title: Sheldon spectrum

abstract: The Sheldon spectrum is an empirically-observed feature of marine life by which the size of an organism is inversely correlated with its abundance in the ocean. The spectrum is named after Ray Sheldon, a marine ecologist at Canada’s Bedford Institute of Oceanography in Dartmouth, Nova Scotia. Sheldon and colleagues first suggested the existence of the inverse correlation based on seagoing measurements of plankton made with a Coulter counter in the late 1960s, most notably during the first circum-navigation of the Americas aboard the CCGS Hudson. The inverse correlation implies that biomass density as a function of logarithmic body mass is approximately constant over many orders of magnitude. For example, when Sheldon and his colleagues analyzed a plankton sample in a bucket of seawater, they would tend to find that one third of the plankton mass was between 1 and 10 micrometers, another third was between 10 and 100 micrometers, and a third was between 100 micrometers and 1 millimeter. To make up for the differences of size, there must be a remarkably accurate mathematically correlative decrease in number of organisms as they become larger, in order for the biomass to remain constant. Thus, the rule predicts that krill which are a million times smaller than tuna are a million times more abundant in the ocean, a prediction which appears to be true. There is strong evidence that human behavior, particularly overfishing and whaling, have modified the Sheldon spectrum for larger species, and it is unknown what long term effects such global alteration may have.

text:
# Sheldon spectrum

The **Sheldon spectrum** is an empirically-observed feature of marine life by which the size of an organism is inversely correlated with its abundance in the ocean. The spectrum is named after Ray Sheldon, a marine ecologist at Canada’s Bedford Institute of Oceanography in Dartmouth, Nova Scotia. Sheldon and colleagues first suggested the existence of the inverse correlation based on seagoing measurements of plankton made with a Coulter counter in the late 1960s, most notably during the first circum-navigation of the Americas aboard the CCGS Hudson.

The inverse correlation implies that biomass density as a function of logarithmic body mass is approximately constant over many orders of magnitude. For example, when Sheldon and his colleagues analyzed a plankton sample in a bucket of seawater, they would tend to find that one third of the plankton mass was between 1 and 10 micrometers, another third was between 10 and 100 micrometers, and a third was between 100 micrometers and 1 millimeter. To make up for the differences of size, there must be a remarkably accurate mathematically correlative decrease in number of organisms as they become larger, in order for the biomass to remain constant. Thus, the rule predicts that krill which are a million times smaller than tuna are a million times more abundant in the ocean, a prediction which appears to be true.

There is strong evidence that human behavior, particularly overfishing and whaling, have modified the Sheldon spectrum for larger species, and it is unknown what long term effects such global alteration may have.


title: South African Typographical Union

abstract: The South African Typographical Union (SATU) is a trade union representing workers in the printing and media industries in South Africa. The union was founded on 5 January 1898 by six local unions, including the Durban Typographical Society. Many of its founding members were immigrants from the United Kingdom who had held membership of the London Society of Compositors (LSC), and the new union's constitution was based on that of the LSC. It published the South African Typographical Journal, which was one of the key cheerleaders for a Labour Party. For many years, its president was Harry Sampson. The union admitted white and "coloured" workers on the same basis, although all non-whites faced prejudice. It did not admit black or Asian workers, and opposed their involvement in the printing industry. It joined the South African Trades and Labour Council, then became a leading figure in the 1951 split which formed the South African Federation of Trade Unions, before joining the Trade Union Council of South Africa. In 1980, it finally began accepting black workers, and its membership increased to 26,818. It is currently affiliated to the Federation of Unions of South Africa.

text:
# South African Typographical Union

The **South African Typographical Union** (SATU) is a trade union representing workers in the printing and media industries in South Africa.

The union was founded on 5 January 1898 by six local unions, including the Durban Typographical Society. Many of its founding members were immigrants from the United Kingdom who had held membership of the London Society of Compositors (LSC), and the new union's constitution was based on that of the LSC. It published the *South African Typographical Journal*, which was one of the key cheerleaders for a Labour Party. For many years, its president was Harry Sampson.

The union admitted white and "coloured" workers on the same basis, although all non-whites faced prejudice. It did not admit black or Asian workers, and opposed their involvement in the printing industry. It joined the South African Trades and Labour Council, then became a leading figure in the 1951 split which formed the South African Federation of Trade Unions, before joining the Trade Union Council of South Africa.

In 1980, it finally began accepting black workers, and its membership increased to 26,818. It is currently affiliated to the Federation of Unions of South Africa.

## Further reading

* Downes, Albert (1952). *Printers' saga : being a history of the South African Typographical Union*. SATU.

1. Visser, Wessel P. (December 2004). ""To Fight the Battles of the Workers": The Emergence of Pro-strike Publications in Early Twentieth-Century South Africa". *International Review of Social History*. **49** (3): 401–434. doi:10.1017/S0020859004001737. S2CID 145095586.
2. Du Toit, Martin André (1976). *South African Trade Unions: History, Legislation, Policy*. McGraw-Hill. ISBN 9780070913110.
3. Ticktin, D. (1973). *The Origins of the South African Labour Party 1888-1910* (PDF). Vol. 2. Cape Town: University of Cape Town. Retrieved 8 March 2021.
4. Gitsham, Ernest; Trembath, James H. (1926). *A first account of labour organisation in South Africa* (PDF). Durban: E. P. & Commercial Printing. Retrieved 11 April 2021.
5. Simons, Harold; Simons, Ray (1987). *One Hundred Years of Job Reservation on the South African Mines*. International Labour Office. ISBN 9789221061588.
6. Miller, Shirley (1982). *Trade Unions in South Africa 1970-1980: a directory and statistics*. Cape Town: Southern Africa Labour and Development Research Unit. ISBN 0799204692.
7. Jubber, Ken (1979). *South Africa Industrial Relations and Industrial Sociology*. Juta. ISBN 9780702110085.
8. "Affiliated trade unions". *FEDUSA*. Retrieved 8 March 2021.


title: Bhaaryayum Kaamukiyum

abstract: Bhaaryayum Kaamukiyum is a 1978 Indian Malayalam film, directed by J. Sasikumar. The film stars Prem Nazir, Sheela, Adoor Bhasi and Sreelatha Namboothiri in the lead roles. The film has musical score by M. K. Arjunan.

text:
# Bhaaryayum Kaamukiyum

***Bhaaryayum Kaamukiyum*** is a 1978 Indian Malayalam film, directed by J. Sasikumar. The film stars Prem Nazir, Sheela, Adoor Bhasi and Sreelatha Namboothiri in the lead roles. The film has musical score by M. K. Arjunan.

## Cast

## Soundtrack

The music was composed by M. K. Arjunan and the lyrics were written by Chirayinkeezhu Ramakrishnan Nair and Sreekumaran Thampi.

| No. | Song | Singers | Lyrics | Length (m:ss) |
| --- | --- | --- | --- | --- |
| 1 | "Kaadinakam Nadane" | P. Jayachandran | Chirayinkeezhu Ramakrishnan Nair |  |
| 2 | "Nizhal Veezhthiyodunna" | K. J. Yesudas | Sreekumaran Thampi |  |
| 3 | "Ponnum Thenum Chaalicha" | K. J. Yesudas | Sreekumaran Thampi |  |

## InfoBox

| Bhaaryayum Kaamukiyum | |
| --- | --- |
| Directed by | J. Sasikumar |
| Written by | Thrilok Chandar
Pappanamkodu Lakshmanan (dialogues) |
| Screenplay by | Pappanamkodu Lakshmanan |
| Starring | Prem Nazir
Sheela
Adoor Bhasi
Sreelatha Namboothiri |
| Cinematography | C. J. Mohan |
| Edited by | K. Sankunni |
| Music by | M. K. Arjunan |
| Production
company | Shanmukharatna Films |
| Distributed by | Shanmukharatna Films |
| Release date | * 9 June 1978 (1978-06-09) |
| Country | India |
| Language | Malayalam |


title: Federal Government College, Ogbomoso

abstract:
Federal Government College, Ogbomoso is a federal government owned school located at Ogbomoso, Oyo State, Nigeria, for education of both sexes at the same institution. The school was founded on 28 October 1977. FGCS is for boarders / day students and has a current attendance of over 1500. Since its founding, the Federal Government College in Ogbomoso has been served by fourteen (14) substantive principals. Mr. AJAGBE A.J. is the fifteenth (15) substantive and ongoing Principal of the College. His appointment as the college's principal began on October 2. It is one of over 100 Federal Government owned unity schools managed by the
Federal Ministry of Education, Nigeria.

text:
# Federal Government College, Ogbomoso

**Federal Government College, Ogbomoso** is a federal government owned school located at Ogbomoso, Oyo State, Nigeria, for education of both sexes at the same institution. The school was founded on 28 October 1977. FGCS is for boarders / day students and has a current attendance of over 1500. Since its founding, the Federal Government College in Ogbomoso has been served by fourteen (14) substantive principals. Mr. AJAGBE A.J. is the fifteenth (15) substantive and ongoing Principal of the College. His appointment as the college's principal began on October 2. It is one of over 100 Federal Government owned unity schools managed by the Federal Ministry of Education, Nigeria.

## Notable alumni

## InfoBox

| Federal Government College, Ogbomoso | |
| --- | --- |
| Address | |
|  | |
| Ikoyi Road
Ogbomoso, Oyo State
Nigeria | |
| Information | |
| Type | boarding
day |
| Motto | Pro unitate |
| Established | October 1977 (1977-10) |
| Founder | Federal Government of Nigeria |
| Status | Open |
| Principal | Ajagbe. A.J |
| Gender | Mixed |
| Campus type | Urban |
| Colour(s) | white and Green |
| Website | www.fgcogbomoso.com |


title: Up, Bustle and Out

abstract:
Up, Bustle and Out are musicians and recording artists - Rupert Mould from Bristol, Senor Cuffy, Dave Cridge Eugenia Knight UK. They have released a number of albums and singles on the Ninja Tune independent record label. Their music combines electronic music, jazz, hip-hop and funk, but with a distinctly international flavour, particularly South American and Cuban influences.
The two Master Sessions albums were co-written by Cuban flautist and orchestrator, Richard Egües.

text:
# Up, Bustle and Out

**Up, Bustle and Out** are musicians and recording artists - Rupert Mould (also known as Señor Rudi) from Bristol, Senor Cuffy (Spanish Guitarist), Dave Cridge (Beat Keeper and tour/soundsystem dj) Eugenia Knight (percussion and Vocals) UK. They have released a number of albums and singles on the Ninja Tune independent record label.

Their music combines electronic music, jazz, hip-hop and funk, but with a distinctly international flavour, particularly South American and Cuban influences. The two *Master Sessions* albums were co-written by Cuban flautist and orchestrator, Richard Egües.

## Discography

* *The Breeze Was Mellow (As The Guns Cooled In The Cellar)* (April 1994, Ninja Tune, Cat: ZENCD13)
* *One Colour Just Reflects Another* (May 1996, Ninja Tune, Cat: ZENCD19)
* *Light 'em Up, Blow 'em Out* (May 1997, Ninja Tune, Cat: ZENCD27)
* *Rebel Radio Master Sessions Vol.1* (Jun 2000, Ninja Tune, Cat: ZENCD46)
* *Master Sessions Vol 2* (July 2001, Ninja Tune, Cat: ZENCD58)
* *Urban Evacuation* (10 February 2003, Unique Records, Cat: UNIQ0692)
* *City Breakers* (7 October 2004, Routes Music, Cat: RTS01) (double vinyl only)
* *The Mexican Sessions* (June 2006)
* *City Breakers - 18 Frames Per Second* (Due for release 30 January 2006, Collision Records)
* *Istanbul's Secrets*, with Sevval Sam (February 2008, Collision Records, Cat: CCT3017-2) - double CD, vocal and dub versions
* *Soliloquy*, (April 2010, Collision Records, Cat: CCT3020-2)

There is also a limited edition version of *Rebel Radio Master Sessions Vol.1* (Cat: ZENCD46BK) that includes a book entitled "The Rebel Radio Diary".

