title: Fan print with two bugaku dancers

abstract: Fan print with two bugaku dancers is an ukiyo-e woodblock print dating to sometime between the mid-1820s and 1844 by celebrated Edo period artist Utagawa Kunisada, also known as Toyokuni III. This print is simultaneously an example of the uchiwa-e and aizuri-e genres. It is part of the permanent collection of the Royal Ontario Museum, Toronto, Canada.

text:
# Fan print with two bugaku dancers

***Fan print with two bugaku dancers*** is an *ukiyo-e* woodblock print dating to sometime between the mid-1820s and 1844 by celebrated Edo period artist Utagawa Kunisada, also known as Toyokuni III. This print is simultaneously an example of the *uchiwa-e* (fan print) and *aizuri-e* (monochromatic blue print) genres. It is part of the permanent collection of the Royal Ontario Museum, Toronto, Canada.

## *Uchiwa-e*

*Uchiwa* (団扇) are non-folding, flat, oval fans. They are still used today for cooling rice in the preparation of sushi, in dance performances, and as a cooling tool. Historically, *uchiwa* were a predominantly female accessory, men typically carrying folding fans known as *ōgi* (扇), *suehiro* (末広) or *sensu* (扇子). They are associated with summer, traditionally having been sold only during the summer months, and decorated with summer imagery. At least one modern critic argues that, due to their use by women during periods of heat, *uchiwa* "can have suggestive connotations."

Like *ōgi-e* (扇絵) folding fan prints, *uchiwa-e* were traditionally made from *washi* rice paper mounted on a wooden frame. Images were printed on paper, then cut along the margins and pasted onto a skeletal bamboo frame. As a result of their frequent handling, few pristine mounted examples remain.

## *Aizuri-e*

Also known as *aizome-e* (藍染絵) and *ai-e* (藍絵), *aizuri-e* (藍摺絵) translates literally as "blue printed picture," and describes prints that are produced entirely or predominantly in shades of blue. A counterpart to ostensibly red and pink *benizuri-e* (紅摺絵), *aizuri-e* were a late Edo period development. Perhaps due to the fact that single colour prints were cheaper to produce, the *aizuri* technique was particularly popular for *uchiwa-e*.

In the past, some art historians theorized that *aizuri-e* arose as a result of an 1841 government ban on the use of lavish colour in the then-dominant *nishiki-e* (錦絵), multi-coloured woodblock prints. The existence of a number of prominent examples predating the ban, however, suggests that *aizuri-e* did not simply come about as an alternative to poly-chromatic images. While the earliest recorded use is in an 1829 print by Eisen, Utagawa Sadahide, Hokusai, Hiroshige, Toyokuni II and Kunisada all produced notable examples.

The increased popularity of *aizuri-e* is directly linked to the 1829 importation of the first synthetic colouring agent to Japan. Known in the west as Prussian blue, Berlin blue, or *bero* (ベロ) as it came to be known, effectively challenged natural indigo as an *ukiyo-e* mainstay due to its lower price and decreased susceptibility to fading from light exposure. *Aizuri* has been described by one critic as having "revolutionized landscape prints."

## *Bokashi*

Given the lack of colour contrast in the monochromatic *aizuri-e*, late Edo artists began to experiment with techniques to increase image complexity. This led to the development of *bokashi*, a printing technique which allowed for the reproduction and mixing of differing colour tones within a single image. This is achieved through carefully graded applications of water and pigment mixtures to the woodblock with a *hake* brush. The result is a single-coloured print characterised by shading and tonality. It was practiced most effectively in the rendering of skies and water. While *aizuri-e* themselves were inexpensive to print, *bokashi* was costly. It is therefore generally seen in formal prints, and not regularly seen in cheaper media such as *uchiwa-e*. Kunisada has, however, used the technique on this fan print, most notably in the cloud and ground regions, where the value of the blue pigment deepens from very pale blue to near-black opacity.

## Utagawa Kunisada

### Biography

Utagawa Kunisada (歌川国貞) was born in 1786 in the Honjō district of Edo (present-day Tokyo) into a wealthy family of ferry service owners. He began an apprenticeship with the head of the prestigious Utagawa school of artists, Toyokuni I, in 1807, and took the artist name Kunisada to include the second character (国 – kuni) of his mentor's name. In 1844, Kunisada succeeded his master as Toyokuni III (三代歌川豊国).

Kunisada emerged as a book illustrator in 1807 with the series "Twelve Hours of the Courtesans" (*Keisei jūnitoki*). *Kuchi-e* book illustrations were essential to the success of the then popular *sharebon* and *kibyōshi* books, and this soon became a lucrative market for Kunisada due to his talent and ambition. His position within the Utagawa studio afforded him access to training from the finest masters, and connections to publishers, actors, theatres and poet's associations. This, in turn, led to many commissions. By the early 1810s, he had opened his own studio, and demand for his illustrations had outstripped that for his master's. His great success was also reputedly linked to his "convivial and balanced demeanor, and \[the fact that\] he delivered his commissions on time."

Kunisada was "without a doubt... the most prolific and successful print artist of all time." He was incredibly prodigious, creating between 35 and 40 thousand designs for individual *ukiyo-e* prints during his lifetime. His studio was larger than that of any other print artist, and he had a large stable of several dozen students. As a further indication of his unprecedented success, when he died in 1865 after having headed the Utagawa school for around 40 years, he was the subject of four separate *shini-e* memorial portraits. He is buried on the grounds of Banshōin Kōunji Temple in present-day Nakano ward, Tokyo, alongside Toyokuni I (1769–1825) and Kunisada II (1823–1880).

### Names

Like many artists of the Edo period, Kunisada was associated with a number of names throughout his lifetime.

#### Personal names

* Tsunoda Shōgorō IX (角田庄五朗) – official birth name
* Tsunoda Shōzō (角田庄蔵) – common name from birth
* Yanagishima Toyokuni (柳島豊国) – adult nickname related to area of residence
* Houkuin Teishougasen Shinji – posthumous Buddhist name

#### Professional names

* Utagawa (歌川) – art surname
* Kunisada (国貞) – artist name (1807–1843)
* Toyokuni III (三代目豊国) – artist name (1844–1865)
* Hanabusa Ittai (英一珪) – painting artist name (1820s–1858)
* Gototei (五渡亭) –  art name (1811–1845)
* Gepparō (月波楼) –  (c. 1811–1813)
* Ichiyūsai (一雄斎) –  (1811–1817)
* Kinraisha (琴雷舎) –  (1813 – c. 1817)
* Oukamuse –  (c. 1821–1822)
* Kōchōrō (香蝶楼) –  (1824–1861)
* Tōjuen –  (1827–1830)
* Bukiyō Matahei (不器用又平) – *shunga*  (1830s)
* Ichiyōsai (一陽斎) –  (1844–1861)
* Hokubaiko (北梅戸) –  (c. 1845)
* Kokuteisha Toyokuni (国貞舎豊国) –  (1847–1851)
* Fuchōan (富眺庵) –  (c. 1853–58)
* Fuchōsanjin (富眺山人) –  (dates unknown)
* Hinashi/ Hinaji Toyokuni (雛獅豊国) –  (1858–1859)

### Works

Although Kunisada designed many *surimono* and fan pictures, most of his works are in the *ōban* format. He also produced over sixty paintings.

Given his incredible output, it is not surprising that Kunisada was active in various genres, including *kabuki-e* and *yakusha-e* (*kabuki* actor pictures), *bijin-ga* (pictures of beauties), *yūrei-zu* (ghost pictures), *sumō-e* (sumo wrestler pictures), *shunga* (erotica), *musha-e* (warrior prints), and *uchiwa-e*. He is also credited with popularizing *Genji-e*, a print genre related to the 11th century novel *The Tale of Genji*, through his 1829–1842 book series, *Nise Murasaki inaka Genji* (*A Country Genji by a Fake Murasaki*). In 1808, he began creating *yakusha-e*, and these were to become the mainstay of his production, making up 60 to 70% of his total works. So prolific was he, that he came to be known as "Kunisada, the Portraitist of Actors (*yakusha-e no Kunisada*)."

Two popular genres which are under-represented in Kunisada's oeuvre are nature images (*kachō-e*/ 花鳥絵) and landscapes (*fūkei-e*/ 風景絵). He rarely designed pure landscapes, but began in the 1820s or 1830s to incorporate landscape elements into prints featuring beautiful women and actors. "Fan Print with two Bugaku Dancers" with its spare background landscape, is an example of this type of piece.

### Reputation

Despite his success during his own period, Kunisada was not highly regarded in the west until quite recently. Critics today consider Kunisada to have been "a trendsetter... in tune with the tastes of urban society," and credit him with a "more humanized" style than his contemporaries, and with bringing a sense of realism to *ukiyo-e*, particularly in his depiction of the female form. Many argue, however, that the quality of Kunisada's later works degraded into "gaudy and ostentatious" use of colour, and "lost... elegance in the human figure". *Ukiyo-e* specialist Rupert Faulkner is particularly scathing, asserting that Kunisada's work "became noticeably coarser and somewhat clumsy, revealing a cheap and gaudy caricaturism of grotesque facial expressions and exaggerated poses." It has been suggested that his production generally suffered "because of over-production and lowering of artistic standards," as well as possible mental or physical health issues, which led to Kunisada becoming a near-recluse in 1847. As art historian J. Hillier notes, "Kunisada's career tells the tragedy of the downfall of ukiyo-e. With evident talent and tremendous verve, his early prints have qualities that link him with the great days of the school, but the great mass of his prints are hastily designed, over-coloured and badly printed."

## Fan Print

### Image

The scene depicted on the fan is of two male *bugaku* dancers in full ceremonial costume, who appear to be performing a dance in lock-step with no audience in evidence. *Bugaku*, made up of the characters for 'dance' (舞-bu) and 'music' or 'entertainment' (楽-gaku), joined Japanese culture from China, Korea, India and Southeast Asia in the late 8th century, as a form of dance performed at the imperial court, as well as at temples and shrines. Dancers assume stylized hand, arm and foot poses accompanied by drumming and the world's oldest surviving orchestral music, *gagaku*. *Bugaku* is often performed by dancers wearing masks to represent fictional characters, though not in Kunisada's print. There are four *bugaku* genres: civil, warrior, children's, and running dances. The figures here appear to be performing the latter.

From the late 1820s, Kunisada began studying painting under Hanabusa Ikkei (英一珪), master of the Itchō school. The art-name appearing on this print, "Kōchōrō" (香蝶楼), borrows characters from his teacher's pseudonym (Shinkō) and from the name of the school's founder, Hanabusa Itchō (英一蝶). Both of these artists painted *bugaku* scenes prior to "Fan Print with two Bugaku Dancers," which are very different in style from Kunisada's image.

### Signature

The print is signed near the right edge of the fan. It reads vertically from right to left and top to bottom as follows:

* Line 1: *Ōju* (応需) – a prefix meaning "by special request," suggesting it may have been commissioned
* Line 2: *Kōchōrō* (香蝶楼) – an art-name () used 1825–1861, mainly on non-actor prints.
* Line 3: *Kunisada ga* (国貞画) – artist name used 1807–1843, followed by 'picture' (i.e. 'by Kunisada')
* End of line 3: double circular *toshidama-in* (年玉印) seal

### *Toshidama*

The double circle mark below Kunisada's signature is a *toshidama-in*, the distinctive seal used by all generations of the Utagawa school after Toyokuni I first adopted it, for reasons unknown, in 1808 or 1809. It is a lucky symbol, referencing gifts of coins given to children at New Year's. Kunisada gave the mark his own unique twist, elongating it and making it a yellow frame with red infill containing his signature. From 1850, he used this cartouche-style almost exclusively.

