title: Raggedy Ann & Andy: A Musical Adventure

abstract: Raggedy Ann & Andy: A Musical Adventure is a 1977 live-action/animated musical fantasy film loosely adapted from the 1924 novel Raggedy Ann and Andy and the Camel with the Wrinkled Knees. It was directed by Richard Williams, produced by the Bobbs-Merrill Company, and released theatrically by 20th Century-Fox. A 1941 short film had previously featured the Raggedy Ann and Andy characters created by Johnny Gruelle. It was the first feature-length animated musical comedy film produced in the United States. In the film, Raggedy Ann and Andy, along with other toys, live in Marcella's nursery. During Marcella's seventh birthday, Babette, a doll from France, is introduced as the new doll from a large package. Meanwhile, Captain Contagious kidnaps Babette in the pirate ship and escapes from the nursery. Raggedy Ann and Andy have to explore and find Babette in the Deep Deep Woods to save her. The film started development when producer Richard Horner chose the characters from a conversation surrounding promotions of children's products. The Bobbs-Merrill Company became its financer, and the film was a stage musical and a live-action television special before it was decided to become an animated film. Director Richard Williams controlled most of the film's production. Production for the film lasted for more than two years, budgeting to the cost of $4 million. As a result, the film's release date was rescheduled for extra three months of work. Joe Raposo contributed all of the music and songs for the film. The film's promotional campaign cost $2 million. Raggedy Ann & Andy: A Musical Adventure premiered on March 20, 1977, in nine major cities before it was generally released on April 1, 1977, in the United States. The film received mixed reviews, with most of the praise going to the animation. Ever since its release, the film only gained a few home video releases and some television broadcasts. The film was adapted by the 1981 drama adaptation and the 1986 Broadway musical, Raggedy Ann. In recent years, it has developed a cult following for its musical numbers and characters.

text:
# Raggedy Ann & Andy: A Musical Adventure

***Raggedy Ann & Andy: A Musical Adventure*** is a 1977 live-action/animated musical fantasy film loosely adapted from the 1924 novel *Raggedy Ann and Andy and the Camel with the Wrinkled Knees*. It was directed by Richard Williams, produced by the Bobbs-Merrill Company, and released theatrically by 20th Century-Fox. A 1941 short film had previously featured the Raggedy Ann and Andy characters created by Johnny Gruelle. It was the first feature-length animated musical comedy film produced in the United States. In the film, Raggedy Ann and Andy, along with other toys, live in Marcella's nursery. During Marcella's seventh birthday, Babette, a doll from France, is introduced as the new doll from a large package. Meanwhile, Captain Contagious kidnaps Babette in the pirate ship and escapes from the nursery. Raggedy Ann and Andy have to explore and find Babette in the Deep Deep Woods to save her.

The film started development when producer Richard Horner chose the characters from a conversation surrounding promotions of children's products. The Bobbs-Merrill Company became its financer, and the film was a stage musical and a live-action television special before it was decided to become an animated film. Director Richard Williams controlled most of the film's production. Production for the film lasted for more than two years, budgeting to the cost of $4 million. As a result, the film's release date was rescheduled for extra three months of work. Joe Raposo contributed all of the music and songs for the film. The film's promotional campaign cost $2 million.

*Raggedy Ann & Andy: A Musical Adventure* premiered on March 20, 1977, in nine major cities before it was generally released on April 1, 1977, in the United States. The film received mixed reviews, with most of the praise going to the animation. Ever since its release, the film only gained a few home video releases and some television broadcasts. The film was adapted by the 1981 drama adaptation and the 1986 Broadway musical, *Raggedy Ann*. In recent years, it has developed a cult following for its musical numbers and characters.

## Plot

Marcella returns home from school and rushes upstairs to her nursery playroom to put away her favorite doll, Raggedy Ann. When Marcella leaves, the toys in the playroom come to life, and Ann tells them of the wonders of the outside world. She then shares that it is Marcella's seventh birthday, and the toys notice a large package in the corner. Raggedy Andy gets trapped under the package, and once freed, he complains about the feminine activities within the nursery. Marcella opens the present to reveal a beautiful bisque doll from Paris, France, named Babette. Ann and the other toys welcome Babette to their nursery, but she is too homesick for Paris to accept their greeting. Meanwhile, Captain Contagious, a pirate who lives in a snow globe, notices Babette and is immediately smitten. After tricking Ann into freeing him, he kidnaps Babette and leaps out of the nursery window with his crew. Ann decides to rescue Babette, and Andy volunteers to help her.