## InfoBox

| Up, Bustle and Out | |
| --- | --- |
| Origin | England |
| Genres | Trip hop, electronic, jazz, nu jazz, hip hop, funk, acid jazz, Cuban music, jazz hip hop |
| Years active | 1994 (1994)–present |
| Labels | Ninja Tune |
|  | |
| Members | * Rupert Mould * Senor Cuffy * Dave Cridge * Eugenia Knight |


title: Charles de Wailly

abstract: Charles de Wailly was a French architect and urbanist, and furniture designer, one of the principals in the Neoclassical revival of the Antique. His major work was the Théâtre de l'Odéon for the Comédie-Française (1779–82). In his designs, de Wailly showed a predilection for the perfect figure, the circle.

text:
# Charles de Wailly

**Charles de Wailly** (French pronunciation: \[ʃaʁl  waji\]) (9 November 1730 – 2 November 1798) was a French architect and urbanist, and furniture designer, one of the principals in the Neoclassical revival of the Antique. His major work was the Théâtre de l'Odéon for the Comédie-Française (1779–82). In his designs, de Wailly showed a predilection for the perfect figure, the circle.

## Biography

De Wailly was born in Paris. Starting in 1749, he was the pupil of Jacques-François Blondel at *l'École des Arts*, where he met William Chambers and had as a schoolmate Marie-Joseph Peyre; later he studied with Giovanni Niccolò Servandoni and with Jean-Laurent Le Geay. After having obtained the Prix de Rome for architecture in 1752 he went to the French Academy in Rome for three years until 1755, sharing his prize with his friend Pierre-Louis Moreau-Desproux. Both participated in the excavations at the Baths of Diocletian. In Rome, de Wailly founded a friendship with the sculptor Augustin Pajou, who was to carve his bust and that of his wife and for whom, in 1776, he would build a house adjoining his own, in Paris.

On his return to Paris, de Wailly showed his mastery of the earliest version of neoclassicism, being called the "*Goût grec*", by exhibiting a table with a lapis lazuli top and gilt-bronze mounts and a granite vase in the "goût antique" at the Salon of 1761; they were designed to be manifestos of a new taste, as the squib inserted in the *Mercure de France* states, in a "very noble style, far removed from the frippery manner ("*air de colifichet"*) which has reigned so long in our furnishings."

About 1764, for the sumptuous Hôtel d'Argenson de Voyer, which he remodelled for Marc-René d'Argenson, marquis de Voyez in an advanced neoclassical style, he designed the gilt-bronze mounted marble and porphyry vase on pedestal that is now in the Wallace Collection, London; from de Wailly's drawings the sculptor Augustin Pajou made the wax models for the mounts.

In 1767, de Wailly was accepted as a member of the first class of the Académie royale d'architecture and, in 1771, was accepted in the Académie royale de Peinture et de Sculpture, the only professional architect of the time to win admission, a mark of his great facility as a draughtsman. Henceforth de Wailly regularly exhibited at the Paris Salons his renderings, designs and models. He gained wider publicity when two of his designs were engraved for the *Encyclopédie* and two more for the monumental *Description de la france* of the 1780s.

His reputation abroad grew through engravings of his works; he became particularly popular in Russia, where his disciples, some of whom went to Paris to study with him directly, included Vasily Bazhenov, Ivan Starov, and Andrey Voronikhin. Catherine the Great offered him a high post in the Imperial Academy of Arts, St Petersburg, which he refused.

In 1772, he was named site architect of the Château de Fontainebleau, jointly with Marie-Joseph Peyre. The following year, he was authorized to leave for a long stay in Genoa, to redecorate the seventeenth-century palace of Cristoforo Spinola in the Strada Nuova, working in tandem with Andrea Tagliafichi: the building was badly damaged in 1942. He was to return on several occasions to work in Italy.

Comédie-Française (Odéon), long section and view of the vestibule, based on the second (1770) project

Noticed by the Marquis de Marigny, brother of Mme de Pompadour and general director of the *Bâtiments du Roi*, de Wailly worked in the park of Marigny's Château de Menars and, thanks to his support, managed to obtain the commission of a new theatre for the Comédie-Française. In 1779, de Wailly and Peyre built their most famous work, the theatre of Odéon in Paris (see below). De Wailly also designed a project for the Opéra-Comique.

In 1795, he was elected to the Académie des Beaux-Arts – 3rd section (architecture), *fauteuil* V. With his death, Jean Chalgrin succeeded to his seat. He became conservator of the museum of painting in 1795 and was sent to the Netherlands and Belgium to select works of art after the annexation of these countries.

He married Adélaïde Flore Belleville who, after his death, remarried in 1800 to the chemist Antoine François, comte de Fourcroy. He was the brother of lexicographer Noël François de Wailly.

De Wailly died in Paris in 1798.

## Works

### France

* Hôtel d'Argenson (also called the Hôtel de la chancellerie d'Orléans), near the Palais Royal in Paris (destroyed in 1923): interior installations carried out for the Comte d' Argenson (1762–1770).
* Transformation of the Château des Ormes in Les Ormes (Vienne) for the comte d'Argenson.
* Château de Montmusard near Dijon (Côte d'Or) (1765–1768): main architectural work of the Goût Grec in France, unfortunately mainly destroyed as of 1795.
* Maison 57 rue La Boétie in Paris, constructed by de Wailly for himself (1776).
* Maison 87 rue de la Pépinière, today rue La Boétie, for the sculptor Augustin Pajou.
* Decoration of the chapel of the Virgin in Saint-Sulpice (1774–1777).
* Temple des Arts at the Château de Menars (Loir-et-Cher) for the marquis de Marigny. De Wailly also provided and project for a Temple du Repos for the park at Ménars, which was not executed.
* Théâtre de l'Odéon (1779–1782) : From 1767, on commission from Marigny, *Directeur des Bâtiments du Roi*, Marie-Joseph Peyre and de Wailly designed the new theatre of the Comédie-Française. On 26 March 1770, an order in council authorized the execution of the project on the grounds of the garden of the hôtel of the prince de Condé, who expected to be rid of the property in expectations of setting up in the Palais-Bourbon. De Wailly was the protégé of Marigny and Peyre the architect of the Condé, a friend of de Wailly since their days as *pensionnaires* in Rome. The project, revised more than once, had to undergo the approval both of the architects from the royal department in charge of fêtes and other entertainments, the *Menus Plaisirs*, Denis-Claude Liégeon et Jean Damun, who were backed by the members of the Comédie and also by the City of Paris, represented by its architect, Pierre-Louis Moreau-Desproux. In the outcome, and thanks to the protection of Monsieur, brother of the King, the plans of Peyre and de Wailly finally won the day in the autumn of 1778. Works began in May 1779. Peyre would be principally responsible for the exterior and de Wailly for the interiors. On 16 February 1782, the troupe of the Comédie-Française were established in their own precincts. The theatre was inaugurated by Marie Antoinette, 9 April 1782.
* De Wailly gave an overall plan for the construction of the district around the new theatre, allotting a Cartesian plan. The buildings however were not carried out until a long time after the completion of the theatre, towards 1794.
* At the Église Saint-Leu-Saint-Gilles, Rue Saint-Denis in Paris: de Wailly created a choir for the Order of the Holy Sepulchre, and an underground crypt decorated in an original Doric order.
* Project for embellishment of the town of Paris (1789): this first plan for remanagement acts to foreground the overall refitting of the capital, with creating new passageways, reuniting the îles de la Cité and Saint-Louis, correction of the course of the Seine, etc.
* Plan of new Port-Vendres.
* Chapelle du Reposoir, Palace of Versailles.

### Belgium

### Germany

* Reorganisation of Kassel city center.

### Russia

* Braham, Allan (1972). "Charles de Wailly and Early Neo-Classicism", *The Burlington Magazine* **114** No. 835 (October 1972), pp. 670–685.
* Braham, Allan (1980). *The Architecture of the French Enlightenment*. Berkeley: University of California Press. ISBN 9780520067394.
* Cleary, Richard (1998). "Wailly, Charles de" in Turner 1998, vol. 32, pp. 766–769.
* Duffy, Stephen (2005). *The Wallace Collection*. London: Scala. ISBN 9781857594126. ISBN 9781857594225 (paperback).
* Eriksen, Svend (1974). *Early Neo-Classicism in France*, translated by Peter Thornton. London: Faber & Faber.
* Rabreau, D.; Mosser, M. (1979). *Charles De Wailly (1730-1798), peintre-architecte dans l'Europe des Lumières*. Paris: Caisse nationale des monuments historiques et des sites.
* Réau, Louis (1924). *Histoire de l'expansion de l'art français: le monde slave*. Listings at WorldCat.
* Turner, Jane, editor (1998). *The Dictionary of Art*, reprinted with minor corrections, 34 volumes. New York: Grove. ISBN 9781884446009.


title: The Dutchman's Secret

abstract: "The Dutchman's Secret" is a 1999 Donald Duck comic story by Don Rosa. It is a direct sequel to his 1998 story The Vigilante of Pizen Bluff and is one of his most historically accurate stories. The story was first published in the Danish Anders And & Co. #1999-09; the first American publication was in Uncle Scrooge #319, in July 2003.

text:
# The Dutchman's Secret

"**The Dutchman's Secret**" is a 1999 Donald Duck comic story by Don Rosa. It is a direct sequel to his 1998 story *The Vigilante of Pizen Bluff* and is one of his most historically accurate stories.

The story was first published in the Danish *Anders And & Co.* #1999-09; the first American publication was in *Uncle Scrooge* #319, in July 2003.

## Plot

The story begins approximately fifteen minutes after the end of *The Vigilante of Pizen Bluff*, where Scrooge McDuck is in his Money Bin together with Donald Duck and his grandnephews, having just finished telling them a story about his encounter with famous American Old West legends such as the Dalton Gang, Phineas T. Barnum, Buffalo Bill, Annie Oakley, and Geronimo. It's only now that Scrooge learns that the poster that was the original cause for the earlier adventure also contains a secret map leading to the Lost Dutchman's Gold Mine, one of the biggest lost treasures in the United States. Scrooge, Donald, and the boys thus set off on a new adventure to find this treasure.

The Ducks travel to the mountains of Arizona, where the lost mine is said to be located. There, they meet a shady character who presents himself as a tourist guide and map vendor. He tells the Ducks the story of the lost mine: The mine was originally discovered by an expedition created by Don Miguel Peralta, who had been given a map to the treasure as a reward for funding the repairs of the Jesuit church of Arizpe, but because of an Apache ambush, only one man, Gonzales Peralta, survived the expedition. He left markings on the ground leading to the treasure, which Jacob Waltz then marked in his map, which now belongs to Scrooge.

The Ducks start on an expedition to follow Waltz's map and find the treasure. However, right at the start, the map is accidentally destroyed, so the Ducks have to use their own intelligence to decipher Peralta's markings and find the treasure. They eventually succeed, but the shady tourist guide has followed them, and traps them in the mine, intent on claiming the entire mine for himself. Eventually, the Ducks manage to escape and get back to town, where the robber has already been arrested, thanks to Scrooge's clever advanced thinking. However, Scrooge has no legal claim to the treasure, as it has all along been the property of the Native American Pima tribe, so Scrooge has to render it to their possession - receiving ten million dollars as a reward.

This is one of Rosa's most historically accurate stories. Jacob Waltz, the Peralta family, and Eusebio Fransesco Chino, mentioned in the story, are all real historical characters. The Lost Dutchman's Gold Mine is a real legendary lost mine, and Gonzales Peralta's markings really exist. The only things Rosa invented for himself are the deciphered meaning of Peralta's markings and the connection between Eusebio Fransesco Chino and the lost mine. The Pueblo in which the mine is located in the story appears to have been inspired by a Lieutenant Blueberry story "The Lost Dutchman's Mine and The Ghost with the Golden Bullets" (ISBN 0871357437).

Donald's sharp eyesight when deciphering Peralta's markings is a reference to Rosa's earlier story, *An Eye for Detail*.

Don Rosa and his wife themselves make a cameo appearance in this story, as mountaineers travelling in the Arizona mountains.

1. "The Dutchman's Secret". *Inducks*. Retrieved 25 July 2020.

## InfoBox

| "*The Dutchman's Secret*" | |
| --- | --- |
| Story code | D 98202 |
| Story | Don Rosa |
| Ink | Don Rosa |
| Hero | Scrooge McDuck |
| Pages | 24 |
| Layout | 4 rows per page |
| Appearances | Scrooge McDuck
Donald Duck
Huey, Dewey, and Louie |
| First publication | March 1, 1999 |


title: The Temple and the Lodge

abstract: The Temple and the Lodge is a book written by Michael Baigent and Richard Leigh, in which the authors claim to trace a link between the suppressed Knights Templar and modern day Freemasonry.

text:
# The Temple and the Lodge

***The Temple and the Lodge*** is a book written by Michael Baigent and Richard Leigh, in which the authors claim to trace a link between the suppressed Knights Templar and modern day Freemasonry.