### Date

The ROM dates the print to sometime between the mid-1820s and 1844; however, there are indications that the date can be narrowed to between 1830 and 1843. Synthetic blue pigment was not introduced to Japan until 1829, and it is unlikely that expensive natural indigo would be used on a medium as cheap as *uchiwa-e*. Kunisada's signature is flanked by two circular *toshidama-in* seals rather than appearing within an oblong, stylized *toshidama* cartouche. This suggests the print belongs to his early career.

### Provenance

The print was donated to the ROM by Sir Edmund Walker (1848–1924), who was the long-time president of the Canadian Bank of Commerce, and served as the first chairman of the board of trustees for the ROM. Walker began collecting Japanese art in the 1870s, making him one of the earliest collectors in North America. He bought many of his pieces in New York between 1873 and 1875 and 1881–1886, and during a trip to London in 1909. In 1919, after travelling to Japan, China and Korea, he was named Honorary Consul-General of Japan for Toronto.

* Size: *ōban*
* Format: *uchiwa-e*
* Title: none indicated
* Subject: Two male *bugaku* dancers performing in a landscape defined by two trees
* Signature: 応需 / 香蝶楼 / 国貞画 (ōju / Kōchōrō / Kunisada ga)
* Seal: double *toshidama-in*
* Publisher: none indicated
* Censor seals: none
* Date seal: none
* Genre: *uchiwa-e*, *aizuri-e*
* Condition: Four circular holes on right edge of paper suggesting previous inclusion in a book; some minor creases and stains
* Provenance: Sir Edmund Walker Collection

* Bell, David. *Ukiyo-e Explained*. Kent, U.K.: Global Oriental, 2004.
* Calza, Gian Carlo. *Ukiyo-e*. New York: Phaidon Press Ltd., 2003.
* Faulkner, Rupert. *Masterpieces of Japanese Prints: Ukiyo-e from the Victoria and Albert Museum.* Tokyo: Kodansha International Ltd., 1991.
* Graebner, Horst. "Utagawa Kunisada (Toyokuni III) Signatures and Seals." *The Utagawa Kunisada (Toyokuni III) Project*
* Harris, Frederick. *Ukiyo-e: The Art of the Japanese Print*. Tokyo: Tuttle, 2010.
* Hillier, J. *Japanese Colour Prints*. New York: Phaidon Press, 1991.
* Japan Arts Council. "人物履歴：\[初代\] 歌川 国貞. (Jinbutsu rireki: \[sho dai\] Utagawa Kunisada).
* Japanese Architecture and Art Net Users System (JAANUS). "Aizuri 藍摺."
* Jesse, Bernd. "The Golden Age of the Utagawa School: Utagawa Kunisada and Utagawa Kuniyoshi." In *Samurai Stars of the Stage and Beautiful Women: Kunisada and Kuniyoshi Masters of the Color Woodblock Print*, edited by Stiftung Museum Kunstpalat, Gunda Luyken and Beat Wismer, 93–101. Düsseldorf: Hatje Cantz Verlag, 2012.
* Lane, Richard. *Images from the Floating World: The Japanese Print*. New York: Konecky & Konecky, 1978.
* The Lavenberg Collection of Japanese Prints. "Utagawa Kunisada I (1786–1865)."
* Marks, Andreas. *Japanese Woodblock Prints: Artists, Publishers and Masterworks 1680–1900*. Tokyo: Tuttle, 2010.
* Munsterberg, Hugo. *The Japanese Print: A Historical Guide*. New York: Weatherhill, 1998.
* Salter, Rebecca. *Japanese Popular Prints: From Votive Strips to Playing Cards.* London: A & C Black, 2006.
* Waterhouse, David. *Images of Eighteenth-century Japan: Ukiyoe Prints from the Sir Edmund Walker Collection*. Toronto: Royal Ontario Museum, 1975.

## InfoBox

| *Fan Print with two Bugaku Dancers* | |
| --- | --- |
| *Fan Print with two Bugaku Dancers*, Utagawa Kunisada (Toyokuni III) | |
| Artist | Utagawa Kunisada (Toyokuni III) |
| Year | mid-1820s – 1844 |
| Type | ukiyo-e woodblock print |
| Condition | not on display |
| Location | Royal Ontario Museum, Toronto |
| Owner | Royal Ontario Museum |
| Accession | 926.18.1015 |


title: Fanny Lam Christie

abstract: Fanny Lam Christie is a Hong Kong-born artist who specializes in sculpture and works in Scotland. She currently works from her studio in Perthshire, Scotland.

text:
# Fanny Lam Christie

**Fanny Lam Christie** (born 1952) is a Hong Kong-born artist who specializes in sculpture and works in Scotland. She currently works from her studio in Perthshire, Scotland.

## Education

In 2004, Christie graduated with a Bachelor of Arts with Honours from the Edinburgh College of Art. She previously studied painting in Hong Kong in the 1970s, followed by studies in business administration and art education.

## Work

Christie's work often focuses on the human relationship with nature. University of Stirling, Perth & Kinross Council and the Scottish Sculpture Park hold works by Christie. She works mainly in bronze and clay, and undertakes private and public commissions as well as site-specific artworks. In 2014–2015, Christie undertook a residency at Stirling University's Institute of Aquaculture. As part of the Grassroots Public Art Grant programme run by West Lothian Council, Christie created a work in Armadale in 2010.

Christie is a member of several professional organisations including the Edinburgh Sculpture Workshop, Visual Arts Scotland, Perthshire Visual Arts Forum, Society of Scottish Artists and the Scottish Artists Union. She is also a member of the artist group, Heartwood Artists.

## Selected exhibitions and awards

1. "Lot 162 - FANNY LAM CHRISTIE (CHINESE/SCOTTISH". *www.lyonandturnbull.com*. Retrieved 30 September 2019.
2. "Fanny Lam Christie | About". *University of Stirling*. Archived from the original on 30 September 2019. Retrieved 30 September 2019.
3. Park, ArtParkS Sculpture. "Profile of Sculptor Fanny Lam Christie BA (Hons)". *ArtParkS Sculpture*. Archived from the original on 30 September 2019. Retrieved 30 September 2019.
4. Damodaran, Clare (5 September 2013). "Artists exhibit in Blairgowrie during Perthshire Open Studios". *dailyrecord*. Retrieved 30 September 2019.
5. "Christie, Fanny Lam, b.1952 | Art UK". *www.artuk.org*. Retrieved 30 September 2019.
6. "Fanny Lam Christie - Sculptors - Caol Ruadh Sculpture Park". *www.scottishsculpturepark.com*. Retrieved 2 October 2019.
7. "Stirling presents 'Reflections of the East' art and event series". *www.stir.ac.uk*. 18 September 2015. Retrieved 2 October 2019.
8. 1st Floor Annex, West Lothian Civic Centre (12 February 2014). "Public Art". *www.westlothian.gov.uk*. Retrieved 25 October 2019.`{{cite web}}`: CS1 maint: numeric names: authors list (link)
9. "Artist shapes up with award for sculpture". *www.scotsman.com*. Retrieved 25 October 2019.
10. "Stirling presents 'Reflections of the East' art and event series". *www.stir.ac.uk*. 18 September 2015. Retrieved 11 November 2023.
11. "Fanny Lam Christie exhibition". *Small City Big Personality*. Retrieved 11 November 2023.

## InfoBox

| Fanny Lam Christie | |
| --- | --- |
| Born | Hong Kong |
| Education | Edinburgh College of Art |
| Website | https://www.fannychristie.com/ |


title: Fanny Kelly

abstract: Fanny Kelly was a North American pioneer woman captured by the Sioux and freed five months later. She later wrote a book about her experiences called Narrative of My Captivity among the Sioux Indians in 1871.

text:
# Fanny Kelly

**Fanny Kelly** (c. 1845–1904) was a North American pioneer woman captured by the Sioux and freed five months later. She later wrote a book about her experiences called *Narrative of My Captivity among the Sioux Indians* in 1871.

## Early life

Fanny Wiggins was born in Orillia in Canada West in about 1845. In 1856, her parents, James and Margaret Wiggins, relocated their family to the new town of Geneva in the soon-to-be state of Kansas. Along the way, her father died of cholera, leaving the family to settle in Geneva on their own.

In 1863, Fanny married Josiah S. Kelly, also of Geneva, a farmer and discharged Union soldier at least fifteen years her senior. Josiah hoped that a change of climate would aid his failing health, so he, Fanny, and her seven-year-old niece and adopted daughter, Mary Hurley set out on May 17, 1864 for the region that is now Idaho or Montana. With them were two black servants, Franklin and Andy, and the Kellys' twenty-eight-year-old neighbor, Gardner Wakefield. A fellow traveler, a Methodist clergyman named Mr. Sharp, joined them a few days later. A couple of weeks after that, William and Sarah Larimer and their eight-year-old son Frank, with whom the Kellys were acquainted, left a large wagon train to accompany them. The party was later joined by Noah Daniel Taylor, who drove the Larimers' wagon.

## Captivity

On July 12, the ill-fated party had crossed Little Box Elder Creek in Wyoming on the Oregon Trail when they encountered a large group of "about two hundred and fifty" Miniconjous and Hunkpapas, reported by Fanny Kelly to be "painted and equipped for war", led by their war chief, Ottawa, a chieftain of the Oglala band. By Kelly's account, vastly outnumbered, the immigrants tried to placate the warriors. By the one Sioux account, the Indians had gone to see the white man's "Holy Road" (the Oregon Trail) that they had heard about, met some whites, and ate and smoked with them. While they were eating, a Sioux messenger arrived, reporting that U.S. soldiers had killed some of their relatives on the Missouri River, apparently putting their heads on poles. The Sioux, agitated, then shot some of the emigrants, with Sharp, Taylor, and Franklin being killed immediately. Wakefield was seriously injured. Josiah Kelly, William Larimer, and Andy got away, while the two women and two children were taken captive. Another wagon that happened on the scene by chance sped off, at the cost of one person's life. The Sioux then proceeded to loot the five wagons.

Josiah Kelly and Andy separately made their way to the protection of a large wagon train some miles away, as did the people of the other wagon that had passed by. They later found William Larimer, with an arrow wound to the arm, and Wakefield with three arrows in him, but still alive. After a couple of days, the party made its way to Deer Creek Station, where there was an army garrison.

Meanwhile, the prisoners attempted to escape. The very night of their capture, Fanny Kelly had Mary Hurley slip away in the darkness. Fanny herself tried to follow, but was caught and beaten. Mary's scalped and arrow-ridden body was found a few days later and buried by her uncle. Sarah Larimer and her eight year-old son, Frank, did manage to escape the next night. They were reunited with William Larimer at Deer Creek Station. When he had recovered from his wound, the family returned to Kansas.

