2019 |
| Minority Leader | Francis Pangilinan (Liberal)
since 2019 |
| Structure | |
| Seats | 19 members |
| Political groups | **Majority** (16) * PDP–Laban (5) * Independents (3) * Nacionalista (2) * NPC (2) * CIBAC (1) * LDP (1) * Lakas (1) * UNA (1)  **Minority** (3) |


title: Tina Susman

abstract: Tina Susman is an American journalist and editor. A senior editor at Time from 2019-2022, she was previously the national editor for BuzzFeed News and while at the Los Angeles Times had multiple roles, starting as Baghdad bureau chief and moving on to become a national correspondent based in New York. Prior to that she oversaw and contributed coverage from at least 15 countries in Africa for the Associated Press and Newsday, part of the over-five-fold trend in the increase of women war correspondents from 1970 to 1992. She left Time in 2022 and was a senior editor at the tech news site Protocol.com until its closure in December 2022. While reporting for the Associated Press in 1994, Susman was kidnapped in Somalia and held for 20 days. For this, she was featured in an episode of Oprah and on MSNBC among other outlets, and her case became the subject of debate about whether the Associated Press should have withheld news of the kidnapping.

text:
# Tina Susman

**Tina Susman** is an American journalist and editor. A senior editor at *Time* from 2019-2022, she was previously the national editor for *BuzzFeed News* and while at the *Los Angeles Times* had multiple roles, starting as Baghdad bureau chief and moving on to become a national correspondent based in New York. Prior to that she oversaw and contributed coverage from at least 15 countries in Africa for the Associated Press and *Newsday*, part of the over-five-fold trend in the increase of women war correspondents from 1970 to 1992. She left *Time* in 2022 and was a senior editor at the tech news site *Protocol.com* until its closure in December 2022. While reporting for the Associated Press in 1994, Susman was kidnapped in Somalia and held for 20 days. For this, she was featured in an episode of *Oprah* and on MSNBC among other outlets, and her case became the subject of debate about whether the Associated Press should have withheld news of the kidnapping.

## Early life and education

Tina Susman was born in Orange County, the daughter of Howard and Dorothy Olivia Susman, who had immigrated to the U.S. from England. They relocated to Oakland, California, where Susman attended public school. She told *O, The Oprah Magazine,* that her experience in that city and school system helped her learn how to "navigate threats." Susman earned a Bachelor of Science in Communication, Journalism, and Related Programs at San Diego State University-California State University. She was a reporter and an editor at the *SDSU Daily Aztec*.

## Career

Susman began working for the Associated Press out of college in San Diego; she moved onto their foreign desk in New York City and was sent to South Africa in October 1990. She was a Johannesburg-based correspondent until August 1993, covering the end of apartheid, the election of Nelson Mandela, and township violence, in addition to doing features, when she became the Associated Press news editor for the country, reporting and writing on top of doing managerial work. She covered the famine and civil war in Somalia, the genocide in Rwanda, and regional conflicts in Angola, Lesotho and Mozambique, among other places. She also happened to be in the Soviet Union when it collapsed in the fall of 1991 and wrote related stories.

### Kidnapping in Somalia

In 1994, on her fourth trip to Somalia, and while reporting on U.S. peacekeeping troops leaving the country, Somali rebels outnumbered her bodyguards in Mogadishu, dragged her from her car in broad daylight, and held her for 20 days. She describes being treated "extraordinarily well" due to the kidnappers' interest in her ransom, and she told *The Quill* that she believes being a woman was an advantage in her experience there. However, the Associated Press had requested news organizations including *The New York Times*, the *Chicago Tribune,* and the *Washington Post* suppress the story to discourage the emboldening of the kidnappers. That year she subsequently moved to Abidjan, Cote d'Ivoire to become Associated Press' West and Central Africa news editor and correspondent.