Ann and Andy leave the playroom and enter the Deep Deep Woods, where they reaffirm their courage and love together while exploring. As the dolls travel, they meet the Camel with the Wrinkled Knees, a blue stuffed animal who has been abandoned and hallucinates ghostly camels beckoning him to a home. Ann promises that once they find Babette, he may return with them. With Ann and Andy in tow, the Camel chases down the caravan and mindlessly rushes off a cliff. They find themselves in the Taffy Pit, where the Greedy lives. The Greedy explains that he feels unsatisfied despite endlessly eating the various delicacies, as he lacks a "sweetheart." He thus attempts to take the candy heart sewn inside Ann, but the toys successfully escape his lair.

The toys then encounter the knight Sir Leonard Looney, who welcomes them to the Looney Land, the source of the world's practical jokes. Looney pursues the toys through Looney Land and into the court of its diminutive monarch, King Koo Koo. Koo Koo laments his tiny stature and explains that he can only grow by laughing at the expense of others. He thus intends to keep the toys as his prisoners to keep him laughing. The dolls escape this fate by fighting with cream pies, then slipping away and fleeing Looney Land in a boat. The furious King Koo Koo follows them with an enormous sea monster, Gazooks.

While sailing, Ann, Andy, and the Camel notice Contagious' pirate ship, only to discover that Babette became the new captain to return to Paris while imprisoning Contagious in the galley with his parrot Queasy. When Ann tries to tell Babette that she must return to Marcella, Babette is enraged and has the trio tied to the mast. Meanwhile, Queasy successfully unlocks Contagious' shackles and returns above deck, freeing the other dolls and pledging his love for Babette. Before she can respond, King Koo Koo and Gazooks attack the ship and seize all but Ann, Babette, and Queasy to subject them to tickle torture, making the monarch swell to mammoth proportions. Babette sees that her selfishness has endangered everyone and begs forgiveness, only for her and Ann to be captured and tickled. The dolls realize that King Koo Koo's inflated ego is "full of hot air," and Andy tells Queasy to pop him, which creates a massive explosion that sends them spiraling.

The following day, Marcella discovers the toys lying among the leaves in her backyard. She returns all but the Camel to the nursery, where Babette apologizes for her actions and accepts Ann's offer of friendship and Contagious' affection. While the heroes are happy to be back, Ann notices the Camel gazing at them through the window. The dolls welcome him to their family. The next day, Marcella finds the Camel among the dolls and hugs him tightly, accepting him as her newest friend.

## Cast

### Live-action cast

* Claire Williams as Marcella, a 7-year-old girl who owns a playroom nursery.
* Joe Raposo (uncredited) as Joe the Bus Driver, who drops off Marcella from school at the beginning of the film.

### Voice cast

In addition, all the voice cast provided the voices of the Loonies. Their animator is Grim Natwick.

## Production

### Development and writing

After the success of the live-action television adaptation of *The Littlest Angel*, producer Richard Horner was looking for a similar project. One day, Horner was in a conversation surrounding the promotions of an independent merchandiser of children's products during lunch. *Raggedy Ann & Andy* was chosen, and after it got popularity from a Friars Club roast for Johnny Carson, he acquired permission to The Bobbs-Merrill Company to begin the project. When the project was greenlit, it started out as a stage musical before it was transformed into a live-action television special for Hallmark Hall of Fame named *Rag Dolly: The Raggedy Ann Musical*. Horner brought in writer Pat Thackray for permission to research Johnny Gruelle's material and write a live-action script as a treatment. Afterwards, Pat Thackray and Max Wilk wrote the script for the special. They included new characters in the screenplay, including Captain Contagious and the Greedy. Considerations for Raggedy Ann include Liza Minnelli and Goldie Hawn, while a consideration star for Raggedy Andy was Dick Van Dyke. Over time, composer Joe Raposo decided that a live-action television special involving Raggedy Ann and Andy would be too unbelievable. The project was then transformed into an animated project, leading to Hallmark being dropped from the project. The team were amused about the idea, as they were convinced that the technique was the correct path to follow. As a result, the team decided to make a film based on the characters instead of a television special. Shortly, the company accepted the agreement to finance the film.

In late 1973, Lester Osterman asked Richard Williams to produce an animated film based on the characters. He initially declined and recommended John Hubley instead, although Osterman sent the script and a tape of music with Williams overnight. Williams called his fellow friend Tony Walton about Osterman while preparing for the script. As he read the script, Williams was surprisingly amazed, and he left it loose to allow for visual development. Williams brought the script to Walton and prepared for himself to listen to the score at 2:00 pm in the morning. He immediately became amused about the score, calling that this could be "extremely good". Negotiations soon began between Richard Williams Productions and the Lester Osterman studio, but the former was rejected. In 1974, Osterman called and asked Williams to reconsider supervising the full-time production of the film, but Williams once again declined. Raposo then called and told him to travel to New York City and socialize with the team. The team traveled, and Williams hired Abe Levitow to direct the film, which amazed him more. Raposo and Williams traveled back to New York City afterwards. Shortly after Levitow's death, Williams was pressured to replace him as the director of the film. Williams pitched the idea to Universal Pictures and Warner Bros., but they declined. Williams pursued 20th Century-Fox president Alan Ladd Jr. to finance the film. During March and April 1975, Williams and Raposo worked together in London and New York City to polish the final version of the screenplay for recording sessions.