### Her own account of her ordeal

According to Fanny, she was nearly killed by an old chief for losing his pipe, which she had dropped and broken. She managed to dispel the wrath of her captors by presenting them with some banknotes, telling them of their value. Another life-threatening quarrel ensued when she innocently accepted a gift of stockings from the brother-in-law of the old chief, inadvertently committing a social blunder. Angered, the chief killed one of his brother-in-law's horses. The brother-in-law sought to retaliate by aiming an arrow at Fanny, but a young Blackfeet named Jumping Bear snatched his bow away, aborting the immediate danger to her; the quarrel ended with the chief giving his brother-in-law another horse in return for the one killed.

The band arrived at their home village, only to be attacked by a Union Army force led by Brigadier General Alfred Sully. Fanny was hustled away with the rest of the women and children. Freedom was not to be so quickly gained. After several days of pursuit, Sully's men gave up. When the Sioux returned to their homes, they were so angered at their losses, they threatened to burn Fanny at the stake. At a council to decide her fate, Ottawa spoke up for her, and she was spared. She became Ottawa's "exclusive property". She described him as being "over seventy-five years of age, and partially blind".

One day, a Sioux named Porcupine arrived at the camp, bearing a letter from Captain Marshall of the Eleventh Ohio Cavalry detailing the attempts that had been made to rescue her. Porcupine had been offered a reward to help free her, but he chose not to do so, refusing even to take back a message to the Army.

On September 5, a large band of Sioux attacked part of a wagon train led by Captain James L. Fisk taking settlers to what is now Montana; the attack was repulsed, the whites suffering twelve deaths to six by the Sioux. The Sioux made Fanny exchange letters with Captain Fisk, hoping to get him to lower his guard against further attack, but since the Sioux were illiterate in English, Fanny was able to warn Fisk of their intentions. Fisk tried unsuccessfully to ransom her, but he promised to spread the news of her situation.

The old chief Ottawa went away on a journey, and Fanny was sent to live in another village with an elderly couple. While there, she met and spoke several times with the chief "Man-Afraid-of-His-Horses". She later found out he had been given two expensive outfits by her husband as ransom for her release, but had instead reported to Mr. Kelly that he could not find her.

General Sully had been sent to stop the Indian attacks on settlers beginning in 1862. The Sihasapa became weary of the fighting and offered peace. Informed by Captain Fisk of Fanny's plight, Sully insisted she be freed as part of the agreement, even though the Sihasapa protested she was being held by the Oglala. In November, Sihasapa warriors, including the prominent leader Kill Eagle, went to the Oglala camp to negotiate for Fanny's release, but the Oglala resisted the idea of giving her up. The Sihasapa proceeded to take Fanny away without Oglala permission. When the Oglala pursued them to reclaim her, the two groups parleyed. It was eventually agreed that the Sihasapa would be allowed to keep Fanny.

Fanny was taken to a Sihasapa village. She found out that other groups, having learned of the reward offered for her return, had been trying to buy her. White traders in four wagons came to purchase her release at one point; all but one were killed. Fanny began to fear that the Sihasapa intended to attack Fort Sully and not give her up after all.

One day, Jumping Bear, who had protected her when she was first captured, visited her, reminding her that he had saved her life, and saying he wanted to be "more than a friend" to her. Fanny asked him to take a letter from her to General Sully; he reluctantly agreed. In the letter, she warned of a planned attack using her return as a ruse to gain entry to the fort. Though Fanny never saw Jumping Bear again, the letter he delivered for her led to her eventual release.

A large contingent of Sihasapa warriors took her to Fort Sully, a journey of some two hundred miles. On December 9, a group of eight to twelve chiefs escorted her into the fort; the gates were shut behind the small party, precluding the attack that Fanny believed to have been planned. Fanny was free, after five months of captivity. Two months later her husband joined her at Fort Sully, and confirmed to her that their daughter was dead.

### Alternate account

According to several books, Fanny did not live with the aged Ottawa. Despite her claim that "I had never suffered from any of \[the Oglallas\] the slightest personal or unchaste insult", by other accounts, she was sold to a Hunkpapa Sioux named Brings Plenty to be his wife. So pleased was he with her docile demeanor, especially compared to Sioux women, that he named her "Real Woman", and it was only with great difficulty that Fanny was prised away from him by no less than Sitting Bull. In this version of events, Fanny was returned safely to Fort Sully under Sitting Bull's protection.

## Later life

Fanny and her husband returned to Geneva, then moved, first to Shawneetown, then to Ellsworth, Kansas. There, an outbreak of cholera claimed Josiah Kelly, who succumbed on July 28, 1867. Their child was born after Josiah's death.

She was persuaded to go live with the Larimers, who had settled in Wyoming. While there, however, she claimed her manuscript was stolen for the purpose of plagiarism. Sarah Larimer published a book about her own brief experience in 1870 called *The Capture and Escape; or, Life among the Sioux*. Fanny had to resort to litigation.


abstract: Fall Creek Township is one of nine townships in Hamilton County, Indiana, United States. As of the 2010 census, its population was 51,613 and it contained 17,542 housing units.

text:
# Fall Creek Township, Hamilton County, Indiana

**Fall Creek Township** is one of nine townships in Hamilton County, Indiana, United States. As of the 2010 census, its population was 51,613 and it contained 17,542 housing units.

## History

Fall Creek Township was organized in 1833.

## Geography

According to the 2010 census, the township has a total area of 35.77 square miles (92.6 km2), of which 33.67 square miles (87.2 km2) (or 94.13%) is land and 2.09 square miles (5.4 km2) (or 5.84%) is water. The streams of Bee Camp Creek, Bills Branch, Britton Branch, Flatfork Creek, High Ditch, Lowery Creek, Mount Zion Branch, Mud Creek, Sand Creek, Thorpe Creek, Thor Run, and William Lehr Ditch run through this township.

### Cities and towns

### Adjacent townships

### Cemeteries

The township contains eight cemeteries: Arnett, Bethlehem, Brooks, Helm, Highland, Lowery, McKay and Mount Zion.

### Major highways

## Education

Fall Creek Township residents may obtain a free library card from the Hamilton East Public Library in Noblesville.

* "Fall Creek Township, Hamilton County, Indiana". *Geographic Names Information System*. United States Geological Survey, United States Department of the Interior. Retrieved September 24, 2009.
* United States Census Bureau cartographic boundary files

1. "Census Bureau profile: Fall Creek Township, Hamilton County, Indiana". United States Census Bureau. May 2023. Retrieved March 18, 2024.
2. "Population, Housing Units, Area, and Density: 2010 - County -- County Subdivision and Place -- 2010 Census Summary File 1". United States Census. Archived from the original on February 12, 2020. Retrieved May 10, 2013.
3. Haines, John F. (1915). *History of Hamilton County, Indiana: Her People, Industries And Institutions, Volume 1*. B.F. Bowen & Co. p. 166.
4. "How do I get a library card?". Hamilton East Public Library. Retrieved March 7, 2018.

## InfoBox

| Fall Creek Township | |
| --- | --- |
| Township | |
| Location in Hamilton County | |
| Coordinates: 39°57′36″N 85°55′49″W / 39.96000°N 85.93028°W / 39.96000; -85.93028 | |
| Country | United States |
| State | Indiana |
| County | Hamilton |
| Government | |
| Type | Indiana township |
| Trustee | Doug Allman |
| Area | |
| Total | 35.77 sq mi (92.6 km2) |
| Land | 33.67 sq mi (87.2 km2) |
| Water | 2.09 sq mi (5.4 km2)  5.84% |
| Elevation | 830 ft (253 m) |
| Population (2020) | |
| Total | 70,892 |
| Density | 1,532.8/sq mi (591.8/km2) |
| Time zone | EST |
| Area code | 317 |
| GNIS feature ID | 0453290 |


title: Fall in Love (Estelle song)

abstract: "Fall in Love" is a single by Estelle. It was produced by DJ Frank E. The single release features three versions, a solo version, a version featuring John Legend and a version featuring Nas. There are two editions of the music video featuring the John Legend and Nas mixes. It was due to be released as the second single from her third studio album All of Me but was instead included as a US bonus track. The song was premiered on Estelle's official website on 25 May 2010. A remix single pack was released on 21 September 2010 and featured remixes from Scandinavian music duos Bauer & Lanford and Martin Danielle & Carl Louis, among others.

text:
# Fall in Love (Estelle song)

"**Fall in Love**" is a single by Estelle. It was produced by DJ Frank E. The single release features three versions, a solo version, a version featuring John Legend and a version featuring Nas. There are two editions of the music video featuring the John Legend and Nas mixes. It was due to be released as the second single from her third studio album *All of Me* but was instead included as a US bonus track.

The song was premiered on Estelle's official website on 25 May 2010.

A remix single pack was released on 21 September 2010 and featured remixes from Scandinavian music duos Bauer & Lanford and Martin Danielle & Carl Louis, among others.

## Formats and track listings

Digital single 1. "Fall in Love" – 3:29
2. "Fall in Love" (featuring John Legend) – 3:30
3. "Fall in Love" (featuring Nas) – 3:48

Digital remix single 1. "Fall in Love" (Seamus Haji Remix) – 7:07
2. "Fall in Love" (Axel Bauer & Lanford Club Mix) – 6:50
3. "Fall in Love" (Scott Wozniak & Kenny Summit Remix) – 6:43
4. "Fall in Love" (Carl Louis & Martin Danielle Remix) – 6:03
5. "Fall in Love" (Cutmore Club Mix) – 5:58
6. "Fall in Love" (DJ White Shadow Remix) – 5:02
7. "Fall in Love" (Avenue Remix) – 3:51

Promo single (US) 1. "Fall in Love" (featuring Nas) (Dirty) – 3:48
2. "Fall in Love" (featuring Nas) (Radio) – 3:48
3. "Fall in Love" (featuring John Legend) (Radio) – 3:30
4. "Fall in Love" (Instrumental) – 3:48

## Charts

| Chart (2010) | Peak
position |
| --- | --- |
| US *Billboard* Hot R&B/Hip-Hop Songs | 71 |

## Release history

| Region | Date | Format | Version | Label |
| --- | --- | --- | --- | --- |
| United Kingdom | 1 August 2010 | Digital download | Original mixes | Atlantic, Homeschool |
| | 7 November 2010 | | Remixes | |

## InfoBox

| "Fall in Love" | |
| --- | --- |
|  | |
| Single by Estelle | |
| from the album  *All of Me* | |
| Released | 1 August 2010 |
| Genre |  |
| Length | 3:29 |
| Label | Atlantic |
| Songwriter(s) | Estelle, DJ Frank E, Nas, John Legend, Tiyon "TC" Mack, Le'Che Martin, Chad "C-Note" Roper, Amir Windom |
| Producer(s) | DJ Frank E |
| Estelle singles chronology | |
| "Freak"
(2010) "**Fall in Love**"
(2010) "Break My Heart"
(2011) | |
|  | |
| Nas singles chronology | |
| "As We Enter"
(2010) "**Fall in Love**"
(2010) "Ghetto Dreams"
(2011) | |
| DJ Frank E singles chronology | |
| "Dang-A-Lang"
(2010) "**Fall in Love**"
(2010) "Turn Around (5, 4, 3, 2, 1)"
(2010) | |
|  | |


title: Fall in Love (Kenny Chesney song)

abstract: "Fall in Love" is a song co-written and recorded by American country music artist Kenny Chesney. It was released in March 1995 as the lead single from his album All I Need to Know. The song became Chesney's first Top 10 hit, peaking at number 6 in both the United States and Canada. Chesney wrote the song with Buddy Brock and Kim Williams.

text:
# Fall in Love (Kenny Chesney song)

"**Fall in Love**" is a song co-written and recorded by American country music artist Kenny Chesney. It was released in March 1995 as the lead single from his album *All I Need to Know*. The song became Chesney's first Top 10 hit, peaking at number 6 in both the United States and Canada. Chesney wrote the song with Buddy Brock and Kim Williams.