### Continued work in Africa and in conflict zones

Susman stayed at her job at the Associated Press, focusing on the wars in Liberia, Sierra Leone, Democratic Republic of Congo (then known as Zaire, the shift happened while she was there), and political upheavals in Nigeria, Cameroon, and elsewhere. One of her most famous stories from this time was a piece on General Butt Naked, a much-feared Liberian warlord whom she tracked down in 1997. The next year, she became the Africa correspondent for *Newsday* from Johannesburg, South Africa. In 1999, Susman won her first in a series of awards, first prize for international reporting from the New York Association of Black Journalists for her coverage of the civil war in Sierra Leone, including stories on a rebel attack on the capital, Freetown, and interviews with assault survivors. That same year, her child soldiers series from Africa received a Citation for Excellence from the Overseas Press Club. With fellow *Newsday* writer, Geoffrey Mohan, reporting from South America, she won Sigma Delta Chi for Foreign Correspondence from the Society of Professional Journalists for another series on the use of children as soldiers in Liberia and Sierra Leone, efforts to rehabilitate them, and challenges to their recovery. This work also garnered an award from the National Association of Black Journalists for "outstanding coverage of the black condition."

In 2000, Susman did a series of stories looking at the threats to Africa's environment, including deforestation in central and west Africa, the bushmeat trade in Congo, over-fishing in Africa's Lake Victoria; industrial pollution in South Africa, and efforts to save the great apes in Rwanda, Uganda and Tanzania won her an honorable mention, Overseas Press Club. In January 2001, she moved to New York City to be a *Newsday* national/international correspondent. That year, she moderated a panel on Africa in the city. She went to Pakistan in September and October of that year, to cover the situation there and in Afghanistan following the 9/11 attacks but was involved in a car crash while traveling in Kashmir and suffered two fractures in her right leg. She was a guest on *The Oprah Winfrey Show* on February 20, 2002 to talk about the accident, her kidnapping in Somalia, and the dangers that journalists face.

Susman's 2003 article on the rise donor activism has been used in law schools. In 2005, she took the first place prize from the Newswomen's Club of New York, for deadline reporting for her stories from southeast Asia following the December 2004 tsunami. She also reported on Hurricane Katrina that year. The next year, Susman won first place for in-depth reporting from the same organization for a series of stories on the conflict in the Darfur region of Sudan, including interviews with women who had been victims of rape by rebel forces, and witness accounts of attacks by the so-called janjaweed forces.

### *L.A. Times,* *BuzzFeed News,* and *Time*

From 2007 Susman was the Baghdad bureau chief of the *Los Angeles Times.* From Iraq, she oversaw a team of US and Iraqi journalists as well as support staff and led the paper's coverage of the Iraq war. She told *Editor & Publisher*, "I think our paper does a better job of telling the story through the eyes of ordinary Iraqis. From what I do read, I actually think we do that on a regular basis more than others, maybe because of the staff we have. Part of, frankly, is because that's what I'm stronger at." Her article that year about Basam Ridha, Iraq's executioner, was called by *Editor & Publisher* editor Greg Mitchell as "important and balanced" in his book *So Wrong for So Long: How the Press, the Pundits—and the President—Failed on Iraq*. In addition to reporting, writing, and budgeting, Susman worked with security consultants in Iraq's capital to ensure her staff's safety.

In 2011 she was part of a team from the *Los Angeles Times* that won for coverage of the 2010 Haiti earthquake. She reached the country the morning after the quake, becoming one of the first print reporters on the ground to file from the scene. Her topics at the newspaper were breaking news, which ranged from the Westminster Kennel Club dog show to the Ferguson protests, the shooting death of Trayvon Martin and his killer's trial, the Occupy and Black Lives Matter movements, the legalization of same-sex marriage, and various natural and man-made disasters. Her co-coverage of the shooting deaths of African American men at the hands of law enforcement has been used by law scholars at Harvard, University of Virginia and Loyola Law Schools.

Susman became national editor for BuzzFeed News in 2016 overseeing the reporting of true crime stories and articles about the real effects of MeToo. She oversaw newsy pieces with an investigative edge focusing on policing, Title IX violations, and sexual misconduct in the workplace and in educational institutions. Two stories first reported by BuzzFeed News that Susman oversaw, resulting in the firing of their subjects, a respected UC Berkeley professor and a high-ranking DC Comics editor, for sexual misconduct. She also oversaw a 2018 article about a private school in California condemned for punishing their gay students.

In 2019 Susman became a senior editor at *Time* magazine.

## Awards

## Family

Susman's mother Dorothy was English, whose father, Soterios Christou Terezopoulos, was Greek Cypriot and a barrister in London and a M.B.E. Dorothy, a pioneer in the repair side of the telephone industry, had a second daughter with Howard, Olivia Susman Dyas, who died in 1996.