## Synopsis

The thesis of the book is that after the Knights Templar were suppressed for heresy at the behest of the King of France some elements found refuge in Scotland where they helped the Scots in their fight for independence from the English and the Templar Order survived through Jacobite Freemasonry to Strict Observance and the Grand Orient of France.

It also claims that many of the people behind the American Revolution were Freemasons, as were some of the less successful British commanders such as Howe and Cornwallis, who they claim intentionally lost (or tried to win by doing the bare minimum required) some of the battles to prevent the destruction of America's economic base.

## Release

It was originally published in London by Jonathan Cape in 1988. The first U.S. printing was by Arcade Publishing in New York in 1989.

## InfoBox

The Temple and the Lodge
| First UK edition | |
| --- | --- |
| Authors | Michael Baigent<br>Richard Leigh |
| Language | English |
| Subject | Freemasony |
| Publisher | Jonathan Cape |
| Publication date | 1988 |
| Publication place | United Kingdom |
| Pages | 306 |
| ISBN | 0224024728 |


title: Caroline Lucy Scott

abstract: Caroline Lucy Scott, Lady Scott, was an English novelist and religious writer. She was also a landscape painter.

text:
# Caroline Lucy Scott

**Caroline Lucy Scott**, Lady Scott (16 February 1784 – 20 April 1857), was an English novelist and religious writer. She was also a landscape painter.

## Biography

Caroline was born on 16 February 1784 as the second daughter of Archibald, first Baron Douglas (1748–1827) and Frances, sister of Henry, third duke of Buccleuch. She married, on 27 October 1810, Admiral Sir George Scott, K. C. B., who died on 21 December 1841. Lady Scott died at Petersham, Surrey, on 20 April 1857. She must be distinguished from another novelist contemporary with her: Harriet Anne Scott, also Lady Scott.

## Writings

Scott's first novel, *A Marriage in High Life* (1828, 2 vols), was edited by the author of *Flirtation*: her relative, Lady Charlotte Susan Maria Bury. The plot was based on fact. The style is diffuse, but the interest well sustained. A French translation appeared in 1830. Another English edition appeared in 1857. Two other novels followed, likewise anonymously: *Trevelyan*, 1833, reprinted 1837 (Bentley's Standard Novels, No. 58) and 1860 (the Railway Library), and *The Old Grey Church* in 1856. *Trevelyan* appeared in a German translation in 1835.

Lady Scott's succeeding, non-fiction works name her as author. They are *Exposition of the Types and Antitypes of the Old and New Testament*, 1856, *Incentives to Bible Study; Scripture Acrostics; a Sabbath Pastime for Young People*, 1860, and *Acrostics, Historical, Geographical, and Biographical*, 1863.

Lady Scott was also a landscape painter.

## Attributions

* ODNB, 2004
* This article incorporates text from a publication now in the public domain: Boase, George Clement (1885–1900). "Scott, Caroline Lucy". *Dictionary of National Biography*. London: Smith, Elder & Co.  citing:
    + Works in Brit. Mus. Libr.;
    + *Lodge's Peerage*. 1856. p. 189.;
    + *Dod's Peerage*. 1855. p. 482.


title: Sosthène II de La Rochefoucauld

abstract: Charles Gabriel Marie Sosthène II de La Rochefoucauld, 4th Duke of Doudeauville, 1st Duke of Bisaccia, Grandee of Spain, was a French politician during the Third Republic who served as Deputy for Sarthe from 1871 to 1898 and French Ambassador to London from 1873 to 1874.

text:
# Sosthène II de La Rochefoucauld

**Charles Gabriel Marie *Sosthène* II de La Rochefoucauld** (1 September 1825 – 27 August 1908), 4th Duke of Doudeauville, 1st Duke of Bisaccia, Grandee of Spain, was a French politician during the Third Republic who served as Deputy for Sarthe from 1871 to 1898 and French Ambassador to London from 1873 to 1874.

## Early life

Sosthène was born on 1 September 1825 in Paris, France. He was the second son of Sosthènes I de La Rochefoucauld (1785–1864) and Elisabeth-Hélène-Pierre de Montmorency Laval (1790–1834). After his mother's death, his father married Angélique Herminie de La Brousse de Verteillac, in 1841. His elder brother was Stanislas de La Rochefoucauld, 3rd Duke of Doudeauville.

His paternal grandparents were Ambroise-Polycarpe de La Rochefoucauld, 1st Duke of Doudeauville, and the heiress Bénigne-Augustine Le Tellier de Louvois. His aunt, Françoise Charlotte Ernestine de La Rochfoucauld, was the wife of Pierre Jean Julie Chapt, Marquis of Rastignac. His maternal grandparents were the French Minister of Foreign Affairs Mathieu de Montmorency, 1st Duke of Montmorency-Laval, and Pauline Hortense d'Albert de Luynes (a daughter of Louis Joseph d'Albert, 6th Duke of Luynes).

## Career

He was a Representative of Sarthe from 1871 to 1876, Deputy for Sarthe from 1876 to 1898. He also served as General Councilor and President of the General Council of Sarthe. From 1873 to 1874, he served as Ambassador of France to the United Kingdom.

Rochefoucauld was admitted to the Jockey-Club de Paris in 1856, and was elected vice-president in 1877. In 1884, he became president and remained so until his death in 1908. He was also a member of several other Parisian clubs, including the Société de l'histoire de France. His son, Armand, was also president of the Jockey Club for more than forty years from 1919 to 1962, and his great-grandson, Roland du Luart, has been president since 2014.

### Peerages and honours

He was created Duke of Bisaccia (second creation) on 16 May 1851 by King Ferdinand II in the peerage of the Kingdom of the Two Sicilies, through his mother's family, the Montmorency-Lavals.

After his father died at the family's Château d'Armainvilliers in 1864, his elder brother succeeded to the dukedom of Doudeauville. Both of his brother's sons predeceased him, however, so upon Stanislas's death in 1887, he became the 4th Duke of Doudeauville. From this title, he was also a Grandee of Spain.

He was admitted as a Bailiff Knight Grand Cross of the Sovereign Order of Malta.

### Residences

The Duke of Doudeauville inherited the Hôtel de La Rochefoucauld-Doudeauville at 47 Rue de Varenne in the 7th arrondissement (today the Italian Embassy). He hired French architect Henri Parent to renovate the Hôtel by putting up panelling (originally in the Château de Bercy) and creating a chapel, a winter garden, a dining room, stables for 25 horses, two rooms for eight carriages, two cellars and a grand staircase ("escalier d'honneur") panelled with polychromatic marble plaques that was inspired by the Queen's staircase at the Palace of Versailles.

In Sarthe, he lived at the Château de Bonnétable and, in Eure-et-Loir, the Château d'Esclimont, where his daughter Yolande was raised. Henri Parent was hired to restore these properties as well.

He was also the owner of Vallée-aux-Loups ("*Wolf Valley*"), the former home of François-René de Chateaubriand in Châtenay-Malabry, 11 km (6.8 mi) south of central Paris.

## Personal life

On 6 April 1848, he married Princess *Yolande* of Polignac (1830–1855) in Paris. She was a daughter of Prime Minister Prince Jules de Polignac and the Hon. Mary Charlotte Parkyns (a daughter of the 1st Baron Rancliffe). Before her death on 15 March 1855, they were the parents of:

After her death, he married Princess *Marie* Georgine Sophie Hedwige Eugenie of Ligne (1843–1911) on 8 July 1862 at the Château de Belœil in Beloeil, Belgium. She was the youngest daughter of the Belgian Ambassador to France, Eugène, 8th Prince of Ligne, and, his third wife, Princess Jadwiga Lubomirska (a daughter of Ukrainian Prince Henryk Ludwik Lubomirski). Together, they were the parents of:

The Duke died at the Château de Bonnétable in Sarthe on 27 August 1908.

### Descendants

Through his daughter Yolande, he was a grandfather of Honoré d'Albert de Luynes, 10th Duke of Luynes (1868–1924), who married Simone Louise Laure de Crussol d'Uzes (a daughter of Emmanuel de Crussol, 12th Duke of Uzès and Anne de Rochechouart de Mortemart, who inherited a large fortune from her great-grandmother, Madame Clicquot Ponsardin, founder of Veuve Clicquot); and Yolande Louise Marie Valentine d'Albert de Luynes (1870–1952), who married Adrien de Noailles, 8th Duke of Noailles (a son of Jules Charles Victurnien de Noailles, 7th Duke of Noailles).

Through his son Armand, he was a grandfather of Sosthènes III de La Rochefoucauld (1897–1970), 6th Duke of Doudeauville, who married Countess Leonor de Saavedra of Torrehermosa; and Armand Charles François Marie de La Rochefoucauld (1902–1995), 7th Duke of Doudeauville, who married Esther Millicent Clarke (and had a natural son with Clémentine Elisabeth Brandt).

Through his youngest son Édouard, he was a grandfather of Marie-Carmen de La Rochefoucauld (1902–1999), who married Count of Mailly-Nesles; Count Stanislas of La Rochefoucauld (1903–1965), who married Sophie Alice Cocea and Princess Jeanne Princess of San Felice de Viggiano; and Elisabeth de La Rochefoucauld (1909–2006), who married Elliot Robert Le Gras du Luart de Montsaulnin and Mario Fausto Maria Pinci.

Notes Sources  1. *Annuaire historique et biographique des souverains, des chefs et membres des maisons princières, des autres maisons nobles, et des anciennes familles, et principalement des hommes d'État, des membres des chambres législatives, du clergé, des hommes de guerre, des magistrats et des hommes de science de toutes les nations* (in French). Direction. 1844. p. 126. Retrieved 17 June 2024.
2. Tellier, Luc-Normand (1987). *Face Aux Colbert: Les le Tellier, Vauban, Turgot... et L'Avènement du Libéralisme* (in French). PUQ. p. 701. ISBN 978-2-7605-2289-3. Retrieved 17 June 2024.
3. Hoey, Mrs. C. (1878). *The Life of Madame de la Rochefoucauld, Duchesse de Doudeauville*. Retrieved 17 June 2024.
4. *Notice historique et généalogique sur la maison Chapt de Rastignac: Publiée par la famille* (in French). A. Wittersheim. 1858. p. 131. Retrieved 17 June 2024.
5. Dorothée, Dino (16 March 2021). *Memoirs of the Duchesse De Dino (Afterwards Duchesse de Talleyrand et de Sagan), 1841-1850*. Litres. p. 460. ISBN 978-5-04-075685-8. Retrieved 17 June 2024.
6. *Annuaire de la noblesse de France et des maisons souveraines de l'Europe* (in French). Champion. 1867. p. 101. Retrieved 17 June 2024.
7. "The Duke of Luynes". *The New York Times*. 15 March 1924. Retrieved 9 November 2020.
8. Ruvigny and Raineval (9th marquis of), Melville Amadeus Henry Douglas Heddle de La Caillemotte de Massue de Ruvigny (1914). *The Titled Nobility of Europe: An International Peerage, Or "Who's Who", of the Sovereigns, Princes and Nobles of Europe*. Harrison & Sons. p. 960. Retrieved 26 June 2020.`{{cite book}}`: CS1 maint: numeric names: authors list (link)
9. Vassor, Bernard (2008-07-08). "Duchess of Uzes, NEE Adrienne Marie-Anne-Clementine Victurnienne ROCHECHOUART-MORTEMART". Retrieved 2015-03-27.
10. "Duchess D'Uzes". *The New York Times*. 10 September 1966. Retrieved 26 June 2020.
11. Martin, Georges (1993). *Histoire et généalogie de la maison de Noailles*.

## InfoBox

| Sosthène II de La Rochefoucauld | |
| --- | --- |
| *Portrait of Sosthènes II, by Léon Bonnat, 1899* | |
|  | |
| Ambassador of France to the United Kingdom | |
| **In office**
1873–1874 | |
| Preceded by | Louis Decazes |
| Succeeded by | Georges d'Harcourt-Olonde |
|  | |
| Personal details | |
| Born | Marie-Charles-Gabriel-Sosthène de La Rochefoucauld
(1825-09-01)1 September 1825
Paris, France |
| Died | 27 August 1908(1908-08-27) (aged 82)
Bonnétable, Sarthe, France |
| Spouse(s) | Princess Yolande of Polignac
(m. 1848; died 1855)
Princess Marie of Ligne
(m. 1862; died 1908) |
| Parent(s) | Sosthènes I de La Rochefoucauld
Elisabeth de Montmorency Laval |
|  | |


title: 2021–22 Kaohsiung Steelers season

abstract: The 2021–22 Kaohsiung Steelers season was the franchise's 1st season, its first season in the P. LEAGUE+ (PLG), its 1st in Kaohsiung City. The Steelers are coached by DeMarcus Berry in his first year as head coach. On March 19, head coach DeMarcus Berry was fired after a seven straight loss, he was replaced by assistant coach Hung Chi-Chao on an interim basis.

text:
# 2021–22 Kaohsiung Steelers season

The **2021–22 Kaohsiung Steelers season** was the franchise's 1st season, its first season in the P. LEAGUE+ (PLG), its 1st in Kaohsiung City. The Steelers are coached by DeMarcus Berry in his first year as head coach.