## Critical reception

Larry Flick, of *Billboard* magazine reviewed the song unfavorably saying that Chesney "seems somewhat straightjacketed by this sunny pop song." He tells the label to let Chesney "sink his teeth into some hardcore country."

## Music video

The music video was directed by Steven T. Miller and R. Brad Murano, and premiered on CMT on March 24, 1995, when CMT named it a "Hot Shot".

## Chart positions

"Fall in Love" debuted at number 66 on the U.S. *Billboard* Hot Country Singles & Tracks for the week of April 1, 1995.

| Chart (1995) | Peak
position |
| --- | --- |
| Canada Country Tracks (*RPM*) | 6 |
| US Hot Country Songs (*Billboard*) | 6 |

### Year-end charts

| Chart (1995) | Position |
| --- | --- |
| Canada Country Tracks (*RPM*) | 76 |
| US Country Songs (*Billboard*) | 55 |

## InfoBox

| "Fall in Love" | |
| --- | --- |
|  | |
| Single by Kenny Chesney | |
| from the album  *All I Need to Know* | |
| B-side | "Something About You and a Dirt Road" |
| Released | March 20, 1995 |
| Recorded | 1995 |
| Genre | Country |
| Length | 2:37 |
| Label | BNA 64278 |
| Songwriter(s) | Buddy Brock
Kenny Chesney
Kim Williams |
| Producer(s) | Barry Beckett |
| Kenny Chesney singles chronology | |
| "Somebody's Callin'"
(1994) "**Fall in Love**"
(1995) "All I Need to Know"
(1995) | |


title: Fair Waist and Dress Company

abstract:
Fair Waist and Dress Company was an early 20th-century women's apparel establishment, founded in 1909, located at 1372 - 1378 Broadway (Manhattan). It was situated at the corner of 32nd Street. In 1929 the business' offices were located in
the Lefcourt-Malborough Building, Broadway and 36th Street (Manhattan). In 1930, the main office was at 1400 Broadway. The physical location was a thirty-five story skyscraper which occupied the site of the former Knickerbocker Theatre (Broadway). It occupied 100,000 square feet (9,300 m⁲) and was situated at the corner of 38th Street. Branch salesrooms were in Boston, Massachusetts, Chicago, Illinois,
St. Louis, Missouri, and Kansas City, Missouri. In January 1920 the firm's proprietor was AbrahamGevirtz. Maurice L. Hano became the company's general representative in December 1923.

text:
# Fair Waist and Dress Company

**Fair Waist and Dress Company** was an early 20th-century women's apparel establishment, founded in 1909, located at 1372 *-* 1378 Broadway (Manhattan). It was situated at the corner of 32nd Street.

In 1929 the business' offices were located in the Lefcourt-Malborough Building, Broadway and 36th Street (Manhattan). In 1930, the main office was at 1400 Broadway. The physical location was a thirty-five story skyscraper which occupied the site of the former Knickerbocker Theatre (Broadway). It occupied 100,000 square feet (9,300 m2) and was situated at the corner of 38th Street. Branch salesrooms were in Boston, Massachusetts, Chicago, Illinois, St. Louis, Missouri, and Kansas City, Missouri.

In January 1920 the firm's proprietor was Abraham*Gevirtz.* Maurice L. Hano became the company's general representative in December 1923.

## Litigation

Fair Weather Waist and Dress Company were forced to submit to arbitration in a suit initiated against it by Susquehanna Silk Mills in April 1927. The two businesses disputed a contract which involved more than $100,000 worth of crepe' de chine. Susquehanna sold 800 pieces of silk to the Fair Waist and Dress Company in 1925, which after six pieces had been delivered, refused additional deliveries and returned the six pieces. In a judgment rendered by the New York Court of Appeals, the Fair Waist and Dress Company was forced to pay $22,468 to the silk mills.

In October 1934 the Fair Waist and Dress Company were charged with flagrant violations of the Dress Code in United States Federal Court. U.S. attorney, Martin Conboy, asked for a temporary injunction to restrain the company from additional violation of the code. The code was adopted by the clothing industry on November 13, 1933, under the National Recovery Act. According to Conboy, the company was asking its employees to work more than thirty-five hours a week, and up to forty-six hours weekly, including Saturdays, in violation of the NRA code. The employees were owed thousands of dollars in back wages. They were not being paid time and a half for their work or being paid according to the wage scale.

1. *Violation Laid To Dress Company*, *The New York Times*, October 23, 1934, pg. 28.
2. *First Lease In Broadway Skyscraper*, *The New York Times*, February 18, 1930, pg. 48.
3. *Business Notes*, *The New York Times*, January 7, 1929, pg. 57.
4. *Display Ad106-No Title*, *The New York Times*, January 12, 1920, pg. 13.
5. *Business Notes*, *The New York Times*, December 4, 1923, pg. 28.
6. *Silk Mills Win Suit*, *The New York Times*, June 5, 1927, pg. E6.
*
*
*
*
*


title: Fair Wear Foundation

abstract: Fair Wear Foundation is an independent multi-stakeholder organisation that works with garment brands, garment workers and industry influencers to improve labour conditions in garment factories. Receiving the Fair Wear stamp of approval does not guarantee any existing quality of labour standards; instead it only demonstrates a stated interest in working toward improvement.

text:
# Fair Wear Foundation

**Fair Wear Foundation (Fair Wear)** is an independent multi-stakeholder organisation that works with garment brands, garment workers and industry influencers to improve labour conditions in garment factories. Receiving the Fair Wear stamp of approval does not guarantee any existing quality of labour standards; instead it only demonstrates a stated interest in working toward improvement.

## Garment brands

Fair Wear collaborates with brands that profess an interest in finding a fairer way to make their clothes. Fair Wear has over 80 member companies representing over 130 garment brands from 10 European countries. When a member brand joins Fair Wear, it expresses a commitment to implementing the eight Fair Wear labour standards in its supply chain.

Fair Wear's work is based on a ‘shared responsibility' approach. Namely, each actor in the supply chain of a certain product is responsible for the conditions in which the product is made. Management decisions of a brand selling clothes in Europe have a huge influence on factory conditions in distant garment-producing countries. The two cannot be separated.

## Fair Wear labour standards

The Fair Wear Code of Labour Practices contains eight labour standards that are based on the conventions of the International Labour Organization (ILO) and the Universal Declaration on Human Rights. The Fair Wear Code of Labour Practices is known for its strong provisions on freedom of association, hours of work, and a living wage. It is important to note, however, that none of these practices are mandated for claiming association with Fair Wear.

Fair Wear's eight labour standards are:

* Employment is freely chosen
* There is no discrimination in employment
* No exploitation of child labour
* Freedom of association and the right to collective bargaining
* Payment of a living wage
* No excessive working hours
* Safe and healthy working conditions
* Legally binding employment relationship

## Production countries

Fair Wear is active in 11 production countries: Bangladesh, Bulgaria, China, India, Indonesia, Myanmar, Macedonia, Romania, Tunisia, Turkey and Vietnam. In all countries, Fair Wear has local audit teams and trainers who are in close contact with the Amsterdam headquarters office.

Fair Wear also constantly liaises with many different and in-country organisations, such as trade unions, other NGOs, and governments**.**

## Tools to create change

Fair Wear encourages change by conducting brand performance checks, audits, training, and by operating complaints helplines in 11 countries.

### Brand performance checks

The Fair Wear Brand Performance Checks help brands determine what they are doing well and where they can improve to create positive change. Fair Wear shares the results with the public.

### Audits

During a Fair Wear audit, a worker interviewer, a documents inspector and a health and safety specialist work toward discovering underlying problems. The team is always made up of local specialists. After the audit, the team discusses steps for improvement with the member brand and factory management. The member brand and factory management then create a concrete action plan with a clear timeframe for execution.

At Fair Wear, an audit is seen as the starting point. From there, the member brand and factory work together to make concrete improvements. This collaboration is necessary for successful remediation. No information is provided by Fair Wear as to enforcement of the decided-upon timeframes or penalties for failure to live up to action plans.

### Workplace education programmes

To support brands and factories in fulfilling their basic responsibility to inform workers and management about workers' rights and access to grievance systems, Fair Wear has designed several types of training for different countries.

### Complaints helplines

Fair Wear offers complaints helplines in 11 garment producing countries. When a garment worker lodges a complaint, Fair Wear launches an investigation and requires the brand to work with the supplier to remediate the problem.

## Criticisms

Fair Wear does not certify products, brands, or factories, relying instead on a "process approach" that claims to insist on constant progress toward the standards it supports. A factory was investigated by Fair Wear after having been exposed as relying on exploitative labour centres that grossly violate their standards. Further, research has shown that self-regulated codes of conduct (specifically and explicitly those of Fair Wear) provide "few significant results... for specific worker rights."

## Cooperation

Fair Wear also creates change beyond its member brands’ supply chains. Fair Wear works with a range of stakeholders and other organisations in order to develop sustainable systems for good workplace conditions. Fair Wear works on enabling an influencing environment for multiple actors: governments, international organisations, UN bodies, and stakeholders. Fair Wear provides evidence to other brands and industry influencers of what a fairer garment industry could look like.

Fair Wear brings different players together at every level – from boardroom decisions to workplace assessments – so that brands, business associations, trade unions, governments and NGOs all have a voice.

## History

Fair Wear was founded in 1999. Just as in other countries, garment production in the Netherlands had, by then, been displaced to low-wage countries. After some years of campaigning against poor labour conditions in low-wage countries, the union FNV and the CCC contacted the employers' organisations and proposed a joint initiative to improve labour conditions in the garment sector.

In the period 1999–2002, Fair Wear carried out pilot projects on the implementation of the Code of Labour Practices with four Dutch companies. These experiences led to the determination of a standard procedure.

Building up membership among companies was the next step. The first group of 11 members was announced to the public in March 2003.

In 2019, Fair Wear employs over 50 employees located in Amsterdam, as well as local teams in garment-producing countries.

## InfoBox

Fair Wear Foundation
|
|  |
| Founded | 1999 |
| Type | Non-profit organization |
| Purpose | To improve conditions in garment factories |
| Location |  |
| Key people | Alexander Kohnstamm, Executive Director |
| Website | fairwear.org |


title: Father Muller Charitable Institutions

abstract: Father Muller Charitable Institutions (FMCI) is an organisation established in 1880 which regulates the religious minority educational and medical institutions founded by Father Augustus Muller. The FMCI is run by the Roman Catholic Diocese of Mangalore. Its president is the Bishop of Mangalore, Most. Rev. Dr. Peter Paul Saldanha.

text:
# Father Muller Charitable Institutions

**Father Muller Charitable Institutions** (FMCI) is an organisation established in 1880 which regulates the religious minority educational and medical institutions founded by Father Augustus Muller. The FMCI is run by the Roman Catholic Diocese of Mangalore.