## InfoBox

| Tina Susman | |
| --- | --- |
| Occupation | Journalist and editor |
| Education | San Diego State University-California State University |
| Notable awards | Society of Professional Journalists, Newswomen's Club of New York's Front Page Awards (twice), National Association of Black Journalists (twice) |


title: Rhinestone Cowboy (album)

abstract: Rhinestone Cowboy is the 28th studio album by American country music musician Glen Campbell, released in July 1975 by Capitol Records. It is a concept album based on the idea of an over-the-hill country musician who is uneasy about his previous fame. The album was recorded in Hollywood, and produced by Dennis Lambert and Brian Potter. Featuring the hit singles such as "Rhinestone Cowboy" and "Country Boy", the album peaked at number 17 on the Billboard 200. The album was re-issued on March 31, 2015. It contains a previously unreleased track, "Quits". It also contained the Japan-only track "Coming Home" and the B-side "Record Collectors Dream".

text:
# Rhinestone Cowboy (album)

***Rhinestone Cowboy*** is the 28th studio album by American country music musician Glen Campbell, released in July 1975 by Capitol Records. It is a concept album based on the idea of an over-the-hill country musician who is uneasy about his previous fame. The album was recorded in Hollywood, and produced by Dennis Lambert and Brian Potter. Featuring the hit singles such as "Rhinestone Cowboy" and "Country Boy (You Got Your Feet in L.A.)", the album peaked at number 17 on the *Billboard* 200.

The album was re-issued on March 31, 2015. It contains a previously unreleased track, "Quits". It also contained the Japan-only track "Coming Home" and the B-side "Record Collectors Dream".

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |

## Track listing

### Side one

1. "Country Boy (You Got Your Feet in L.A.)" (Dennis Lambert, Brian Potter) – 3:08
2. "Comeback" (Lambert, Potter) – 3:23
3. "Count on Me" (Lambert, Potter) – 3:12
4. "I Miss You Tonight" (Lambert, Potter) – 3:07
5. "My Girl" (Smokey Robinson, Ronald White) – 3:14

### Side two

1. "Rhinestone Cowboy" (Larry Weiss) – 3:15
2. "I'd Build a Bridge" (Mike Settle) – 3:43
3. "Pencils for Sale" (Johnny Cunningham) – 3:42
4. "Marie" (Randy Newman) – 3:34
5. "We're Over" (Barry Mann, Cynthia Weil) – 2:59

### 2015 bonus tracks

1. "Record Collector's Dream" (Bill C. Graham)
2. "Coming Home" (Bill Backer, Billy Davis, Rod McBrien) produced by Billy Davis; arranged by Dennis McCarthy
3. "Quits" (Danny O'Keefe)
4. "Country Boy (You Got Your Feet in L.A.)" remixed by Howard Willing
5. "Rhinestone Cowboy" remixed by Howard Willing and Julian Raymond

## Personnel

**Production**

* Producers – Dennis Lambert, Brian Potter
* Arranged and conducted by Thomas Sellers
* Engineer – Joe Sidore
* Mastered at Mastering Lab, Hollywood, CA
* Production assistant – Marsha Lewis
* Art/Photography – Roy Kohara
* Embroidery – Helen Hamako Holden

## Charts

**Album***Billboard* (United States)

| Chart | Entry date | Peak position | No. of weeks |
| --- | --- | --- | --- |
| Billboard Country Albums | August 16, 1975 | 1 | 33 |
| *Billboard* 200 | August 9, 1975 | 17 | 30 |
|

## Certifications

Certifications for *Rhinestone Cowboy*
| Region | Certification | Certified units/sales |
| --- | --- | --- |
| United Kingdom (BPI) | Silver | 60,000^ |
| United States (RIAA) | Gold | 500,000^ |
| ^ Shipments figures based on certification alone.
 | | |