### Designs

The designs were based on the drawings from the first four of Gruelle's books. In January 1975, Williams called animator Corny Cole with an offer to design the characters, layouts, storyboards, and color-keying. Cole worked closely with Pat Thackray, sketching the dolls in the toy section of the Museum of the City of New York, while Williams cut out the illustrations by Gruelle as "reference sheets". Cole later returned to Los Angeles and worked for three weeks on a color presentation that would be shown to the company at the end of February. The meeting would serve to introduce Richard Williams as the director of the final film. Despite his job, Cole only laid out a half of the film; the rest of the film was laid out and storyboarded by Gerald Potterton. Cole worked on its plans and storyboards for three months. He left when his contract expired in the summer of 1976.

The Greedy was the first character to be designed for the film. Corny Cole originally envisioned the character as a Giant Spider-like creature with various types of hands. After its pencil-test by Emery Hawkins in the fall of that year, Cole was unsatisfied with the results. In June 1976, the animation crew started testing out the designs by setting up the characterizations of the main characters. Their work would be served as character models of the film.

For the live-action sequences, the dolls were built by four designers. The Camel, the Twin Pennies, and Captain Contagious and the ship in the globe were built by Frederick Nidah, with the Grandpa doll being rebuilt. Raggedy Ann and Andy, Topsy Turvy, and the Sockworm were built by Richard Williams' mother. Bill Davis built Barney Beanbag and Suzy Pincushion, and Judy Sutcliff fashioned the Babette doll.

### Casting and recording

Raposo and Williams chose the opposite tradition of voice acting backed by Horner. Howard Feuer suggested celebrities to voice the characters, such as Tammy Grimes as Raggedy Ann and Jack Gilford as the Camel, but Horner decided that the characters would be voiced by not-widely known actors instead. The film had five auditions from Raposo for the voice cast. The first audition was held on May 1, 1975, in Mediasound Studios. During the day, Williams rushed to the studio, worrying about the voices of the characters at the time. For several characters such as Captain Contagious and Suzy Pincushion, choosing the voices for them was a "crucial problem". Over a hundred actors auditioned for sixteen parts. For the live-action sequences, Williams thought that casting Marcella was a "thorny problem", as he needed a girl who could impose a 12-hour schedule. He selected his daughter, Claire Williams, for the role of Marcella. Williams' account dated on January 2, 1976, implied the pressure for Marcella's voice to be dubbed. Claire Williams' original voice was later dubbed for the film.

The voices for the cast were recorded on May 29 and 30, 1975, with four additional days in July at Mediasound, Inc. According to Didi Conn, all of the cast were in the recording studio on the first day of recording, with the exception of Joe Silver, who was working on the television series *Fay* at the time. Joe Raposo was a temporary substitute until it was replaced by Silver's recording sessions when he voiced him for a day. Some lines took over 24 takes for a line of dialogue, though the sessions were relaxed. The script would be revised when a voice cast does not feel comfortable on the lines. The final recording session involved Didi Conn and Mark Baker singing "Candy Hearts" together. The session only took a single take for the song to be finished.

### Filming

The live action sequences were filmed in Boonton, New Jersey, with the house at 224 Cornelia Street serving as Marcella's home. The location was found by set and costumer designer William Mickley. On October 14, 1975, the location was repaired. Mickley and a pair of scenic artists tore rooms apart, painted and wallpapered Marcella's bedroom, built a ceiling grid for the lights, dug a backyard pool, and enhanced the autumnal foliage by spraying the leaves red and gold and brought more leaves from nearby neighborhoods. Principal photography was held on the week of October 20, 1975. Filming involved a crew of 35 people and took four days from early in the morning to midnight for the scenes to be finished. Williams shot the film quickly, with no more than five or six takes for each scene of the film. Williams' love interest at the time, Margaret French, and his wife at the time, Lois Catherine Steuart, watched Claire Williams to keep her well-supplied with her favorite orange sherbet without being exhausted. After shooting was finished, the house was restored to its original condition for two weeks.