Its president is the Bishop of Mangalore, Most. Rev. Dr. Peter Paul Saldanha.

## History

Fr. Augustus Muller S. J. was a German Jesuit priest who popularized homeopathic medicine in Mangalore. He was sent to Mangalore from Venice, along with eight other Jesuits, to teach French and mathematics at the St. Aloysius College. A trained homeopath, he began treating students under a banyan tree in the college campus. As his reputation grew, so did the number of patients. In order to accommodate them, he purchased land in Kankanady and started the Homoeopathic Poor Dispensary. He was recognized for his contribution to society by the British Raj with the Kaisar-i-Hind award. He started treating lepers in 1883, and founded the St. Joseph Leprosy Hospital at Kankanady in 1890.

He died on 1 November 1910 due to complications caused by asthma at the age of 69.

## FMCI Hospitals

* Father Muller Medical College Hospital
* Father Muller Homeopathic Medical College Hospital
* Father Muller Homeopathic Pharmaceutical Division (HPD)
* St Joseph Leprosy Hospital
* Father Muller Rehabilitation Unit
* Father Muller De-addiction Centre

## FMCI Educational Institutions

* Father Muller Medical College
* Father Muller Homeopathic Medical College
* Father Muller College of Speech & hearing
* Father Muller College of Allied Health Sciences
* Father Muller College of Nursing
* Father Muller School of Nursing
* Father Muller College of Distance Education

## Death centenary celebrations of Fr. Muller (19102010)

The Father Muller Charitable Institutions (FMCI) celebrated the death centenary of Fr. Muller on 1 November 2010. The chief guest of the function was the police commissioner of Mangalore City, Seemanth Kumar Singh, of the Indian Police Service. The ceremony was presided over by the Bishop of Mangalore and chairman of the FMCI, Rev. Dr. Aloysius Paul D'Souza, who laid the foundation stone for the new building for the Father Muller College of Nursing.

The Father Muller Museum was inaugurated as a part of the centenary celebrations.

## Notable Alumni

Edmond Fernandes, Founder - CHD Group & Director, Edward & Cynthia Institute of Public Health, Mangalore, India.

## InfoBox

Father Muller Charitable Institutions
| Founder(s) | Augustus Muller |
| --- | --- |
| Established | 1880 |
| President | Most. Rev. Dr. Peter Paul Saldanha |
| Address | Father Muller Road, Kankanady, Mangalore - 575 002, |
| Location | Mangalore, Karnataka, India |
| Website | http://fathermuller.edu.in/ |


title: Father Music, Mother Dance

abstract: Father Music, Mother Dance is an album by American violinist and composer Michael White featuring performances recorded in 1974 and released on the Impulse! label.

text:
# Father Music, Mother Dance

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| *Allmusic* |  |

***Father Music, Mother Dance*** is an album by American violinist and composer Michael White featuring performances recorded in 1974 and released on the Impulse! label.

## Track listing

*All compositions by Michael White* 1. "Father Music, Mother Dance" – 5:40
2. "Reiko" – 6:31
3. "Commin' From" – 4:49
4. "Way Down Inside" – 6:34
5. "Water Children" – 9:15
6. "Mary's Waltz" – 3:38

## Personnel

## InfoBox

| Father Music, Mother Dance | |
| --- | --- |
|  | |
| Studio album by Michael White | |
| Released | 1974 |
| Recorded | January 16, 17 & 18, 1974 |
| Studio | Wally Heider, San Francisco |
| Genre | Jazz |
| Length | 28:36 |
| Label | Impulse!
AS 9268 |
| Producer | Ed Michel |
| Michael White chronology | |
| *The Land of Spirit and Light*
(1973) ***Father Music, Mother Dance***
(1974) *Go With the Flow*
(1974) | |


title: Feature detection (nervous system)

abstract: Feature detection is a process by which the nervous system sorts or filters complex natural stimuli in order to extract behaviorally relevant cues that have a high probability of being associated with important objects or organisms in their environment, as opposed to irrelevant background or noise. Feature detectors are individual neurons—or groups of neurons—in the brain which code for perceptually significant stimuli. Early in the sensory pathway feature detectors tend to have simple properties; later they become more and more complex as the features to which they respond become more and more specific. For example, simple cells in the visual cortex of the domestic cat, respond to edges—a feature which is more likely to occur in objects and organisms in the environment. By contrast, the background of a natural visual environment tends to be noisy—emphasizing high spatial frequencies but lacking in extended edges. Responding selectively to an extended edge—either a bright line on a dark background, or the reverse—highlights objects that are near or very large. Edge detectors are useful to a cat, because edges do not occur often in the background "noise" of the visual environment, which is of little consequence to the animal.

text:
# Feature detection (nervous system)

**Feature detection** is a process by which the nervous system sorts or filters complex natural stimuli in order to extract behaviorally relevant cues that have a high probability of being associated with important objects or organisms in their environment, as opposed to irrelevant background or noise.

*Feature detectors* are individual neurons—or groups of neurons—in the brain which code for perceptually significant stimuli. Early in the sensory pathway feature detectors tend to have simple properties; later they become more and more complex as the features to which they respond become more and more specific.

For example, simple cells in the visual cortex of the domestic cat (*Felis catus*), respond to edges—a feature which is more likely to occur in objects and organisms in the environment. By contrast, the background of a natural visual environment tends to be noisy—emphasizing high spatial frequencies but lacking in extended edges. Responding selectively to an extended edge—either a bright line on a dark background, or the reverse—highlights objects that are near or very large. Edge detectors are useful to a cat, because edges do not occur often in the background "noise" of the visual environment, which is of little consequence to the animal.

## History

Early in the history of sensory neurobiology, physiologists favored the idea that the nervous system detected specific features of stimuli, rather than faithfully copying the sensory world onto a sensory map in the brain. For example, they favored the idea that the visual system detects specific features of the visual world. This view contrasted with the metaphor that the retina acts like a camera and the brain acts like film that preserves all elements without making assumptions about what is important in the environment. It wasn't until the late 1950s that the feature detector hypothesis fully developed, and over the last fifty years, it has been the driving force behind most work on sensory systems.

Horace B. Barlow was one of the first investigators to use the concept of the feature detector to relate the receptive field of a neuron to a specific animal behavior. In 1953, H.B. Barlow's electrophysiological recordings from excised retina of the frog provided the first evidence for the presence of an inhibitory surround in the receptive field of a frog's retinal ganglion cell. In reference to "on-off" ganglion cells—which respond to both the transition from light to dark and the transition from dark to light—and also had very restricted receptive fields of visual angle (about the size of a fly at the distance that the frog could strike), Barlow stated, "It is difficult to avoid the conclusion that the 'on-off' units are matched to the stimulus and act as fly detectors". In the same year, Stephen Kuffler published *in vivo* evidence for an excitatory center, inhibitory surround architecture in the ganglion cells of the mammalian retina which further supported Barlow's suggestion that on-off units can code for behaviorally relevant events.

Barlow's idea that certain cells in the retina could act as "feature detectors" was influenced by E.D. Adrian and Nikolaas Tinbergen. E.D. Adrian, Barlow's advisor, was the discoverer of the frequency code—the observation that sensory nerves convey signal intensity though the frequency of their firing. On the other hand, during Barlow's career, Nikolaas Tinbergen was introducing the concept of the innate release mechanism (IRM) and sign stimulus. IRMs are hard wired mechanisms that give an animal the innate ability to recognize complex stimuli. The sign stimulus is a simple, reduced stimulus including only the necessary features of the stimulus capable of evoking a behavioral response. Tinbergen's examination of the pecking behavior in herring gull chicks illustrated that the pecking response could be evoked by any bill-shaped long rod with a red spot near the end. In his own paper, Barlow later compared a sign stimulus to a password which was either accepted or rejected by a feature detector. Accepted passwords would contain the features necessary to trigger specific behavioral responses in an animal.

In the late 1950s, Jerome Lettvin and his colleagues began to expand the feature detection hypothesis and clarify the relationship between single neurons and sensory perception. In their paper "What the Frog's Eye Tells the Frog's Brain", Lettvin et al. (1959) looked beyond the mechanisms for signal-noise discrimination in the frog's retina and were able to identify four classes of ganglion cells in the frog retina: *sustained contrast detectors*, *net convexity detectors* (or *bug detectors*), *moving edge detectors*, and *net dimming detectors.*

In the same year, David Hubel and Torsten Wiesel began investigating properties of neurons in the visual cortex of cats, processing in the mammalian visual system. In their first paper in 1959, Hubel and Wiesel took recordings from single cells in the striate cortex of lightly anesthetized cats. The retinas of the cats were stimulated either individually or simultaneously with spots of light of various sizes and shapes. From the analysis of these recordings, Hubel and Wiesel identified orientation-selective cells in the cat's visual cortex and generated a map of the receptive field of cortical cells. At the time, circular spots of light were used as stimuli in studies of the visual cortex. However, Hubel and Wiesel noticed that rectangular bars of light were more effective stimuli (i.e. more natural stimuli) than circular spots of light, as long as the orientation was adjusted to the correct angle appropriate for each ganglion cell. These so-called simple cells were later called bar detectors or edge detectors. While comparing the receptive fields of neurons in the cat striate cortex with the concentric "on" and "off" receptive fields identified in cat ganglion cells by Kuffler et al., Hubel and Wiesel noticed that, although "on" and "off" regions were present in the striate cortex, they were not arranged in concentric circles. From their discovery of these uniquely orienting receptive fields, Hubel and Wiesel concluded that orientation-selective cells exist within the cat's visual cortex.

In their second major paper, Hubel and Wiesel extended their technique to more complex regions in the visual cortex in an effort to understand the difference between cortical receptive fields and lateral geniculate fields. They observed that the cat striate cortex contained more cells than the lateral geniculate, and they reasoned that the cortex needs a large number of neurons to digest the large amount of information it receives. Through experimentation, they found that each neuron in the cortex is responsible for a small region of the visual field and also has its own orientation specificity. From the results of these single cell readings in the striate cortex and lateral geniculate, Hubel and Wiesel postulated that simple cortical receptive fields gain complexity and an intricate spatial arrangement through the patterned convergence of multiple "on" or "off" projections from lateral geniculate cells onto single cortical cells.

Hubel and Wiesel's investigation of the cat visual cortex sparked interest in the feature detection hypothesis and its relevance to other sensory systems. In fact, T.H. Bullock contended in 1961 that the vestibular system was being ignored by most of the contemporary sensory system research, and he suggested that the equivalent stimulation of vestibular organs may yield similarly intriguing results. Hubel and Wiesel's work also raised the question: How far does the hierarchy of visual processing go? In one answer to this question, Lettvin coined the term grandmother cells in 1969 to describe hypothetical cells that are so specific that they only fire when your grandmother's face is viewed.

## Examples

### In toad vision

Jörg-Peter Ewert pioneered the study of feature detection in toad vision. He made significant progress by taking advantage of the common toad's natural prey catching behavior. To study toad behavior, he placed the toad in a cylindrical glass container at a fixed distance from the stimulus. Ewert then rotated a rectangular moving bar around the container in an effort to mimic a worm-like prey object; see video. The toad's rate of turning was used to quantify the toad's orienting behavior.