On March 19, head coach DeMarcus Berry was fired after a seven straight loss, he was replaced by assistant coach Hung Chi-Chao on an interim basis.

## Draft

| Round | Pick | Player | Position | Status | School/club team |
| --- | --- | --- | --- | --- | --- |
| 1 | 2 | Chen Yu-Wei | G | Local | NTNU |
| 1 | 5 | Lin Jyun-Hao | F | Local | NTUA |
| 1 | 8 | Lan Shao-Fu | C | Local | NTSU |
| 2 | 9 | Liu Chun-Ting | F | Local | UCH |
| 3 | 13 | Cheng Te-Wei | F | Local | SHU |
| 4 | 15 | Matthew Yang | G | Overseas Chinese | Taichung Dreamers Academy |
| 5 | 16 | Austin Derrick | C | Foreign Student | UCH |

The Steelers acquired 2021 first-round draft pick from Formosa Taishin Dreamers in exchange for $500000 cash considerations. The second rounder, Liu Chun-Ting had joined Tainan TSG GhostHawks of the T1 League.

## Standings

| Team | GP | W | L | PCT |
| --- | --- | --- | --- | --- |
| **z**Hsinchu JKO Lioneers | 30 | 20 | 10 | .667 |
| **x**Formosa Taishin Dreamers | 30 | 19 | 11 | .633 |
| **x**Taipei Fubon Braves | 30 | 18 | 12 | .600 |
| **x**New Taipei Kings | 30 | 16 | 14 | .533 |
| Kaohsiung Steelers | 29 | 9 | 20 | .310 |
| Taoyuan Pilots | 29 | 7 | 22 | .241 |

## Roster

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

| 2021–22 Kaohsiung Steelers roster | |
| --- | --- |
| Players | Coaches |
| Pos. No. Nat. Name Ht. Wt. DOB (YYYY-MM-DD) From  0  Austin Derrick 1.95 m (6 ft 5 in) 115 kg (254 lb)  29 – (1995-07-31)31 July 1995 Chien Hsin Tech  4  Chen Yu-Wei 1.83 m (6 ft 0 in) 85 kg (187 lb)  24 – (1999-12-29)29 December 1999 NTNU  6  Chou Yi-Hsiang 1.91 m (6 ft 3 in) 99 kg (218 lb)  33 – (1991-02-04)4 February 1991 SLCC  7  Chang Po-Wei **(S)** 1.90 m (6 ft 3 in) 90 kg (198 lb)  34 – (1990-07-22)22 July 1990 NTUA  8  Wang Lu-Hsiang 1.85 m (6 ft 1 in) 82 kg (181 lb)  26 – (1997-12-21)21 December 1997 CCUT  10  Wang Po-Chih 1.95 m (6 ft 5 in) 130 kg (287 lb)  27 – (1996-10-29)29 October 1996 NTSU  11  Lin Jyun-Hao 1.93 m (6 ft 4 in) 88 kg (194 lb)  26 – (1998-01-18)18 January 1998 NTUA  12  Cheng Te-Wei 1.93 m (6 ft 4 in) 98 kg (216 lb)  29 – (1995-10-08)8 October 1995 SHU  13  Lu Cheng-Ju **(C)** 1.94 m (6 ft 4 in) 93 kg (205 lb)  38 – (1986-04-13)13 April 1986 TPEC  15  Lu Che-Yi 1.87 m (6 ft 2 in) 83 kg (183 lb)  31 – (1993-07-15)15 July 1993 I-Shou  20  Anthony Bennett **(I)** 2.03 m (6 ft 8 in) 111 kg (245 lb)  31 – (1993-03-14)14 March 1993 UNLV  23  Lan Shao-Fu 1.95 m (6 ft 5 in) 100 kg (220 lb)  27 – (1997-03-21)21 March 1997 NTSU  24  Taylor Braun **(I)** 2.01 m (6 ft 7 in) 95 kg (209 lb)  33 – (1991-07-06)6 July 1991 North Dakota State  30   Matthew Yang 1.87 m (6 ft 2 in) 90 kg (198 lb)  28 – (1995-10-20)20 October 1995 UCLA  34  Keith Benson **(I)** 2.11 m (6 ft 11 in) 107 kg (236 lb)  36 – (1988-08-13)13 August 1988 Oakland  63  Peng Chun-Yen 1.83 m (6 ft 0 in) 81 kg (179 lb)  34 – (1989-12-05)5 December 1989 MingDao | Head coach Assistant coach(es) Strength & conditioning coach(es)* Chen Sheng-Chuan  Athletic trainer(s)* Bao Chun-Hsin * An Che-Wei (assistant)  Team manager* Shen Chiu-Chan  ---  Legend * **(C)** Team captain * **(I)** Import player * **(S)** Suspended * Injured  ---  Updated: 28 April, 2022 |

## Game log

### Preseason

2021 preseason game log
Total: 1-2 (Home: 1–1; Road: 0–1)
| Game | Date | Team | Score | High points | High rebounds | High assists | Location
Attendance | Record |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | November 13 | Formosa Taishin Dreamers | L 89-102 | Lu Cheng-Ju (17) | Cheng Te-Wei (7)
Lan Shao-Fu (7) | Chen Yu-Wei (6) | Fengshan Arena
4,125 | 0-1 |
| 2 | November 14 | Taipei Fubon Braves | W 95-89 | Lu Cheng-Ju (35) | Chen Yu-Wei (9) | Chen Yu-Wei (6)
Wang Lu-Hsiang (6)
Peng Chun-Yen (6) | Fengshan Arena
4,866 | 1-1 |
| 3 | November 21 | @New Taipei Kings | L 82-100 | Chen Yu-Wei (18) | Lin Jyun-Hao (9) | Cheng Te-Wei (3)
Lu Cheng-Ju (3) | National Taiwan University Sports Center
3,087 | 1-2 |

### Regular season

2021–22 regular season game log
Total: 9-20 (Home: 5–10; Road: 4–10)
| Game | Date | Team | Score | High points | High rebounds | High assists | Location
Attendance | Record |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | December 5 | @Taipei Fubon Braves | L 82-107 | Anthony Tucker (17)
Keith Benson (17) | Keith Benson (15) | Anthony Tucker (9) | Taipei Heping Basketball Gymnasium
6,062 | 0-1 |
| 2 | December 12 | @Hsinchu JKO Lioneers | L 95-105 | Anthony Tucker (21) | Keith Benson (10) | Anthony Tucker (7) | Hsinchu County Stadium
4,657 | 0-2 |
| 3 | December 18 | @Taoyuan Pilots | W 84-64 | Keith Benson (27) | Keith Benson (17) | Anthony Tucker (8) | NTSU Arena
3,288 | 1-2 |
| 4 | December 25 | Formosa Taishin Dreamers | L 104-106 | Anthony Tucker (27) | Taylor Braun (12) | Anthony Tucker (10) | Fengshan Arena
5,013 | 1-3 |
| 5 | December 26 | Taoyuan Pilots | L 70-86 | Keith Benson (18) | Keith Benson (18) | Chen Yu-Wei (3) | Fengshan Arena
3,229 | 1-4 |
| 6 | January 8 | @Hsinchu JKO Lioneers | W 98-97 | Wang Po-Chih (25) | Keith Benson (9) | Taylor Braun (11) | Hsinchu County Stadium
4,234 | 2-4 |
| 7 | January 14 | Taoyuan Pilots | L 94-101 | Keith Benson (28) | Keith Benson (12) | Taylor Braun (9) | Fengshan Arena
3,011 | 2-5 |
| 8 | January 16 | @Formosa Taishin Dreamers | L 82-89 | Anthony Tucker (22) | Taylor Braun (14) | Chen Yu-Wei (5) | Intercontinental Basketball Stadium
3,000 | 2-6 |
| 9 | January 21 | Hsinchu JKO Lioneers | W 105-92 | Lu Cheng-Ju (32) | Keith Benson (14) | Chen Yu-Wei (10)
Taylor Braun (10) | Fengshan Arena
3,952 | 3-6 |
| 10 | January 23 | Taipei Fubon Braves | W 94-82 | Keith Benson (21) | Keith Benson (9)
Taylor Braun (9) | Taylor Braun (11) | Fengshan Arena
4,798 | 4-6 |
| 11 | February 13 | @Formosa Taishin Dreamers | L 68-74 | Lu Cheng-Ju (16) | Keith Benson (13) | Taylor Braun (6) | Intercontinental Basketball Stadium
3,000 | 4-7 |
| 12 | February 19 | Taipei Fubon Braves | L 87-106 | Keith Benson (19) | Keith Benson (18) | Chen Yu-Wei (7) | Fengshan Arena
4,382 | 4-8 |
| 13 | February 20 | New Taipei Kings | L 70-100 | Keith Benson (21) | Keith Benson (18) | Chen Yu-Wei (5) | Fengshan Arena
4,018 | 4-9 |
| PPD | February 27 | @New Taipei Kings | **Postponed** | | | | | |
| 14 | March 5 | @Hsinchu JKO Lioneers | L 87-97 | Anthony Bennett (20) | Keith Benson (12) | Peng Chun-Yen (9) | Hsinchu County Stadium
6,035 | 4-10 |
| 15 | March 12 | Hsinchu JKO Lioneers | L 95-103 | Lu Cheng-Ju (23) | Anthony Bennett (18) | Chen Yu-Wei (9) | Fengshan Arena
4,325 | 4-11 |
| 16 | March 13 | New Taipei Kings | L 93-98 | Anthony Bennett (29) | Anthony Bennett (15) | Chen Yu-Wei (10) | Fengshan Arena
4,123 | 4-12 |
| 17 | March 18 | @Taipei Fubon Braves | L 91-111 | Manny Harris (40) | Manny Harris (10) | Manny Harris (5) | Taipei Heping Basketball Gymnasium
5,875 | 4-13 |
| 18 | March 20 | @Formosa Taishin Dreamers | L 88-109 | Manny Harris (32) | Keith Benson (12) | Chen Yu-Wei (9) | Intercontinental Basketball Stadium
3,000 | 4-14 |
| 19 | March 26 | Formosa Taishin Dreamers | W 95-80 | Chen Yu-Wei (29) | Manny Harris (14) | Chou Yi-Hsiang (4) | Fengshan Arena
4,812 | 5-14 |
| 20 | March 27 | Hsinchu JKO Lioneers | L 96-107 | Manny Harris (30) | Anthony Bennett (20) | Chen Yu-Wei (6) | Fengshan Arena
4,532 | 5-15 |
| 21 | April 2 | @New Taipei Kings | L 94-105 | Anthony Bennett (36) | Anthony Bennett (13) | Taylor Braun (10) | Xinzhuang Gymnasium
4,333 | 5-16 |
| 22 | April 4 | @Taipei Fubon Braves | L 97-113 | Taylor Braun (27) | Taylor Braun (17) | Taylor Braun (11) | Taipei Heping Basketball Gymnasium
5,955 | 5-17 |
| 23 | April 10 | @Taoyuan Pilots | W 107-102 | Anthony Bennett (39) | Anthony Bennett (19) | Chen Yu-Wei (7)
Taylor Braun (7) | Taoyuan Arena
1,936 | 6-17 |
| 24 | April 16 | Taoyuan Pilots | L 104-106(OT) | Taylor Braun (29) | Taylor Braun (12) | Taylor Braun (6) | Fengshan Arena
2,137 | 6-18 |
| 25 | April 17 | Taipei Fubon Braves | L 87-109 | Lu Cheng-Ju (21) | Anthony Bennett (14) | Taylor Braun (6) | Fengshan Arena
4,563 | 6-19 |
| 26 | April 24 | @New Taipei Kings | W 101-92 | Anthony Bennett (37) | Anthony Bennett (19) | Taylor Braun (11) | Xinzhuang Gymnasium
2,012 | 7-19 |
| 27 | April 30 | New Taipei Kings | W 100-80 | Anthony Bennett (28) | Anthony Bennett (20) | Taylor Braun (6) | Fengshan Arena
3,215 | 8-19 |
| 28 | May 1 | Formosa Taishin Dreamers | W 120-103 | Anthony Bennett (35) | Anthony Bennett (13) | Taylor Braun (9) | Fengshan Arena
2,843 | 9-19 |
| PPD | May 7 | @Taoyuan Pilots | **Postponed** | | | | | |
| 29 | May 14 | @New Taipei Kings | L 76-106 | Taylor Braun (17) | Taylor Braun (12) | Taylor Braun (12) | Xinzhuang Gymnasium
2,194 | 9-20 |
| PPD | May 16 | @Taoyuan Pilots | **Postponed** | | | | | |