## InfoBox

| Rhinestone Cowboy | |
| --- | --- |
|  | |
| Studio album by Glen Campbell | |
| Released | July 1975 |
| Recorded | 1975 |
| Studio | Sound Labs, Hollywood, California |
| Genre | Country |
| Label | Capitol |
| Producer | Dennis Lambert, Brian Potter |
| Glen Campbell chronology | |
| *Ernie Sings & Glen Picks*
(1975) ***Rhinestone Cowboy***
(1975) *Bloodline*
(1976) | |
|  | |
| Singles from  *Rhinestone Cowboy* | |
| 1. "Rhinestone Cowboy"
Released: May 26, 1975 2. "Country Boy (You Got Your Feet in L.A.)"
Released: October 20, 1975 | |
|  | |


title: Charlie Doherty

abstract: Charlie Doherty was an Australian rules footballer who played with Fitzroy in the Victorian Football League (VFL).

text:
# Charlie Doherty

**Charlie Doherty** (23 January 1876 – 5 March 1961) was an Australian rules footballer who played with Fitzroy in the Victorian Football League (VFL).

## Sources

## InfoBox

| Charlie Doherty | | | |
| --- | --- | --- | --- |
| Personal information | | | |
| Full name | Charles Somerville Doherty | | |
| Date of birth | (1876-01-23)23 January 1876 | | |
| Place of birth | Lucknow, Victoria | | |
| Date of death | 5 March 1961(1961-03-05) (aged 85) | | |
| Place of death | Bairnsdale, Victoria | | |
| Original team(s) | Ballarat | | |
| Playing career1 | | | |
| Years | **Club** | **Games (Goals)** |
| 1898 | Fitzroy | 2 (0) |
| 1 Playing statistics correct to the end of 1898. | | | |
| Sources: AFL Tables, AustralianFootball.com | | | |


title: Ralph Campbell Sr.

abstract: Ralph Campbell Sr. was an American postal worker, civil rights activist, and organizer in Raleigh, North Carolina. His wife June was also influential. He worked for the post office. Their son Ralph Campbell Jr. continued their work and was elected state auditor. Another son, Bill Campbell, served as mayor of Atlanta.

text:
# Ralph Campbell Sr.

**Ralph Campbell Sr.** (1915 – May 15, 1983) was an American postal worker, civil rights activist, and organizer in Raleigh, North Carolina. His wife June was also influential. He worked for the post office. Their son Ralph Campbell Jr. continued their work and was elected state auditor. Another son, Bill Campbell, served as mayor of Atlanta.

## Early life

Ralph Campbell was born in 1915. He served in World War II and in the Korean War. Afterwards, he secured a job with the U.S. Postal Service. He married June Elizabeth Kay on January 1, 1946. They had four children: Ralph Jr., Mildred, Bill, and Eddie.

## Career

Campbell served as president of the Raleigh Chapter of the National Association for the Advancement of Colored People from December 18, 1960 until February 21, 1965.

In 1960, Campbell and his wife petitioned the Raleigh School Board to allow their son Bill to attend the all-white Murphey Elementary Schools and for Ralph Jr. and Mildred to attend the all-white Morson Junior High School for the 1960–1961 school year. The board allowed Bill to be transferred—and thus become the first black student to attend an all-white public school in the city—but denied the applications for Ralph Jr. and Mildred, citing overcrowding at Morson. While pleased with the decision to allow Bill to attend Murphey, Campbell expressed his frustration to the school board that his other children's applications were denied, saying, "To assign a child at any time to a segregated school is in violation of the constitution and the Supreme Court decision of 1954." As a result of their push for their child to enroll in a white school, the Campbells faced death threats and briefly lived with relatives to ensure their safety. As Campbell was unable to leave his job at the post office, his wife June escorted Bill to Murphey Elementary on his first day of schooling there.

In the early 1960s, Campbell and his wife began hosting meetings of civil rights activists at their home. Often sitting around an oval glass-topped table, this group became known as the "Oval Table Gang". Its members strategized to desegregate schools, support black political candidates, and organized protests. The meetings continued until Campbell died. He participated in the 1963 March on Washington for Jobs and Freedom, taking two of his children with him.

In 1970, Campbell became president of the Raleigh-Wake Citizens Association. He resigned from the post in 1978. He retook the position in the 1982 and held it until his death.

In November 1982, Campbell campaigned for the reelection of U.S. Representative Ike Franklin Andrews, helping him win support from the local black community. After the election, Andrews hired him as a part-time staffer in his local congressional office.