Ewert showed, by using spots, bars, and square stimuli of different sizes, that toads snapped at a moving bar which was moving in a direction parallel to its long axis, whereas the same bar oriented perpendicularly to the direction of movement (anti-worm configuration) was ignored as prey. Another experimental setup allowed worm or anti-worm stimuli to traverse the toad's visual field in different direction in the x-y co-ordinates, demonstrating that the worm vs anti-worm discrimination is invariant under changes in the direction of movement. He also showed that the toad would crouch and go immobile in response to a large rectangle. Using worm and anti-worm stimuli like these, Ewert identified that the prey-recognition system in the visual pathway of the toad is based on a number of innate release mechanisms. In response to a worm-like moving stimulus, the toad exhibited the following behaviors: orienting, snapping, or mouth wiping. On the other hand, an anti-worm stimulus evoked a different set of avoidance behaviors: planting down or crouching. After determining the sensory recognition elements of each behavior with this experimental setup, Ewert and co-workers examined the neural mechanisms governing the toad's prey-recognition system and found a number of feature detectors.

Having already used electrical point stimulation to identify the optic tectum as the region responsible for the prey-catching behaviors, Ewert and colleagues located and recorded from individual prey-selective neurons of the optic tectum in freely moving toads. These T5.2 neurons would increase in discharge frequency prior to a snapping or orienting behavior response. In the case of the snapping behavior, the neurons would stop firing for the duration of the snap. Evidently, these neurons exhibit a preference in responses to the worm configuration of moving bar stimuli and can therefore be considered feature detectors. To get a general idea of their properties, in successive experiments various rectangular dark objects of different edge lengths traverse a toad's visual field against a bright background at constant velocity; then the discharge frequency of a T5.2 neuron towards such an object is correlated with the toad's promptness of responding with prey-capture, expressed by the response latency. Thus, prey feature detection is not an all-or-nothing condition, but rather a matter of degree: the greater an object's releasing value as a prey stimulus, the stronger is prey-selective T5.2 neuron's discharge frequency, the shorter is toad's prey-catching response latency, and the higher is the number of prey-catching responses during a period of time (prey-catching activity)—as well as vice versa.

Multiple unit recordings showed that a prey object activates several adjacent prey-selective neurons whose receptive fields partly overlap. This suggests that more than one prey detecting cell—i.e., an ensemble of cells—will fire in the releasing system of prey-capture.

Further comparisons between the receptive fields of tectal neurons and retinal ganglion cells, classes R2 and R3, recorded in free-moving toads, revealed that size-sensitive (T5.1) and prey-selective (T5.2) tectal neurons were able to estimate the absolute size of a moving stimulus while retinal ganglion cells were only able to determine the visual angular size of the stimulus. Other selective neurons observed in the optic tectum include widefield arousal neurons, binocular neurons, and approach-sensitive neurons.

As explained above, the optic tectum is responsible for the orienting and snapping responses in prey-catching behavior; however, Ewert's research also revealed that focal electrical stimulation of the thalamic and pretectal brain regions evoked different kinds of avoidance behaviors in the toad. Feature detectors were also observed in these brain regions. Neurons were observed to be either directionally-sensitive to looming large objects, size-selective or perceptive to stationary obstacles. Certain pretectal thalamic neurons, type TH3, showed a preference for big moving objects and the anti-worm configuration of moving bar stimuli. It is suggested that the selectivity of tectal prey feature detectors, type T5.2, is determined by inhibitory influences of pretectal anti-worm detectors of the type TH3. Pretectal lesions impaired the prey-selectivity.

Axons from the feature sensitive/selective neurons of the optic tectum and thalamic-pretectal region then contact motor structures in the medulla oblongata, thus forming a sensorimotor interface. According to Ewert, this sensorimotor interface may serve as the "releaser" which recognizes sensory signals with assemblies of complex feature detectors and executes the corresponding motor responses. Having analyzed neuronal processing streams in brainstem structures that translate visual sign stimuli into behavioral responses, Ewert and coworkers discovered neural loops that—in connection with different forebrain structures—modulate, e.g. modify or specify, this translation.

### In weakly electric fish

Weakly electric fish generate electric fields for the purpose of object location and communication. They have a specialized electric sense made up of tuberous and ampullary electroreceptors located over the skin surface and innervated by the electrosensory lateral line. Just like in the visual system of toads, the electrosensory system of weakly electric fish extracts features from behaviorally relevant stimuli and uses these representations to perform further processing.

In the gymnotiform fish, *Eigenmannia* illustrated here, the primary sensory neurons in the electroreceptor system are simple feature detectors, and they include the ampullary receptors, probability coders (P units), and phase coders (T units). P units and T units are meant to acquire information about the amplitude and phase of the stimulus, respectively, with very little processing. The P and T units differ in tuning and in threshold for evoking a single spike in response to a sinusoidal stimulus. P units have high threshold and are broadly tuned; T units have low thresholds and narrow tuning. The separate processing of information continues passed the primary sensory neurons into the electrosensory lateral-line lobe (ELL) where spherical cells relay phase or time information to higher centers and pyramidal cells code for amplitude information. As a result, we also consider the class of spherical and pyramidal cells located in the ELL to be feature detectors. More specifically, pyramidal cells are considered feature detectors that respond to the amplitude of the stimulus. One class of pyramidal cell, E-cells, respond to increases; a second, I-cells, respond to decreases in stimulus amplitude whereas all peripheral receptors are E-units.

Beyond pyramidal cells and spherical cells, a more complex feature detector exists in the dorsal torus semicurcularis of the midbrain because the separate streams of amplitude and phase information converge on higher order sign-selective neurons in this region of the midbrain. These sign-selective neurons are considered feature detectors because they fire only upon the recognition of either a positive frequency difference between a jamming signal and the fish's own signal or a negative frequency difference. Afferents from these two types of sign-selective neurons then converge at the top of the neuronal hierarchy—the pre-pacemaker nucleus, which helps to regulate the discharge frequency of the electric organ in the jamming avoidance response.

### In bat auditory cortex

In the auditory system of bats, like in auditory systems of other vertebrates, primary sensory afferent neurons, which receive inputs from hair cells from a restricted region of the organ of Corti in the cochlea, are the simple feature detectors. These structures are sensitive to a restricted range of frequencies and therefore function as tuned filters. Experimentally, Nobuo Suga and his colleagues (1990) noted that various constant frequency (CF) and frequency modulated (FM) harmonics excited different parts of the basilar membrane because of the frequency difference in the call. Auditory nerve fibers take this slightly-processed sensory information to the cochlear nucleus where information either converges or diverges into parallel pathways. In *Pteronotus parnellii*, a CF-FM bat, these parallel pathways process CF and FM harmonics separately and contain neurons that exhibit amplitude, frequency, and harmonic selectivity. These pathways converge in the medial geniculate body—giving rise to more complex feature detectors that respond to specific combinations of CF and FM signals.

In FM-FM regions of the auditory cortex, Suga et al. (1993) identified combination-sensitive neurons which receive inputs from multiple sources. Suga observed that the FM-FM region selectively responded to an FM component (feature) in the call and in the echo. More specifically, an individual FM1-FM2 unit requires an input from a unit tuned to the FM1 frequency range and a second unit tuned to the FM2 frequency range in order to fire. These FM-FM neurons can be considered complex feature detectors because they are sensitive to a particular frequency combination and a specific time delay between the echo and call. An accurate determination of the time delay between the call and echo is critical because it allows the bat to measure the distance between itself and its prey. This FM-FM sensitive region is only one example of a feature detector in the bat auditory cortex. A CF-CF sensitive region also exists in the auditory cortex, which in combination with FM-FM regions allows the bat to create maps for relative target velocity and target distance. Tracing the responses of these combination-sensitive neurons to higher order regions of the auditory pathway reveals that there are neurons with even higher levels of frequency and amplitude selectivity.


title: Campylorhaphion flexum

abstract: Campylorhaphion flexum is a species of sea snail, a marine gastropod mollusk in the family Eulimidae. The species is one of a number within the genus Eulima.

text:
# Campylorhaphion flexum

***Campylorhaphion flexum*** is a species of sea snail, a marine gastropod mollusk in the family Eulimidae. The species is one of a number within the genus *Eulima*.

## InfoBox

| *Campylorhaphion flexum* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Subclass: | Caenogastropoda |
| Order: | Littorinimorpha |
| Family: | Eulimidae |
| Genus: | *Campylorhaphion* |
| Species: | ***C. flexum*** |
| Binomial name | |
| ***Campylorhaphion flexum***<br>(A. Adams, 1861) | |
|
| Synonyms | |
| *Eulima flexa* A. Adams, 1861 | |


title: 1938 Salvadoran Football Championship

abstract: The 1938 Salvadoran Football Championship was the 6th season of the first division of Salvadoran football. Club Deportivo 33 was the season's champion, the club's second title.

text:
# 1938 Salvadoran Football Championship

The **1938 Salvadoran Football Championship** was the 6th season of the first division of Salvadoran football. Club Deportivo 33 was the season's champion, the club's second title.

## Participating clubs

| Team | Method of qualification | Previous appearances |
| --- | --- | --- |
| C.D. 33 | Central Zone champions | **1937** |
| C.D. Maya | Central Zone runners-up | *Debut* |
| C.D. Ferrocarril | Western Zone champions | *Debut* |
| C.D. Internacional | Eastern Zone champions | *Debut* |

## Tournament

### Semifinals

| C.D. 33 | 4–1 | C.D. Internacional |
| --- | --- | --- |
|  |  |  |

Estadio Nacional Flor Blanca, San Salvador, El Salvador

---

| C.D. Maya | 3–1 | C.D. Ferrocarril |
| --- | --- | --- |
|  |  |  |

Estadio Nacional Flor Blanca, San Salvador, El Salvador

### Third-place match

| C.D. Internacional | 3–2 | C.D. Ferrocarril |
| --- | --- | --- |
|  |  |  |

Estadio Nacional Flor Blanca, San Salvador, El Salvador

### Final

| C.D. 33 | 10–3 | C.D. Maya |
| --- | --- | --- |
|  |  |  |

Estadio Nacional Flor Blanca, San Salvador, El Salvador

## Bracket

## InfoBox

1938 Salvadoran Football Championship
| Season | 1938 |
| --- | --- |
| Dates | 6 November – 11 December 1938 |
| Champions | Club Deportivo 33 (2nd title) |
| Matches played | 4 |
| Goals scored | 21 (5.25 per match) |
| 1937 1942 | |


title: Subur Parthasarathy

abstract: Subur Parthasarathy, born Subur Mugaseth, was an Indian educator and legislator. She was the first principal at Ethiraj College for Women, and served in the upper house of the Indian Parliament from 1960 to 1966.

text:
# Subur Parthasarathy

**Subur Parthasarathy** (1911 – 10 October 1966), born **Subur Mugaseth**, was an Indian educator and legislator. She was the first principal at Ethiraj College for Women, and served in the upper house of the Indian Parliament from 1960 to 1966.

## Early life

Subur Mugaseth was born in Calicut, the daughter of Khodadad Mugaseth, into a family prominent in the city's Parsi community. Her only brother died in World War II. She attended the University of Madras and University of Oxford, and earned a master's degree in English, and completed a doctorate in 1936.

## Career

Parthasarathy taught English at Queen Mary's College in Madras. She was the first principal of Ethiraj College for Women, serving from 1948 to 1952. She was succeeded in the principalship by Mona Hensman. In 1952, she traveled in the United States studying universities and colleges. Parthasarathy was elected to the Rajya Sabha from 1960 to 1966.