## Player statistics

| Legend | | | | | |
| --- | --- | --- | --- | --- | --- |
| GP | Games played | MPG | Minutes per game | 2P% | 2-point field goal percentage |
| 3P% | 3-point field goal percentage | FT% | Free throw percentage | RPG | Rebounds per game |
| APG | Assists per game | SPG | Steals per game | BPG | Blocks per game |
| PPG | Points per game |  | Led the league |
|

### Regular season

| Player | GP | MPG | PPG | 2P% | 3P% | FT% | RPG | APG | SPG | BPG |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Austin Derrick | 10 | 06:32 | 1.80 | 45.00% | 0.00% | 0.00% | 2.20 | 0.30 | 0.20 | 0.20 |
| Anthony Tucker | 6 | 41:25 | 20.17 | 50.91% | 27.69% | 55.00% | 8.83 | 6.50 | 2.00 | 0.00 |
| Manny Harris | 4 | 40:27 | 29.25 | 47.06% | 26.47% | 91.30% | 9.50 | 3.50 | 3.00 | 0.50 |
| Chen Yu-Wei | 28 | 38:33 | 13.04 | 45.42% | 31.00% | 72.97% | 4.25 | 5.14 | **2.25** | 0.32 |
| Chou Yi-Hsiang | 9 | 40:50 | 12.56 | 40.43% | 28.99% | 68.18% | 4.89 | 3.00 | 1.00 | 0.00 |
| Chang Po-Wei | *Did not play* | | | | | | | | | |
| Wang Lu-Hsiang | 23 | 19:43 | 5.83 | 42.59% | 30.00% | 100.00% | 1.48 | 0.87 | 0.43 | 0.04 |
| Wang Po-Chih | 20 | 18:26 | 6.50 | 41.56% | 37.78% | 60.00% | 4.10 | 1.05 | 0.30 | 0.20 |
| Lin Jyun-Hao | 22 | 08:19 | 1.64 | 41.67% | 8.33% | 50.00% | 1.32 | 0.32 | 0.23 | 0.18 |
| Cheng Te-Wei | 17 | 16:12 | 3.35 | 29.55% | 27.27% | 44.44% | 2.59 | 0.82 | 1.06 | 0.18 |
| Lu Cheng-Ju | 23 | 38:27 | 16.30 | 48.48% | 30.18% | 62.16% | 3.78 | 2.30 | 1.35 | 0.52 |
| Lu Che-Yi | 26 | 16:31 | 5.15 | 36.84% | 31.31% | 72.22% | 3.08 | 1.23 | 0.81 | 0.12 |
| Anthony Bennett | 13 | 34:46 | 25.23 | 60.93% | 31.63% | 78.46% | 14.08 | 1.77 | 1.38 | 1.08 |
| Lan Shao-Fu | 24 | 18:54 | 6.96 | 43.16% | 35.29% | 61.90% | 3.08 | 0.38 | 0.46 | 0.29 |
| Taylor Braun | 17 | 39:56 | 14.41 | 43.16% | 36.04% | 72.50% | 9.94 | 8.41 | 1.88 | 0.24 |
| Matthew Yang | 11 | 06:48 | 1.36 | 33.33% | 15.38% | 50.00% | 1.45 | 0.18 | 0.36 | 0.00 |
| Keith Benson | 15 | 34:08 | 18.00 | 53.24% | 11.11% | 50.75% | 13.47 | 1.27 | 1.07 | 0.87 |
| Peng Chun-Yen | 17 | 17:19 | 2.29 | 34.78% | 20.00% | 41.67% | 2.59 | 2.71 | 1.35 | 0.00 |

## Transactions

### Trades

### Free Agency

#### Additions

| Date | Player | Contract terms | Former Team | Ref. |
| --- | --- | --- | --- | --- |
| June 25, 2021 | Anthony Tucker |  | Formosa Taishin Dreamers |  |
| June 28, 2021 | Wang Po-Chih |  | Formosa Taishin Dreamers |  |
| July 1, 2021 | Chang Po-Wei |  | Taipei Fubon Braves |  |
| July 13, 2021 | Lu Cheng-Ju | 3-year contract, worth unknown | Yulon Luxgen Dinos |  |
| August 11, 2021 | Chen Yu-Wei |  | NTNU Master |  |
| August 16, 2021 | Lin Jyun-Hao |  | NTUA Sharks |  |
| August 18, 2021 | Cheng Te-Wei |  | SHU Tigers |  |
| August 23, 2021 | Lan Shao-Fu |  | NTSU |  |
| August 25, 2021 | Matthew Yang |  | Taichung Dreamers Academy |  |
| September 16, 2021 | Austin Derrick |  | UCH |  |
| October 1, 2021 | Keith Benson |  | BC Levski Sofia |  |
| October 15, 2021 | Lu Che-Yi |  | Hsinchu JKO Lioneers |  |
| October 26, 2021 | Taylor Braun |  | Maccabi Haifa B.C. |  |
| February 9, 2022 | Anthony Bennett |  | Hapoel Jerusalem B.C. |  |
| February 16, 2022 | Chou Yi-Hsiang |  | Beijing Ducks |  |
| March 2, 2022 | Manny Harris |  | AEK B.C. |  |
|

#### Subtractions

| Date | Player | Reason | New Team | Ref. |
| --- | --- | --- | --- | --- |
| February 8, 2022 | Anthony Tucker | released | Taichung Wagor Suns |  |
| April 1, 2022 | Manny Harris | injury | Kaohsiung Steelers |  |
|

## Awards

### End-of-Season Awards

| Recipient | Award | Ref. |
| --- | --- | --- |
| Chen Yu-Wei | Steals Leader |  |
| | PLG All-Defensive Team |  |
| | Rookie of the Year |  |
| | All-PLG Team |  |
| Lu Cheng-Ju | All-PLG Team |  |
|

### Players of the Month

| Recipient | Award | Month awarded | Ref. |
| --- | --- | --- | --- |
| Lu Cheng-Ju | January Most Valuable Player | January |  |

### Players of the Week

| Week | Recipient | Date awarded | Ref. |
| --- | --- | --- | --- |
| Preseason | Lu Cheng-Ju | November 13 - November 14 |  |
| Week 6 | Wang Po-Chih | January 7 - January 9 |  |
| Week 8 | Lu Cheng-Ju | January 21 - January 23 |  |
| Week 20 | Chen Yu-Wei | April 29 - May 1 |  |

1. "PLG第3位洋教頭 高雄鋼鐵人總教練曾執教老鷹G聯盟". *SET News*. June 11, 2021. Retrieved July 4, 2021.
2. "鋼鐵人解除總教練貝瑞職務 總教練由洪啟超暫代". *P. LEAGUE+*. March 19, 2022. Retrieved March 19, 2022.
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5. "PLG／因應世界盃資格賽與疫情 2月份8場賽事延期". *United Daily News*. January 19, 2022. Retrieved January 19, 2022.
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8. "球員酒駕事件 球團公布懲處". *P. LEAGUE+*. September 1, 2021. Retrieved September 4, 2021.
9. "球員酒駕事件 聯盟開罰張伯維新臺幣50萬元及公益勞動服務". *P. LEAGUE+*. September 2, 2021. Retrieved September 4, 2021.
10. "2021-22 球員數據 | P. League+".
11. "PLG》首樁球員交易案出爐！ 鋼鐵人用選秀權換來領航猿彭俊諺". *Liberty Times Net*. October 21, 2021. Retrieved October 21, 2021.
12. "PLG／轉戰高雄鋼鐵人 王律翔期待合體金華幫". *United Daily News*. October 27, 2021. Retrieved October 27, 2021.
13. "雄親上課了！ 塔克老師新賽季將披鋼鐵戰袍 相約高雄見". *P. LEAGUE+*. June 25, 2021. Retrieved July 4, 2021.
14. "「鋼鐵坦克」王柏智正式入港 期望鞏固高雄鋼鐵人禁區". *P. LEAGUE+*. June 28, 2021. Retrieved July 4, 2021.
15. "本土陣容持續補強 張伯維正式加入高雄鋼鐵人鋒線". *P. LEAGUE+*. July 1, 2021. Retrieved July 4, 2021.
16. "PLG／呂政儒加盟鋼鐵人 盼與塔克打造浪花兄弟". *United Daily News*. July 13, 2021. Retrieved July 13, 2021.
17. "鋼鐵人正式簽下陳又瑋 PLG榜眼大物降臨港都". *ETtoday*. August 11, 2021. Retrieved August 11, 2021.
18. "PLG》生涯首度南漂 林均濠跟高雄鋼鐵人簽約完成". *China Times*. August 16, 2021. Retrieved August 16, 2021.
19. "高雄鋼鐵人正式與鄭德維簽約 鋼鐵魔獸重返南台灣". *P. LEAGUE+*. August 18, 2021. Retrieved August 18, 2021.
20. "PLG》報名三聯盟選秀 藍少甫加盟鋼鐵人". *Liberty Times Net*. August 23, 2021. Retrieved August 23, 2021.
21. "高雄鋼鐵人正式與楊浩之簽約 素人拚上職業美夢成真". *P. LEAGUE+*. August 25, 2021. Retrieved August 25, 2021.
22. "PLG／鋼鐵人補強 聖文森籍戴瑞騰正式加盟". *United Daily News*. September 16, 2021. Retrieved September 16, 2021.
23. "高雄鋼鐵人補進前金州勇士中鋒 班森資歷豐富被看好宰制PLG". *ETtoday*. October 1, 2021. Retrieved October 1, 2021.
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25. "P聯盟／高雄鋼鐵人第三洋將就定位 布朗完成簽約". *NOWnews*. October 26, 2021. Retrieved October 26, 2021.
26. "虎年開春震撼彈！ NBA選秀狀元Anthony Bennett加盟高雄鋼鐵人". *P. LEAGUE+*. February 9, 2022. Retrieved February 9, 2022.
27. "遲來的情人節禮物 獻上大驚喜！ 周儀翔將返台加盟 高雄鋼鐵人如虎添翼". *P. LEAGUE+*. February 16, 2022. Retrieved February 16, 2022.
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40. "Facebook Post". *Facebook*. May 3, 2022. Retrieved May 3, 2022.

## InfoBox

Kaohsiung Steelers
| 2021–22 season | |
| --- | --- |
| President | Huang Che-Kuan |
| General Manager | Chang Chih-Yen |
| Head Coach | DeMarcus Berry (fired)
Hung Chi-Chao (interim)
Slavoljub Gorunovic (interim) |
| Arena | Fengshan Arena |
| P. League+ | 9-20(.310) |
| Scoring leader | Lu Cheng-Ju(16.30) |
| Rebounding leader | Chen Yu-Wei(4.25) |
| Assists leader | Chen Yu-Wei(5.14) |
| Highest home attendance | 5,013
(December 25, 2021) |
| Lowest home attendance | 2,137
(April 16, 2022) |
| Average home attendance | 3,930 |
| Biggest win | Steelers 84-64 Pilots
(December 18, 2021)
Steelers 100-80 Kings
(April 30, 2022) |
| Biggest defeat | Steelers 70-100 Kings
(February 20, 2022)
Steelers 76-106 Kings
(May 14, 2022) |
|  | |
| All statistics correct as of May 29, 2022. | |


title: Journal of Cognitive Psychotherapy

abstract: The Journal of Cognitive Psychotherapy is a quarterly peer-reviewed academic journal covering cognitive behavioral therapy. It is published by Springer Publishing. It was formed by the merger of Cognitive Behaviorist and British Journal of Cognitive Psychotherapy.

text:
# Journal of Cognitive Psychotherapy

The ***Journal of Cognitive Psychotherapy*** is a quarterly peer-reviewed academic journal covering cognitive behavioral therapy. It is published by Springer Publishing. It was formed by the merger of ***Cognitive Behaviorist*** and ***British Journal of Cognitive Psychotherapy***.