## Later life and legacy

On May 12, 1983, Campbell suffered a heart attack while working at Andrew's congressional office in Cary and was taken to Wake Medical Center in Raleigh for treatment. On May 15, 1983, while in the hospital, he suffered an additional heart attack and died shortly thereafter. A requiem was held for him at St. Ambrose Church in Raleigh three days later. His body was subsequently buried at the Raleigh National Cemetery.

After his death he was commemorated in a joint resolution by the North Carolina General Assembly. His wife died in 2004. In 2005, he and his wife were inducted into the Raleigh Hall of Fame.

## Works cited

* Suttell, Brian (2023). *Campus to Counter : Civil Rights Activism in Raleigh and Durham, North Carolina 1960–1963*. Macon: Mercer University Press. ISBN 978-0-88146-877-9.

## InfoBox

| Ralph Campbell Sr. | |
| --- | --- |
|  | |
|  | |
| President of the NAACP Raleigh Chapter | |
| **In office**<br>December 18, 1960  February 21, 1965 | |
|  | |
| Personal details | |
| Born | 1915 |
| Died | May 15, 1983 |
| Political party | Democratic |
| Spouse | June Elizabeth Kay |
| Children | 4 (including Bill Campbell and Ralph Campbell Jr.) |
| Profession | civil rights activist, postal worker |
|  | |


title: Diasec

abstract: Diasec is the registered trademark for the original method of face-mounting prints, such as photographs on acrylic sheets. The process was invented by Heinz Sovilla-Brulhart in 1969. According to the trademark's website, the colors are "more brilliant and the image sharper than with standard glass in a picture frame" because of the light penetration and refraction of clear acrylic compared to normal glass. A Diasec mount is usually of a high gloss finish. Because the print is glued to the acrylic glazing, the result is a completely flat mount of the image. Diasec also contains (UV) light inhibitors to help protect the image from ultraviolet (UV) light.

text:
# Diasec

**Diasec** is the registered trademark for the original method of face-mounting prints, such as photographs on acrylic sheets. The process was invented by Heinz Sovilla-Brulhart in 1969.

According to the trademark's website, the colors are "more brilliant and the image sharper than with standard glass in a picture frame" because of the light penetration and refraction of clear acrylic compared to normal glass. A Diasec mount is usually of a high gloss finish. Because the print is glued to the acrylic glazing, the result is a completely flat mount of the image.

Diasec also contains (UV) light inhibitors to help protect the image from ultraviolet (UV) light.

## Process

The process bonds the print without air bubbles because it uses liquid gel instead of a transparent adhesive film. The image is face-mounted and stuck to the acrylic glass with a special sealant. Normally the mounted print is then placed on a carrier sheet. This is usually Aluminum. If the print has to be backlit, translucent materials such as acrylic can be used instead. The Diasec gel is neutral curing and has an inbuilt ultraviolet filter. It contains no plasticizers and is resistant to fungicidal, bacterial agents, and airborne pollutants. After curing, the whole airtight panel remains chemically inert and stable. The finished product remains flexible, enabling it to withstand changes in temperature and humidity, which affect works on paper. However, the process is irreversible and if the acrylic glass is damaged there is no way to salvage the print.

Nowadays, new acrylic products can include anti-scratch surface coatings that prevent damage to these pieces of art.

## Uses

The Diasec process is mostly used by artists and photographers to present their artwork. Andreas Gursky mounted "99 Cent II Diptychon", the most expensive photograph ever, on acrylic glass, probably with the Diasec process.

Diasec panels are backed with aluminum or dibond, reinforcing the rigidity of the finished picture and sealing the artwork from both sides. The Aluminium back also enables the attachment of sub-frames that allow the artwork to hang on the wall without a traditional picture frame.

Diasec samples that were made in the 1970s show a negligible color shift, the whites are still pure and there is no evidence of acid erosion visible.

## Diasec patent

In the past, the process was patented by the Swiss company Alrane Inventing AG to generate a brand name for the official licensee. To this day that same process is only available to official license holders. The diasec patent has expired and a surrogate process is used by some mounting studios. However, they cannot use the genuine Diasec ingredients or machinery.

The Dutch company "Diasec Support BV", was started in 2009 to support the Swiss licensor by offering training and custom-made machines. Special fluids needed for the Diasec process are only available from the Swiss originators.

The official Diasec website lists every licensed operative and their location.