## Personal life

In 1939, Subur Mugaseth married journalist and diplomat Gopalaswami Parthasarathy, after they met at Oxford. They had a son, Ashok Parthasarathi (1940–2019) who followed his parents into government work and academia. She died from heart and kidney ailments in New York, in 1966, while her husband was representing India at the United Nations.

Actor and playwright Girish Karnad was her niece's husband; and journalist Raghu Karnad is her grand-nephew.

*

## InfoBox

| Subur Parthasarathy | |
| --- | --- |
|  | |
| Born | Subur Mugaseth
1911
Calicut |
| Died | 10 October 1966
New York |
| Other names | Subur Parthasarathi |
| Occupation(s) | Educator, college administrator |
| Spouse | Parthasarathy |


title: Canton of Aubenas-1

abstract: The canton of Aubenas-1 is an administrative division of the Ardèche department, southern France. It was created at the French canton reorganisation which came into effect in March 2015. Its seat is in Aubenas. It consists of the following communes:

text:
# Canton of Aubenas-1

The **canton of Aubenas-1** is an administrative division of the Ardèche department, southern France. It was created at the French canton reorganisation which came into effect in March 2015. Its seat is in Aubenas.

It consists of the following communes:

1. Aizac
2. Aubenas (partly)
3. Genestelle
4. Juvinas
5. Labastide-sur-Bésorgues
6. Labégude
7. Lachamp-Raphaël
8. Laviolle
9. Mézilhac
10. Saint-Andéol-de-Vals
11. Saint-Joseph-des-Bancs
12. Saint-Julien-du-Serre
13. Ucel
14. Vallées-d'Antraigues-Asperjoc
15. Vals-les-Bains

44°37′N 4°23′E / 44.62°N 4.39°E / 44.62; 4.39

## InfoBox

| Canton of Aubenas-1 | |
| --- | --- |
| Canton | |
| Situation of the canton of Aubenas-1 in the department of Ardèche | |
| Country | France |
| Region | Auvergne-Rhône-Alpes |
| Department | Ardèche |
| No. of communes | 14 + part of Aubenas |
| Seat | Aubenas |
| Population (2021) | 17,591 |
| INSEE code | 0703 |


title: Dateland Air Force Auxiliary Field

abstract: Dateland Air Force Auxiliary Field is an abandoned military airfield located in Dateland, Arizona, 40 miles (64 km) east of Yuma, Arizona. Its last known military use was in 1957.

text:
# Dateland Air Force Auxiliary Field

Dateland Army Air Field plaque. Note: "Dateland" is misspelled as "Datelan".Dateland Army Air Field foundation.

**Dateland Air Force Auxiliary Field** is an abandoned military airfield located in Dateland, Arizona, 40 miles (64 km) east of Yuma, Arizona. Its last known military use was in 1957.

## Military use

### World War II

The airfield was established on 1 January 1943 as a United States Army Air Forces training airfield, being under the command of the 3037th Army Air Force Base Unit, AAF Western Flying Training Command. Dateland was a sub-Post of Yuma Army Airfield, Arizona. Colfred, Stovall and Welton Gunnery rangers were also established nearby. Dateland was originally designed for single engine aircraft gunnery training, but was converted to twin engine gunnery school in September 1943 because single-engine gunnery was no longer an important part of the training program. The air field also support the nearby Camp Horn and Camp Hyder during the war.

The site was chosen due to the availability of water and the adjacent location of the Yuma Gunnery Range. Construction was completed on 1 June 1943, and the facility was first garrisoned on 8 July 1943. Facilities constructed at the site between 1943 and 1946 were 95 buildings, 3 runways, 4 taxiways, a gasoline station, water system, electrical distribution system, sewage disposal system and perimeter fences.

Construction of four skeet ranges was authorized at the Dateland AAF however, in a letter dated November 27, 1942, two of the skeet ranges were removed from the construction plans. In addition, a request to construct a target butt range at the site was approved on December 17, 1942. The target butt range was originally planned for construction at the Advanced Single Engine School in Yuma AAF Arizona; however, the decision was made to conduct all gunnery training and related functions at Dateland. According to the INPR Supplement, the target butt and double skeet ranges first appear on a January 1943 map of the site. Construction of the target butt range was scheduled for completion in April 1943 and the double skeet range was scheduled to be completed in June 1943. A Field Progress Report for Dateland, period ending June 30, 1943, indicates that both the target butt range and double skeet range were complete.

In September 1943, plans were initiated for reconstruction of the site to accommodate both two and four-engine aircraft. A refresher fixed gunnery course for single-engine pilots (P-63, P-39, and P-40) flying pursuit gunnery missions was started at Dateland AAF in December 1944.

In addition to the security and maintenance of the base, the airmen provided services for several flying organizations, among those being Mather Army Airfield which based 60 North American B-25J Mitchell aircraft from 25 December 1943 to 20 January 1944, logging a total of 11,000 hours of flight training.

The refresher fixed gunnery course was scheduled to conclude in January 1945, and the base was reduced to caretaker status on 31 October 1945, and was left with a contingent of 12 men and an officer to maintain the base. For many years the airfield was used for storage of various aircraft components.

Dateland AAF was declared surplus to the requirements of the War Department, effective December 17, 1945. However, the site was withdrawn from surplus on August 27, 1946, designated as a Class III auxiliary installation, and assigned as a sub-base of Williams Army Airfield in Chandler, Arizona.

### Cold War

Designated Dateland Air Force Auxiliary Field in 1948, in the early 1950s Dateland AFAS was used by various special forces squadrons of the MATS Air Resupply And Communications Service for training.

In 1957 the hangar and the other flight line buildings mysteriously burned down, and the Air Force sent in an investigation team to do an inventory on the B-25 parts and found none. The officer in charge was court martialed and the base was closed permanently in 1957.

In 1958 Dateland AFAF was inactivated. The majority of the site was conveyed by quitclaim deed to three private landowners. The deeds contained no restrictions and no restoration provisions for the land.

## Civil use

The airfield and all of its real estate was auctioned off in 1960 to private parties. In 1970 Dateland was subdivided into 3,300 lots leaving the airport intact. One owner was going to subdivide the airport area into lots and build small lakes. The airfield was apparently reopened as a private airfield at some point between 1971 and 1977, however it was closed.

The present owners bought the Dateland property in 1995 and saved the airport from extinction. They planned to redevelop the airfield as a fly-in community, **El Camino Del Sol Airpark**, taking advantage of the extensive airfield facilities abandoned by the military. The developers touted Dateland as "the largest fly-in community in the USA", with a total of 427 lots having taxiway connections to the airfield, and a concrete ramp area big enough to park 300 planes. A motel and a museum were among the planned attributes.

Unfortunately, the commercial venture to reopen Dateland as a residential airpark had evidently failed. The remains of a sales trailer/office in the southwest corner of the airfield was boarded up and abandoned, which indicates this venture must not have been successful.

The remains of 3 runways still exist (6/24, 16/34, and the longest – 1/19, 6,600' long), along with a large concrete ramp area. The only building remaining is a sand-filled concrete bunker previously used to sight the machine guns of the B-25 Mitchell bombers.

* Manning, Thomas A. (2005), *History of Air Education and Training Command, 1942–2002*. Office of History and Research, Headquarters, AETC, Randolph AFB, Texas OCLC 71006954, 29991467
* Shaw, Frederick J. (2004), *Locating Air Force Base Sites, History’s Legacy*, Air Force History and Museums Program, United States Air Force, Washington DC. OCLC 57007862, 1050653629
* Thole, Lou (1999), *Forgotten Fields of America: World War II Bases and Training, Then and Now* – Vol. 2. Publisher: Pictorial Histories Pub, ISBN 1575100517, OCLC 809752549
* U.S. Geological Survey Geographic Names Information System: Dateland Airfield (historical)

## InfoBox

| Dateland Air Force Auxiliary Field
Dateland Army Airfield | |
| --- | --- |
| Dateland, Arizona, about 40 miles east of Yuma, Arizona | |
| 2006 USGS airphoto | |
| Dateland AFAF | |
| Coordinates | 32°48′33″N 113°31′42″W / 32.80917°N 113.52833°W / 32.80917; -113.52833 |
| Site information | |
| Controlled by | United States Air Force |
| Site history | |
| Built | 1943–1944 |
| In use | 1943–1945 (Active)
1945–1957 (Inactive) |


title: The Most Exciting Organ Ever

abstract: The Most Exciting Organ Ever is the second album by Billy Preston. The fully instrumental album was released in 1965, several weeks before Preston's nineteenth birthday, at a time when he was a regular performer on the ABC TV pop music series Shindig! The album includes "Billy's Bag", which was a favorite among British musicians and club-goers at the time. Preston included a live version of the track on his 1974 album Live European Tour. Extra songs recorded during the sessions for The Most Exciting Organ Ever were released on Preston's next studio album.

text:
# The Most Exciting Organ Ever

***The Most Exciting Organ Ever*** is the second album by Billy Preston. The fully instrumental album was released in 1965, several weeks before Preston's nineteenth birthday, at a time when he was a regular performer on the ABC TV pop music series *Shindig!* The album includes "Billy's Bag", which was a favorite among British musicians and club-goers at the time. Preston included a live version of the track on his 1974 album *Live European Tour*.

Extra songs recorded during the sessions for *The Most Exciting Organ Ever* were released on Preston's next studio album.

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |
| *Encyclopedia of Popular Music* |  |

## Track listing

All songs by Billy Preston, except where noted.

1. "If I Had a Hammer" (Lee Hays, Pete Seeger) – 2:54
2. "Low Down" – 2:13
3. "Slippin' and Slidin'" (Richard Penniman, Edwin Bocage, Al Collins, James Smith) – 3:06
4. "Drown in My Own Tears" (Henry Glover) – 3:24
5. "I Am Coming Through" – 2:04
6. "The Octopus" – 2:13
7. "Don't Let the Sun Catch You Cryin'" (Joe Greene) – 2:30
8. "Soul Meetin'" (Don Covay) – 2:42
9. "Let Me Know" (Ted Wright) – 2:05
10. "Billy's Bag" – 3:48
11. "The Masquerade Is Over" (Herbert Magidson, Allie Wrubel) – 4:20
12. "Steady Gettin' It" – 2:50

## InfoBox

| The Most Exciting Organ Ever | |
| --- | --- |
|  | |
| Studio album by Billy Preston | |
| Released | August 20, 1965 |
| Recorded | September 1964 |
| Genre | Soul |
| Length | 33:11 |
| Label | Vee-Jay |
| Producer | Steve Douglas |
| Billy Preston chronology | |
| *16 Yr. Old Soul*
(1963) ***The Most Exciting Organ Ever***
(1965) *Early Hits of 1965*
(1965) | |


title: Ficus virgata

abstract: Ficus virgata, commonly known as figwood, is a tree in the family Moraceae, native to areas of Southeast Asia and the western Pacific. It grows as a strangler on other trees, eventually smothering and killing its host.

text:
# Ficus virgata

***Ficus virgata***, commonly known as figwood, is a tree in the family Moraceae, native to areas of Southeast Asia and the western Pacific. It grows as a strangler on other trees, eventually smothering and killing its host.