## InfoBox

*Journal of Cognitive Psychotherapy*
| Discipline | Psychotherapy |
| --- | --- |
| Language | English |
| Edited by | Eric A. Storch |
| Publication details | |
| Former name(s) | Cognitive Behaviorist, British Journal of Cognitive Psychotherapy |
| History | 1987–present |
| Publisher | Springer Publishing |
| Frequency | Quarterly |
| Standard abbreviations
 | |
| ISO 4 | *J. Cogn. Psychother.* |
| Indexing
 | |
| ISSN | 0889-8391 (print)
1938-887X (web)
 |
| Links | |
|  | |


title: Sinatra Sings of Love and Things

abstract: Sinatra Sings... of Love and Things is an album by Frank Sinatra, released in 1962. This is the fifth compilation of Capitol singles and B-sides. All songs are available in the box set The Complete Capitol Singles Collection, except "I Gotta Right to Sing the Blues", the final song Sinatra recorded for Capitol and "The Nearness of You", which appears as a bonus track on the CD reissue of Nice 'n' Easy. The album has also been issued in the U.K. as part of the 21-CD box set The Capitol Years. There is an error on the back cover of the original 1962 LP. The very top line states "Twelve great performances never before available in an album!", when actually, the closing tune "Something Wonderful Happens in Summer" appears on the 1958 compilation LP This Is Sinatra! Volume Two.

text:
# Sinatra Sings of Love and Things

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

***Sinatra Sings... of Love and Things*** is an album by Frank Sinatra, released in 1962.

This is the fifth compilation of Capitol singles and B-sides. All songs are available in the box set *The Complete Capitol Singles Collection*, except "I Gotta Right to Sing the Blues", the final song Sinatra recorded for Capitol (which appears as a bonus track on the CD reissue of *Come Swing with Me!*) and "The Nearness of You", which appears as a bonus track on the CD reissue of *Nice 'n' Easy*. (It was recorded at those sessions.) The album has also been issued in the U.K. as part of the 21-CD box set *The Capitol Years*. There is an error on the back cover of the original 1962 LP. The very top line states "Twelve great performances never before available in an album!", when actually, the closing tune "Something Wonderful Happens in Summer" appears on the 1958 compilation LP *This Is Sinatra! Volume Two*.

## Track listing

1. "The Nearness of You" (Hoagy Carmichael, Ned Washington) - 2:44
2. "Hidden Persuasion" (Wainwright Churchill III) - 2:26
3. "The Moon Was Yellow" (Fred E. Ahlert, Edgar Leslie) - 3:02
4. "I Love Paris" (Cole Porter) - 1:52
5. "Monique" (Sammy Cahn, Elmer Bernstein) - 3:18
6. "Chicago" (Fred Fisher) - 2:12
7. "Love Looks So Well on You" (Lew Spence, Marilyn Keith, Alan Bergman) - 2:41
8. "Sentimental Baby" (Spence, Keith, Bergman) - 2:38
9. "Mr. Success" (Frank Sinatra, Edwin Greines, Hank Sanicola) - 2:42
10. "They Came to Cordura" (Sammy Cahn, Jimmy Van Heusen) - 3:02
11. "I Gotta Right to Sing the Blues" (Harold Arlen, Ted Koehler) - 3:00
12. "Something Wonderful Happens in Summer" (Joe Bushkin, John DeVries) - 3:12

## Personnel

## InfoBox

| Sinatra Sings of Love and Things | |
| --- | --- |
|  | |
| Compilation album by Frank Sinatra | |
| Released | July 2, 1962 |
| Recorded | August 13, 1957–March 6, 1962, Hollywood |
| Genre |  |
| Length | 32:59 |
| Label | Capitol
W 1729 |
| Frank Sinatra chronology | |
| *Sinatra and Swingin' Brass*
(1962) ***Sinatra Sings of Love and Things***
(1962) *All Alone*
(1962) | |


title: Eyeless in Gaza (band)

abstract: Eyeless In Gaza is an English musical duo of Martyn Bates and Peter Becker, based in Nuneaton, Warwickshire. They have described their music as "veer[ing] crazily from filmic ambiance to rock and pop, industrial funk to avant-folk styles." Formed in 1980, the group went into hiatus in 1987, re-emerging in 1993.

text:
# Eyeless in Gaza (band)

**Eyeless In Gaza** is an English musical duo of Martyn Bates and Peter Becker, based in Nuneaton, Warwickshire. They have described their music as "veer\[ing\] crazily from filmic ambiance to rock and pop, industrial funk to avant-folk styles." Formed in 1980, the group went into hiatus in 1987, re-emerging in 1993.

## History

### 1979-1982: avant-garde beginnings

Martyn Bates had grown up in Bedworth, England, in a staunchly Methodist family with "undercurrents of magic", and had listened to folk music from an early age, subsequently being inspired by the first wave of post-punk. He was in a very early lineup of the Coventry-based band Reluctant Stereotypes, and also released a cassette of experimental electronic music in 1979 under the name of Migraine Inducers. Peter Becker had played in a covers band before buying and experimenting with a Wasp synthesizer (he released a solo cassette-album in June 1980 and a second a year later).

Bates was working as a hospital porter and Becker as a laboratory technician when the two met, having simultaneously been turned down for membership in the Nuneaton band Bron Area. They began making music together as Eyeless in Gaza in February 1980. and with both contributing vocals and multiple instruments. The band name is a reference to the novel *Eyeless In Gaza* by Aldous Huxley (which in turn was influenced by John Milton's *Samson Agonistes*).

Early sessions resulted in the tracks included on their first EP, *Kodak Ghosts Run Amok*, which they pressed, packaged and marketed entirely by themselves, inspired by the manufacturing and promotion instructions provided on Scritti Politti's *Skank Bloc Bologna* EP. Bates later acknowledged their origin as a band from the "independent scene". Within a year Eyeless in Gaza had recorded two albums and set up their own record label, Ambivalent Scale, in order to release limited edition cassettes of assorted solo works, other local Nuneaton groups and each member's separate collaborations with other musicians. (Both Becker and Bates released solo albums on cassettes between 1979 and 1981.)

Following the release of "Kodak Ghosts Run Amok", Eyeless in Gaza signed to Cherry Red Records, releasing their debut album *Photographs as Memories* in February 1981. Briefly intended to feature with Classix Nouveaux, Theatre of Hate, Shock, and Naked Lunch in the 2002 Review package tour of that year, they decided to pull out, having decided that "futurism (was) not for Eyeless in Gaza." For the next two years, they would pursue a resolutely independent path of their own as regards both recording and playing live, and deliberately retaining their day jobs.

The duo became known for their unconventional arrangements and instrumentation (which sometimes included toy instruments for reasons of cheapness and sonic effectiveness) and for Bates' passionate vocals, which at times were howled, whispered, or stammered. Bates would later reflect that the early music and his singing style was a way of liberating the rage and hostility he had within him. Becker would later recall that "the music was always constantly changing in style: punk, thrashy, atmospheric, ambient, dense, sparse, folky, poppy and even a tinge of avant-garde."

The second Eyeless in Gaza album, *Caught in Flux* was released in September 1981 to some highly positive reviews in the British music press. The original pressing included a bonus five track EP (*The Eyes Of Beautiful Losers*).

Eyeless in Gaza would release two further EPs in 1981, *Invisibility* and *Others*. By the end of the year, they had completed their third album, *Pale Hands I Loved So Well*, which was released by the Norwegian label Uniton in 1982: in contrast to previous works it was (as described by Dave Henderson in *Sounds*) an album of "short but effective soundtracks; not for films but for everyday life.", it received less pośitive reviews by other critics. Despite this productivity on record, during this period the duo would also perform numerous songs in live concerts which were never released on records. In 1982, Bates would release his first full-release solo album on 10 inch vinyl, *Letters Written*.

1982's *Drumming the Beating Heart* (released, like the first two albums, on Cherry Red) saw Eyeless in Gaza refining their sound and attracting broader coverage. In a mixed critical response, one critic compared the band to "a more harrowing version of OMD". A single from the album - the electro-soul influenced "Veil Like Calm" was issued in October 1982. In the same year the band recorded *The Home Produce/Country Bizarre*, a split album with Lol Coxhill released on limited edition cassette via the Tago Mago label.

### 1983-1987: shift towards pop

By the time of the "New Risen" single (released in May 1983) and its parent album *Rust Red September* (July 1983), Eyeless in Gaza had become concerned that their initial uncompromising stance had "alienated a lot of people" and had begun to make concessions towards a more pop-oriented direction. Bates would begin to adopt a gentler singing style as part of this, and physical aspects of his earlier singing style was another reason for this. More of this new approach was evident on the 1984 EP *Sun Bursts In*, which brought comparisons to contemporary pop optimist Howard Jones (as well as an unlikely Single of the Week accolade from Joe Leeway of Thompson Twins).

For their 1985 single "Welcome Now" the band employed Aztec Camera's drummer Dave Ruffy: this song would in turn appear on the final album of the band's early years, 1986's *Back from the Rains*, for which former Sinatras/In Embrace drummer Joby Palmer was recruited, as was Bates' longtime girlfriend Elizabeth S. (who served as backing singer). In the same year, the band acquired a manager for the first time and toured with Depeche Mode., but in spite of this opportunity and the band's embracing of the option of a pop career, no major label deal emerged.

In 1989, Bates would recall that both he and Becker had seemed to feel that the band had peaked with the title track of *Back to the Rain* and no longer needed to continue. "Recording that song was one of my proudest moments with Gaza. The track was just so wonderful it seemed to epitomize everything that Peter and I thought was wonderful about music. It was almost, "well, we’ve done it now, we can finish the group." It wasn't intended that way, but it was a good, full stop." Four years later, Becker would recall things differently, stating that the band had broken up due to frustration with their failure to advance their career.

Eyeless in Gaza played their final gig in Reus, Spain in 1987, with the concert being filmed for Spanish TV. Cherry Red released the retrospective collection *Kodak Ghosts Run Amok-–Chronological Singles, etc., 1980-86* in 1987.

### 1987-1992: hiatus

Following the split, Becker married and temporarily relocated to Spain. Bates and Elizabeth S. were also married by this point, and Bates had begun concentrating on solo work. Between 1987 and 1990, he would release three folk-based solo albums, *The Return of the Quiet*, *Love Smashed on a Rock* and *Letters to a Scattered Family*.

In 1990, Bates and Becker reunited to collaborate on what was in effect a new Eyeless In Gaza epic, "Glow of Sight", for inclusion at the end of *Stars Come Trembling*, Bates’ last solo album on the Belgian Integrity label. Bates and Becker went directly from this to collaborate with Anne Clark on her album *The Law Is an Anagram of Wealth* and later also on *To Love & Be Loved*. In 1991 Bates formed Hungry I with former Primitives bassist/guitarist Steve Dullahan.

### 1993-2014: full reformation and continued work

During the early 1990s, Becker had begun work on a solo album, working with Elizabeth S. as a vocalist on what the latter described as "stuff with a country feel" and to which Bates contributed some vocal melodies. Gradually Bates was drawn deeper into the project, which eventually resulted in the resurrection of Eyeless in Gaza, this time as a trio. Recording with producer Paul Samson, the band produced their 1993 comeback album *Fabulous Library*, which followed a more synth pop and ambient direction than previous recordings.

With the reunion now firmly established, Eyeless in Gaza returned to their original duo setup for studio recordings (although Elizabeth S. would continue with the band as an occasional associate member) and revived their Ambivalent Scale label for new releases. The next album, 1994's *Saw You in Reminding Pictures* consisted of predominantly improvised pieces, most of them instrumental. In comparison to the heavily synthesized art pop of *Fabulous Library*, *Saw You in Reminding Pictures* (described by the band as ""imaginary soundtracks, soundscapes for the reminding pictures in us") featured a more acoustic and experimental instrumentation including toy piano, pixiephone, pump organ and banjo. A companion EP, *Streets I Ran*, appeared in 1995. The same year saw the release of another full album, *Bitter Apples*, which blended Eyeless in Gaza's current working methods with elements of their original post-punk recordings. In 1996, the band released a further album, *All Under the Leaves, the Leaves of Life*.

Meanwhile, Martyn Bates would continue to release solo albums alongside the regular Eyeless albums, also recording three albums of *Murder Ballads* between 1994 and 1998 with M.J. Harris (Napalm Death/Scorn), and contributing vocals to Derek Jarman's *The Last of England* and *The Garden*. There would be a four-year gap between *All Under the Leaves, the Leaves of Life* and the next Eyeless in Gaza record, 2000's *Song of the Beautiful Wanton* (released on Soleilmoon, and described as "folk forms, sonic attacks, broken glass... a tapestry of barbed wire & blood flowers.").

From this point onwards, Eyeless in Gaza would spend lengthy periods in the studio incubating new recording, although they would occasionally surface for concerts (accompanied by Elizabeth S.) In 2006, they released *Summer Salt* the first and eponymous volume of the *Summer Salt & Subway Sun* sessions, part of a "mammoth set of recordings" dealing with the concept of "The City (as) resolutely an outward manifestation of the human psyche". *Summer Salt* would be reissued in 2008 as half of the *Summer Salt and Subway Sun* double album: the second album, *Subway Sun*, being more pieces from the sessions. A third album from the sessions *Wildcat Sun* would follow for a box-set issue, and consisted of a single eighteen-minute track. 2010's *Answer Song & Dance* compilation summarised the past fifteen years of development alongside a number of previously unreleased tracks.

The "inward looking/reflective" *Everyone Feels Like a Stranger* followed in 2011, further exploring the band's psychedelic folk tendencies. A sister album, *Butterfly Attitude* followed in 2012: as with its predecessor, it featured contributions from Elizabeth S. on voice and banjo. In contrast, 2014's *Mania Sour* featured Bates and Becker alone and was considered another look-back to their post-punk roots. In 2012, Martyn Bates and Peter Becker appeared on "Right North" (2CD), of the international collective 48 Cameras.

### 2016-present: retrospective releases and further albums

In 2016, both the 2CD compilation *Picture the Day: A Career Retrospective 1981–2016* and Eyeless In Gaza's eighteenth album *Sun Blues* were released to positive reviews. The latter album was given four stars out of five in *Mojo* magazine and another critic, reviewing both releases, wrote: "It takes some time to truly ‘hear’ the layers and complexities of this album, in the same way it takes time to grasp the width, breath and achievement of Eyeless In Gaza's musical history. But time spent will be rewarded: Eyeless In Gaza remain one of the most accomplished and interesting bands to have emerged from the music-making underground."

Having opted to withdraw from their already sparse live appearances, Eyeless in Gaza concentrated on "twilight music" for 2018's *Winter Sang*. Forty years after their formation, Eyeless in Gaza released their twentieth album *Ink Horn/One Star* in January 2020.

In 2022 Cherry Red released the 5 cd box set *Skeletal Framework - The Cherry Red Recordings 1981-1986*, curated by Bates and Becker and thematically divided over five discs of "Rock and Rhythmic", "Pop Tunes etc", "Approximate Ballads and Similar", "Atmos-songs" and "Experiments and Improv".

## Discography

### Albums

* *Photographs as Memories* (1981), Cherry Red \- UK Indie no. 19, CD reissue includes 7 bonus tracks from early singles
* *Caught in Flux* (1981), Cherry Red - UK Indie no. 27, original LP included bonus 5 track 12", *The Eyes of Beautiful Losers*, also included on CD reissue
* *Pale Hands I Loved So Well* (1982), Uniton
* *Drumming the Beating Heart* (1982), Cherry Red/Virgin \- UK Indie no. 26, CD issue (1996) also includes *Pale Hands I Loved So Well*
* *Rust Red September* (1983), Cherry Red - UK Indie no. 5, CD issue (1994) includes 6 bonus tracks
* *Back from the Rains* (1986), Cherry Red - CD issue (1989) includes 4 bonus tracks
* *Fabulous Library* (1993), Orchid
* *Saw You in Reminding Pictures* (1994), Hive-Arc
* *Bitter Apples* (1995), Ambivalent Scale
* *All Under the Leaves, the Leaves of Life* (1996), Ambivalent Scale
* *Song of the Beautiful Wanton* (2000), Soleilmoon
* *Summer Salt & Subway Sun* (2006), Ambivalent Scale (first album)
* *Summer Salt & Subway Sun* (2008), Beta-lactam Ring (both albums)
* *Answer Song & Dance* (2010), Monopol
* *Everyone Feels Like a Stranger* (2011), Ambivalent Scale
* *Butterfly Attitude* (2012), Downwards
* *Mania Sour* (2014), Ambivalent Scale
* *Sun Blues* (2016), Ambivalent Scale
* *Winter Sang* (2018), Ambivalent Scale
* *Ink Horn/One Star* (2019), Ambivalent Scale

### Compilations

* *Kodak Ghosts Run Amok-–Chronological Singles, etc., 1980-86* (1987), Cherry Red
* *Transience Blues* (1990), Integrity
* *Orange Ice & Wax Crayons* (1992), Document - previously unreleased material
* *Voice; The Best of Eyeless In Gaza* (1993), Cherry Red
* *Sixth Sense-–The Singles Collection* (2002), Cherry Red
* *Home Produce—Country Bizarre* (2003), NDN - with Lol Coxhill, expanded version of the 1982 release
* *No Noise - The Very Best of Eyeless In Gaza* (2005), Cherry Red
* *Plague of Years* (2010), Sub Rosa
* *Orange Ice & Wax Crayons* (2012), cat|sun MonotypeRec - previously unreleased material (different from 2002 release)
* *Original Albums Boxset* (2014), Cherry Red – 4-CD boxset, first four albums and one disc of 1980–1983 rarities
* *Mythic Language* (2015), A-Scale – 3-CD boxset with bonus download album, rarities and unreleased material
* *Picture the Day: A Career Retrospective (1981–2016)* (2016), Cherry Red
* *Skeletal Framework - The Cherry Red Recordings 1981-1986* (2022) 5-CD box set, Cherry Red

### EPs

* *Kodak Ghosts Run Amok*  (1980), Ambivalent Scale
* *Invisibility* (1981), Cherry Red
* *Others* (1981), Cherry Red
* *Kiss the Rains Goodbye* (1986), Cherry Red
* *Streets I Ran* (1995), Ambivalent Scale - 5 track companion release to "Saw You In Reminding Pictures"

### Singles

* "Veil Like Calm" (1982), Cherry Red - UK Indie no. 42
* "New Risen" (1983), Cherry Red - UK Indie no. 15
* "Sun Bursts In" (1984), Cherry Red - UK Indie no. 13
* "Welcome Now" (1985), Cherry Red
* "Shorepoem" (2009), Monopol

### Cassettes

* *Untitled*/*Home Produce* (1982), Tago Mago - split cassette with Lol Coxhill
* *Flowmotion* (1982) – Various artists, including ″Dusky Ruth″ and ″Through Eastfields″ by Eyeless In Gaza
* *Rust Red September* / *Singles, Rarities and Deletions* (1983) Cherry Red – Contains 15 bonus tracks
* *Back from the Rains* / *Drumming the Beating Heart* (1986) Cherry Red – Double Play cassette
* *Kodak Ghosts Run Amok (Chronological Singles etc. 1980-1986)* / *Caught In Flux* (1987) Cherry Red – Double Play cassette

### Videos

* *Street Lamps n' Snow* (1994) - 1982 concert in Le Havre
* *Saw You in Reminding Pictures* (2005), Cherry Red - DVD reissue of above video plus original promo videos for "Veil Like Calm" and "New Risen" and six tracks recorded live on the Isle of Wight, 2004

## InfoBox

| Eyeless In Gaza | |
| --- | --- |
| Peter Becker of Eyeless In Gaza, 2010 | |
| Background information | |
| Origin | Nuneaton, Warwickshire, England |
| Genres |  |
| Years active | 1980 (1980)–1987 (1987), 1992 (1992)–present |
| Labels | Cherry Red, Ambivalent Scale |
|  | |
| Members | Martyn Bates
Peter Becker
Elizabeth S. (occasional member) |
|  | |
| Past members | Joby Palmer |
|  | |
| Website | www.eyelessingaza.com |


title: Dianne Cunningham

abstract: Dianne Esther Cunningham is a former politician in Ontario, Canada. She was a Progressive Conservative member of the Legislative Assembly of Ontario from 1988 to 2003, and a cabinet minister in the governments of Mike Harris and Ernie Eves.

text:
# Dianne Cunningham

**Dianne Esther Cunningham** OOnt (born December 5, 1939) is a former politician in Ontario, Canada. She was a Progressive Conservative member of the Legislative Assembly of Ontario from 1988 to 2003, and a cabinet minister in the governments of Mike Harris and Ernie Eves.

## Background

Cunningham worked as an elementary school teacher in private life, and entered politics by winning a seat on the London, Ontario school board in 1973. She retained that position for fifteen years, and also served as a Planning Officer for the Ontario Ministry of Community and Social Services.

## Politics

Cunningham was elected to the Ontario legislature for the riding of London North in a 1988 by-election. The riding had previously been Liberal, and bordered on the seat belonging to Liberal Premier David Peterson; Cunningham's victory made her a rising star in the small Tory caucus. She ran for the leadership of the then third-place Conservatives in 1990, losing to Mike Harris in the party's first one member, one vote election for leader. She was considered a Red Tory, but was hurt by comparisons to Brian Mulroney, Canada's unpopular Progressive Conservative Prime Minister. Her loss to Harris led to a major shift in the political orientation of the party.

Cunningham was re-elected in the 1990 provincial election, which was won by the New Democratic Party. During the next five years, the Tories developed a series of right-wing policy initiatives which became known as the "Common Sense Revolution". Cunningham was not a major contributor to this process. She did, however, serve as her party's Deputy Leader and Caucus Whip from 1990 to 1995.

She was easily re-elected in the 1995 provincial election, which the Tories won. While not in the Harris government's inner circle, she was appointed to cabinet in the minor portfolios of Minister of Intergovernmental Affairs and Minister responsible for Women's Issues. She retained these positions throughout the Harris government's first term. In 1998, she supported Hugh Segal for the leadership of the Progressive Conservative Party of Canada.

In the provincial election of 1999, Cunningham narrowly defeated New Democratic Party Member of Provincial Parliament (MPP) Marion Boyd in the redistributed riding of London North Centre (the Harris government had previously reduced the number of provincial ridings from 130 to 103, forcing many MPPs to run against one another). Following the election, she was promoted to Minister of Training, Colleges and Universities, and retained that portfolio for the next four years. She was also re-appointed as Minister responsible for Women's Issues on February 8, 2001. In 2002, she supported Ernie Eves to replace Mike Harris as party leader.

Cunningham was often criticized for the way her department managed the elimination of OAC levels from Ontario's high-school system. The decision reduced the standard high-school honours degree program from five years to four, and resulted in a "double cohort" of new university students when the policy first came into effect. University entrance marks were raised to what some considered high levels; for example, the University of Western Ontario raised their entrance cutoff to an 80% average. Because of this, many students were unable to attend the university of their choice, and poor departmental planning was frequently blamed.

She ran for re-election in the 2003 election, but lost to Deb Matthews by over 6,000 votes in the landslide victory that brought the Ontario Liberal Party to power.

### Cabinet posts

## Later life

After the election, she was appointed Director of the Lawrence National Centre for Policy and Management.

## InfoBox

| Dianne Cunningham | |
| --- | --- |
|  | |
| Ontario MPP | |
| **In office**
1999–2003 | |
| Preceded by | *New riding* |
| Succeeded by | Deb Matthews |
| Constituency | London North Centre |
| **In office**
1988–1999 | |
| Preceded by | Ron Van Horne |
| Succeeded by | *Riding abolished* |
| Constituency | London North |
|  | |
| Personal details | |
| Born | (1939-12-05) December 5, 1939
Toronto, Ontario, Canada |
| Political party | Progressive Conservative |
| Occupation | Teacher |
|  | |


title: The Temple Beau

abstract: The Temple Beau is a play by Henry Fielding. It was first performed on 26 January 1730, at Goodman's Fields after it was rejected by the Theatre Royal. The play, well received at Goodman's Fields, depicts a young law student forsaking his studies for pleasure. By portraying hypocrisy in a comedic manner, Fielding shifts his focus from a discussion of love and lovers. The play's relative success when compared to other plays at Goodman's Fields was in part caused by the relative freedom granted by Goodman's Fields, though the play was not dramatically different from Fielding's first play, Love in Several Masques. No contemporary reviews exist. Modern critics generally view it as an improvement in Fielding's playwriting while still considering it to have several weaknesses.

text:
# The Temple Beau

***The Temple Beau*** is a play by Henry Fielding. It was first performed on 26 January 1730, at Goodman's Fields after it was rejected by the Theatre Royal. The play, well received at Goodman's Fields, depicts a young law student forsaking his studies for pleasure. By portraying hypocrisy in a comedic manner, Fielding shifts his focus from a discussion of love and lovers.

The play's relative success when compared to other plays at Goodman's Fields was in part caused by the relative freedom granted by Goodman's Fields, though the play was not dramatically different from Fielding's first play, *Love in Several Masques*. No contemporary reviews exist. Modern critics generally view it as an improvement in Fielding's playwriting while still considering it to have several weaknesses.