## Conservation

This species is listed by the Queensland Department of Environment and Science as least concern. As of 3 December 2022, it has not been assessed by the IUCN.

## InfoBox

| Figwood | |
| --- | --- |
|  | |
| Growing in the Cairns Botanic Gardens | |
| Conservation status | |
| Least Concern (NCA) | |
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Rosids |
| Order: | Rosales |
| Family: | Moraceae |
| Genus: | *Ficus* |
| Species: | ***F. virgata*** |
| Binomial name | |
| ***Ficus virgata***<br>Reinw. ex Blume | |
|
| Synonyms | |
| List * *Urostigma virgatum* (Reinw. ex Blume) Miq. * *Ficus cuspidatolongifolia* Kaneh. * *Ficus decaisneana* Miq. * *Ficus decaisneana* var. *firmula* (Miq.) King * *Ficus decaisneana* var. *trymatocarpa* (Miq.) King * *Ficus ellipsoidea* Miq. * *Ficus esmeralda* F.M.Bailey * *Ficus firmula* Miq. * *Ficus insularis* Miq. * *Ficus magnifica* Elmer * *Ficus philippinensis* Miq. * *Ficus philippinensis* f. *magnifica* (Elmer) Sata * *Ficus philippinensis* f. *obovata* Sata * *Ficus philippinensis* var. *sessilis* Bureau * *Ficus philippinensis* f. *setibracteata* (Elmer) Sata * *Ficus pinkiana* F.Muell. * *Ficus setibracteata* Elmer * *Ficus trymatocarpa* Miq. * *Ficus virgata* var. *philippinensis* (Miq.) Corner * *Ficus virgata* var. *sessilis* (Bureau) Corner | |


title: Fifty (film)

abstract: Fifty is a 2015 Nigerian romantic drama film, directed by Biyi Bandele and released on 18 December 2015.

text:
# Fifty (film)

***Fifty*** is a 2015 Nigerian romantic drama film, directed by Biyi Bandele and released on 18 December 2015.

## Plot

Fifty captures few pivotal days of four women at the pinnacle of their careers. Tola, Elizabeth, Maria and Kate are four friends forced at midlife to take inventory at their personal lives, while juggling career and family against the backdrops of the neighbourhoods of Lagos.

Tola is a reality TV star whose marriage to lawyer Kunle never stood a chance thanks to an invidious family secret. Elizabeth is a celebrated obstetrician whose penchant for younger men has estranged her from her daughter. Maria, a forty nine-year old has an affair with a married man that results in an unexpected pregnancy and Kate's battle with a life-threatening illness has plugged her into religious obsession.

## Cast

### Main cast

### Guest stars

## Production

The film is executively produced by Ebony Life TV CEO Mo Abudu. Directed by Biyi Bandele.

## Release

*Fifty* had its premiere in London in October 2015, which sold out in four days, and a private screening in Lagos was also held that month. The Grand Premiere was on Sunday, 13 December 2015, at the Eko Hotel and Suites. The film was released to cinemas on 18 December 2015.

## Critical reception

The movie was met with mixed to positive reviews. Nollywood Reinvented rated the movie 52% and highlighted its lack of content and depth.

## InfoBox

| Fifty | |
| --- | --- |
| Theatrical release poster | |
| Directed by | Biyi Bandele |
| Written by | Bola Agbaje
Kemi Adesoye |
| Produced by | Tope Oshin |
| Starring |  |
| Cinematography | Malcolm John McLean
Adekunle "Nodash" Adejuyigbe |
| Edited by | Matthew Bate |
| Music by | Ben Onono |
| Production
company | EbonyLife Films |
| Distributed by | FilmOne Distribution |
| Release dates | * 17 October 2015 (2015-10-17) (BFI) * 13 December 2015 (2015-12-13) (Lagos) * 18 December 2015 (2015-12-18) (Nigeria) |
| Running time | 101 minutes |
| Country | Nigeria |
| Language | English |
| Box office | ₦87 million |


title: Canton of Attignat

abstract: The canton of Attignat is an administrative division of the Ain department, in eastern France. It was created at the French canton reorganisation which came into effect in March 2015. Its seat is in Attignat. The population of the canton was 25,242, as of January 2021.

text:
# Canton of Attignat

The **canton of Attignat** is an administrative division of the Ain department, in eastern France. It was created at the French canton reorganisation which came into effect in March 2015. Its seat is in Attignat. The population of the canton was 25,242, as of January 2021.

## Composition

It consists of the following communes:

1. Attignat
2. Béréziat
3. Bresse Vallons
4. Buellas
5. Confrançon
6. Curtafond
7. Foissiat
8. Jayat
9. Malafretaz
10. Marsonnas
11. Montcet
12. Montracol
13. Montrevel-en-Bresse
14. Polliat
15. Saint-Didier-d'Aussiat
16. Saint-Martin-le-Châtel
17. Saint-Sulpice
18. Vandeins

## Councillors

| Election | | Councillors | Party | Occupation |
| --- | --- | --- | --- | --- |
|  | 2015 | Clotilde Fournier | DVD | Mayor of Saint-Sulpice |
|  | 2015 | Walter Martin | DVD | Mayor of Attignat |

## Pictures of the canton

|  |  |  |
| --- | --- | --- |

46°17′N 5°10′E / 46.29°N 5.16°E / 46.29; 5.16

## InfoBox

| Attignat | |
| --- | --- |
| Canton | |
|  | |
| Country | France |
| Region | Auvergne-Rhône-Alpes |
| Department | Ain |
| No. of communes | 18 |
| Seat | Attignat |
| Government | |
| Representatives (20212028) | Clotilde Fournier
Walter Martin |
| Area | 274.75 km2 (106.08 sq mi) |
| Population (2021) | 25,242 |
| Density | 92/km2 (240/sq mi) |
| INSEE code | 01 02 |


title: Canton of Aubagne

abstract:
The canton of Aubagne is an administrative division of the Bouches-du-Rhône department, in southeastern France. It was created at the French canton reorganisation which came into effect in March 2015. Its seat is in Aubagne. It consists of the following communes:
  - Aubagne
  - La Penne-sur-Huveaune
  - Roquevaire

text:
# Canton of Aubagne

The **canton of Aubagne** is an administrative division of the Bouches-du-Rhône department, in southeastern France. It was created at the French canton reorganisation which came into effect in March 2015. Its seat is in Aubagne.

It consists of the following communes:

1. Aubagne
2. La Penne-sur-Huveaune
3. Roquevaire

43°17′N 5°34′E / 43.29°N 5.57°E / 43.29; 5.57

## InfoBox

| Canton of Aubagne | |
| --- | --- |
| Canton | |
| Situation of the canton of Aubagne in the department of Bouches-du-Rhône | |
| Country | France |
| Region | Provence-Alpes-Côte d'Azur |
| Department | Bouches-du-Rhône |
| No. of communes | 3 |
| Seat | Aubagne |
| Population (2021) | 62,584 |
| INSEE code | 1305 |


title: Cap Gaspé

abstract: Cap Gaspé is a headland at the eastern extremity of the Gaspé Peninsula in the Canadian province of Quebec. It is within Forillon National Park.

text:
# Cap Gaspé

**Cap Gaspé** is a headland at the eastern extremity of the Gaspé Peninsula in the Canadian province of Quebec. It is within Forillon National Park.

## InfoBox

| Cap Gaspé | |
| --- | --- |
| Cape | |
| Cap Gaspé as viewed from the west | |
| Cap GaspéLocation of *Cap Gaspé* in Quebec | |
| Coordinates: 48°45′07″N 64°09′48″W / 48.75194°N 64.16333°W / 48.75194; -64.16333 | |
| Location | Gaspé Peninsula, Quebec |
| Topo map | NTS 22A16 Gaspé |


title: Scooter Berry

abstract: Richard "Scooter" Berry is a former professional football defensive end. He played college football for the West Virginia Mountaineers. He was originally signed by the Houston Texans of the National Football League (NFL).

text:
# Scooter Berry

**Richard "Scooter" Berry** (born June 28, 1986) is a former professional football defensive end. He played college football for the West Virginia Mountaineers. He was originally signed by the Houston Texans of the National Football League (NFL).

## Early life

Berry attended North Babylon High School, where he played linebacker and fullback as a senior for the 10-1 team. He was an all-Long Island selection while recording 68 tackles and 7 sacks on defense, then rushing for 1,341 career yards and 20 career touchdowns. He was a three-time all-county and two-time all-state selection.

Berry was recruited primarily as a fullback, due to weighing 245 lbs. (which was too small for a traditional defensive lineman and too big for a linebacker). Berry was being offered by Boston College, Central Florida and Connecticut, but eventually signed his letter of intent with West Virginia University.

## Collegiate career

### Freshman season (2006)

Berry redshirted his true freshman season of 2006. That season, he won the Danny Van Etten Award for the scout team player of the year on defense along with J.T. Thomas.

### Redshirt-Freshman season (2007)

Berry earned the starting job on the three-man defensive line, along with Keilen Dykes and Johnny Dingle, from the beginning of the season.

Berry finished his freshman season with 27 total tackles, a sack, and 4.5 tackles for a loss. He also forced a fumble and led the team with three fumble recoveries. Berry was named to the rivals.com and collegefootballnews.com Freshman All-American teams at the end of the season.

### Redshirt-Sophomore season (2008)

Berry returned to the three-man defensive line in 2008 as a three-year sophomore and one of the most experienced players on the defense.

Scooter Berry finished the season as a second-team All-Big East selection - totaling 34 tackles, 3.5 sacks, two fumble recoveries, and a forced fumble.

### Redshirt-Junior season (2009)

Berry's Junior season was broken up by a shoulder injury on September 12 in a game against ECU.

### Redshirt-Senior season (2010)

Scooter Berry underwent shoulder surgery in the offseason, and returned for his senior year to make an immediate impact.

Berry finished the season as a second-team All-Big East selection - totaling 35 tackles, 4.5 for a loss, and 4 sacks.

## Professional career

After going undrafted in the 2011 NFL draft Berry signed with the Houston Texans, however he was cut before the season started. He then signed with the Jacksonville Sharks of the Arena Football League. During the 2012 season he recorded an AFL rookie record 13 sacks. After the season, he signed with the Montreal Alouettes on September 20, 2012. On March 21, 2015, Berry was traded to the Los Angeles KISS for future considerations. On April 8, 2015, Berry was traded to the Jacksonville Sharks for James McClinton.

## InfoBox

Scooter Berry
| No. 95 | |
| --- | --- |
| Position: | Defensive end |
| Personal information | |
| Born: | (1986-06-28) June 28, 1986<br>Bay Shore, New York, U.S. |
| Height: | 6 ft 2 in (1.88 m) |
| Weight: | 275 lb (125 kg) |
| Career information | |
| High school: | North Babylon (NY) |
| College: | West Virginia |
| Undrafted: | 2011 |
| Career history | |
|  | |
| * Offseason and/or practice squad member only | |
|  | |
| Career highlights and awards | |
|  | |
|  | |
| Career CFL statistics | |
| Total tackles: 13  Sacks: 1.0  Fumble recoveries: 1  Interceptions: 1 | |
| Career Arena statistics | |
| Total tackles: 44.5  Sacks: 14.0  Forced fumbles: 5  Fumble recoveries: 4 | |
|  | |
| Player stats at **CFL.ca** (archive) · **ArenaFan.com** | |
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