## Background

Fielding wrote *The Temple Beau* sometime after leaving Leiden in April 1729. It was the fourth play that Fielding wrote and he finished it by the end of 1729. Although his first play was performed at the Theatre Royal, *The Temple Beau* was rejected by the theatre. He turned to Goodman's Fields and the play was first advertised, in the 16 January 1730 *Daily Journal*, as being rehearsed and to open 22 January. A deferral notice was posted on 22 January 1730 in the *Daily Journal* and *Daily Courant* stating that the play would open 26 January.

It first ran on 26 January 1730 at Goodman's Fields, a new theatre that first opened 31 October 1729. The play was the first new play staged at Goodman's Fields and it ran for nine nights until 5 February 1730. Three of the nights were author's benefits. For the first author's benefit on 28 January, Fielding added a new song titled "Like the Whig and the Tory". Later showings of the play came immediately on 10 February and 3 March 1730. Other revivals included showings on 5 June and 9 July 1730 but it slowly disappeared, with only two showings the next year, on 13 March and 4 December 1731, and a later revival in 1736 on 25 March and 27 April, all taking place at Goodman's Fields. A revised version of the play titled *The Temple Beau; or, The Intriguing Sisters* was performed on 21 September 1782 at the Haymarket theatre.

On 2 February 1730, it was published along with a prologue added by James Ralph that attacked the treatment of authors by society, making the beginning of a theatrical relationship between Ralph and Fielding. The publication was advertised in *The St. James's Evening Post*, the *London Evening Post*, the *Whitehall Evening Post*, and the *Monthly Chronicle*. The edition printed was the only London edition of the play on its own with a Dublin edition printed in 1730. The play was later collected in Arthur Murphy's edition of Fielding's *Works* (1762).

## Cast

The cast according to the printed billing:

* Wilding — played by Mr Giffard
* Pedant — played by Mr. Bullock (William Bullock Jr.)
* Veromil — played by Mr. W. Giffard
* Bellaria — played by Mrs. Purden
* Valentine — played by Mr. Williams
* Clarissa — Played by Mrs. Seal
* Sir Avarice Pedant;— played by Mr Collet
* Lady Gravely — Sister of Sir Avarice, played by Mrs. Haughton
* Lady Lucy Pendant — Wife of Sir Avarice, played by Mrs. Giffard
* Sir Harry Wilding — Father of Wilding, played by Mr. Penkethman (William Penkethman Jr.)
* Pincet — Servant of Wilding, played by Mr. Bardin
* Other characters — a Taylor, a Perriwig-maker, Servants
* Epilogue spoken by Mrs. Giffard
* Singing in Act 2 and Act 3 by Miss Thornowets

## Plot

Wilding is a young law student who gives up his studies to seek pleasure. He is a rake who uses people and wishes to marry Bellaria simply for money. Unlike *Love in Several Masques*, Fielding cares more about revealing hypocrisy than with a discussion of love and lovers, but he portrays the hypocrites in a manner that emphasises a comedic response instead of censure. Other characters want to have Bellaria, including the virtuous man Veromil and his foil Valentine who is unable to control his desires for Bellaria. Valentine eventually pairs with Clarissa, a character of little substance within the play, Veromil marries Bellaria, and Wilding does not marry.

## Themes

The play's rejection by the Theatre Royal proved beneficial to Fielding because it allowed him to experiment with his plays in ways that would be unaccepted at larger locations. This is not to say that the play was different from his first; *The Temple Beau* (1730), like *Love in Several Masques* (1728), exemplified Fielding's understanding of traditional Post-Restoration comedic form. The connections are deeper, and, as Harold Pagliaro believes, that "Though *The Temple Beau* is more complex in its intrigues than is Fielding's first play, both promote the ideal of love and marriage, showing money to be necessary for a happy marriage but bad as the primary reason for it."

*The Temple Beau* is straightforward unlike *Love in Several Masques*, and it relies on a simpler set of patterns: instead of triplicates, the images are repeated only once. Additionally, many of the characters are analogous to the roles of the characters within the other play (Wilding and Wisemore, Veromil and Merital, Valentine and Malvil, etc.). However, the plot of the two plays are different because Fielding focuses more on hypocrisy and how characters interact with Wilding. Bellaria's two aunts, Lady Pedant and Lady Gravely, representing immodesty and prudishness respectively, try to influence her actions; Bellaria is able to avoid the suggestions of both, and believes that one should not hide their love for another and should be passionate towards a virtuous man. When it comes to matters of gender, the play expresses a view of equality between the sexes that manifests in marriage. However, the play reveals that there are different standards for the genders even though the male characters may express concerns about these double standards.

## Critical response

*The Temple Beau* was one of the best received new plays at Goodman's Fields, with only James Ralph's *The Fashionable Lady* as a rival. Its initial run lasted for an equal amount of time during April 1730. The *Daily Journal* reported that the play was well received. On the author's benefit nights, Fielding was able to raise about 100 pounds. There are no direct contemporary reviews on *The Temple Beau* that have survived. A few plays may have been influenced by *The Temple Beau*, including Theophilus Cibber's *The Lovers* (1730) or Benjamin Hoadly's *The Suspicious Husband* (1747). The play was mostly ignored until John Genest, in *Some Account of the English Stage, from the Restoration in 1660 to 1830* (1832), declared the play as better than Fielding's other plays with little explanation as to why. In 1911, Austin Dobson wrote, "The *Temple Beau* certainly shows an advance upon its predecessor; but it is an advance in the same direction, imitation of Congreve." Leslie Stephen backs this up by saying that the play is "much in the vein of the first, with less smartness in dialogue".

F. Homes Dudden declared *The Temple Beau* as "a fairly good comedy of intrigue" and says that "The plot of the comedy, though rather too complicated, is more skilfully constructed than that of *Love in Several Masques*, and some of the situations are diverting. One of the best things in the piece is the interview between the deluded Sir Harry \[...\] young Wilding \[...\] and Pincet". Robert Hume believed that "Fielding had begun to master the mechanics of intrigue comedy. The results are not wonderful, but they show distinctly more technical competence. Fielding still employs more characters than he can comfortably control \[...\] but at least he involves them in related complications." Albert Rivero believed that "The initial rejection of *The Temple Beau*, however, convinced Fielding that his future success would depend on his ability to satisfy the town's taste for less conventional entertainments." Harold Pagliaro describes the play by saying, "Though the dramatic structure of *The Temple Beau* is improved over that of Fielding's first play, it has some obvious weaknesses. The lovers are too nearly perfect to engage us in what is or ought to be their burdensome complication of distress. They are so sure of each other and of themselves that they are unassailable, however threatened by the loss of love, freedom and financial self-sufficiency."

* Battestin, Martin, and Battestin, Ruthe. *Henry Fielding: a Life*. London: Routledge, 1993.
* Dobson, Austin. *Fielding*. 1911.
* Dudden, F. Homes. *Henry Fielding: his Life, Works and Times*. Hamden, Conn.: Archon Books, 1966.
* Fielding, Henry. *Plays* Vol. 1 (1728–1731). Ed. Thomas Lockwood. Oxford: Clarendon Press, 2004.
* Hume, Robert. *Fielding and the London Theater*. Oxford: Clarendon Press, 1988.
* Pagliaro, Harold. *Henry Fielding: A Literary Life*. New York: St Martin's Press, 1998.
* Rivero, Albert. *The Plays of Henry Fielding: A Critical Study of His Dramatic Career*. Charlottesville: University Press of Virginia, 1989.

The Journal of a Voyage to Lisbon


title: Carposina altivaga

abstract: Carposina altivaga is a moth in the family Carposinidae. It was described by Edward Meyrick in 1925. It is found in the Democratic Republic of the Congo.

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# Carposina altivaga

***Carposina altivaga*** is a moth in the family Carposinidae. It was described by Edward Meyrick in 1925. It is found in the Democratic Republic of the Congo.

## InfoBox

| *Carposina altivaga* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Carposinidae |
| Genus: | *Carposina* |
| Species: | ***C. altivaga*** |
| Binomial name | |
| ***Carposina altivaga***<br>Meyrick, 1925 | |
|


title: Sosthène Léopold Bayemi Matjei

abstract: Sosthène Léopold Bayemi Matjei is a Cameroonian Roman Catholic bishop.

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# Sosthène Léopold Bayemi Matjei

**Sosthène Léopold Bayemi Matjei** (born 26 December 1964) is a Cameroonian Roman Catholic bishop.

## Biography

Ordained to the priesthood in 1994, Bayemi Matjei was named bishop of the Roman Catholic Diocese of Obala, Cameroon on 3 December 2009.

Bishop Sosthène Léopold BAYEMI MATJEI was born on 26 December 1964 at Matomb, Nyong and Kelle Division, Centre Region. He began his ministerial formation in ‘Saint Thomas Aquinas’ Major Seminary Bambui-Bamenda in 1986 and finished it at the Paul VIth Provincial Major Seminary of Nkongbodol-Douala. On 12 February 1994, he was ordained priest by Mgr. Jean Bosco NTEP in Our Lady of Fatima Cathedral in Eséka for the diocese of Eséka. Ministries After priestly ordination, father Bayémi was named Parish Priest of the Saint Paul Parish of Ngog-Mapubi, in the same Diocese, and Coordinator of the Diocesan Committee of Social Welfare (CODASC).

From 1996 to 2000, he went for further studies in philosophy in the Pontifical University Urbaniana in Rome and obtained a Doctorate in Philosophy. From 2000 to 2001, he studied the Pedagogy of the ministerial formational ways in Salesian Pontifical University Papal in Rome. In 2001, he came back to Cameroon and he appointed Vicar General of the Diocese of Eséka and Parish Priest of ‘Christ Ressucité’ Parish at Eséka 2. Since 2004 he is, at the same time: Attaché to the Apostolic Nunciature of Yaoundé, Teacher in the Faculty of Philosophy of Catholic University of Central Africa and Assistant Priest at Saint Vincent Palloti parish of nlongkak. Thursday 3 December 2009, Pope Benedict XVIth nominated him Bishop of Obala-Cameroon. In replacement of Mgr Owono Mimboe who have submitted his request for retirement after reaching 75 years old. Mgr Owono Mimboe was appointed as first bishop of Obala diocese in 1987.

On Tuesday 27 December 2016, Pope Francis appointed priest Joseph-Marie Ndi-Okalla as new bishop of Mbalmayo diocese.


title: Shepherd's Chine

abstract: Shepherd's Chine is a geological feature on the south west coast of the Isle of Wight, England. It lies to the west of the village of Little Atherfield. This chine is one of the largest on the Isle of Wight. It starts at the side of the A3055 Military Road and runs west for about 500m to reach the beach at Brighstone Bay just to the north of Atherfield Point. This chine has much shallower sides than other chines on the Isle of Wight and is extensively covered with hardy bushes, scrub and rough grasses. The Chine drains water from the mainly flat agricultural land surrounding Little Atherfield. The resulting stream used to be collected behind a small dam and then pumped back onto the surrounding farm land. The remains of the reservoir and pump house, complete with pump, still stand about halfway along the chine. Similarly to Grange/Marsh Chine once the stream reaches the pebble beach it soaks in and disappears. To the west of Shepherd's Chine is the Atherfield Bay Holiday Centre consisting of a campsite and chalets. The Isle of Wight Coastal Path crosses Shepherd's Chine near the pump house.

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# Shepherd's Chine

Shepherd's Chineclass=notpageimage|Shepherd's Chine on the Isle of Wight

**Shepherd's Chine** is a geological feature on the south west coast of the Isle of Wight, England. It lies to the west of the village of Little Atherfield.

This chine is one of the largest on the Isle of Wight. It starts at the side of the A3055 Military Road and runs west for about 500m to reach the beach at Brighstone Bay just to the north of Atherfield Point.

This chine has much shallower sides than other chines on the Isle of Wight and is extensively covered with hardy bushes, scrub and rough grasses.

The Chine drains water from the mainly flat agricultural land surrounding Little Atherfield. The resulting stream used to be collected behind a small dam and then pumped back onto the surrounding farm land. The remains of the reservoir and pump house, complete with pump, still stand about halfway along the chine. Similarly to Grange/Marsh Chine once the stream reaches the pebble beach it soaks in and disappears.

To the west of Shepherd's Chine is the Atherfield Bay Holiday Centre consisting of a campsite and chalets.

The Isle of Wight Coastal Path crosses Shepherd's Chine near the pump house.