### Animation

Williams' idea was to employ a full range of animation without looking like it was animated by Disney. He spent a week researching the original illustrations by Gruelle. He eventually decided to base the animation on his work. As a result, the animation was challenged to compete with Disney films at the time. Eventually, his goal for the animation is to have a character who can change his personality. European .004 celluloids were considered to be used by Williams, but they would cause issues if weather changes or too much paint was applied. The animation was later decided to compromise with Mylar-based cels from the Midwest.

Full animation started in February 1976. Most of the animators left by May 1976. Approximately half of a million ideas and story sketches were drawn, another half of a million finished drawings were included in the finalized film, and approximately 1,000 backgrounds were drawn and used for the film. Some sequences were drawn by one frame instead of the usual two frames. Over time, cameraman Al Rezek designed and built the Xerox processor and camera that outlined the original paper drawings directly onto cels. Animation drawings were inspected by Xerox planners before they are Xeroxed to figure out whether the mechanics used were correct. The approved animation would then be shipped from two independent companies in Hollywood to an art department in New York City. The animation was painted by more than 45 individuals that included men and women in the art department managed by Ida Greenberg. Some characters had a lot of color keys, including Suzy Pincushion and Topsy-Turvy. The Greedy faced a problem with painting, as Greenberg stated that the "big masses of taffy took an awful long time to paint, and it was a 'wall-to-wall' painting." Approximately 85,000 cels were painted to complete the film. The animation cels used for the film were larger than most animated films due to the cel measurements for the Panavision camera.

The film was shot in 35 mm Panavision film for "greater impact and design quality". This was one of the technical problems that needed attention for the film, as it received lots of complaints from the crew who has not worked on it prior to the film. At the time, the Panavision lens were not acquired until September 1975. Williams would insist Polaroid filters to be placed over the camera lens to refrain dirt and scratches from the animated cels. Two sequences had to be rendered with black backgrounds, which cause cel abrasion problems. The animation was taken with two cameras for two shifts in day and night by Rezek and his small crew. Some shots were shot in multiplane, including the "Candy Hearts" sequence. For the special star effect in the "Blue" sequence, a black card with stars with two sets of lines underneath and its "strobe" effect were used to flicker the star. Its process for the effect was time-consuming, as it required four separate camera runs of the same footage. By the final week of December 1976, most of the animators and assistant animators were finished with their tasks.

### Production difficulties

Williams challenged for the film to be true to the expectations of the audience. As the film production continues, story sketches and art work were arriving slowly for use in the Leica reel. Williams flew to Canada for a screening held in mid-December 1975 with his fellow friend, Gerry Potterton. Reactions and consensus were generally positive on the screening. Williams then traveled to London and spent his brief break there. On January 2, 1976, Williams wrote an account of his mind, demanding that 23–28 minutes of the Leica reel should be cut from the original duration of 108 minutes of the film. The scenes included the scene involving the Greedy, the Loony Land scene, and the scene involving Gazooks tickling the dolls.

Eventually, like many of his other projects, the film went over time and budget, including the art department in New York City, which was the biggest threat to the deadline due to its "slow, careful natured process". He would spend two weeks in Los Angeles, two weeks in New York City, and approximately ten days in London to attend his own studio. The film was finished by December 31, 1976. The overall production originally costed $1.750 million before it was raised to $4 million.

### Music

| Raggedy Ann & Andy: A Musical Adventure<br>(Original Motion Picture Soundtrack) | |
| --- | --- |
| Soundtrack album by various artists | |
| Released | 1977 |
| Recorded | May & July 1975 |
| Studio | Mediasound (New York City) |
| Genre | Soundtrack |
| Length | 44:52 |
| Label | Columbia Records |
| Producer | Joe Raposo |

Joe Raposo composed the score and wrote songs for the film. During the early stage of development, he studied Gruelle's material before he processed on the songs, music, and lyrics. The first song written for the film was "I Look and What Do I See", a song about Raggedy Ann's innocence on the "good and pretty things in life". Out of the 24 songs written for the film, only 14 were included in the final cut. The deleted songs included Raggedy Andy's solo "I Like Rasslin", a song for Raggedy Ann and Marcella, a dance number "The Raggedy Rag", "Fifi", and the anthem for the Loonies of Loonyland. They were all rejected before they were recorded. "Blue" was originally going to be deleted twice to be substituted by a song about a Cookie Grant and from Williams' artistic direction, but it was later kept in the final film. The score involved a sixty-piece orchestra and was prerecorded before its recording sessions were recorded.

An official soundtrack was released on vinyl, cassette tape and 8-track tape by Columbia Records in 1977. The soundtrack was in stereo compared to the film, which was in mono.

The soundtrack received generally positive reviews. *Billboard* chose the track "Rag Dolly" as the album's highlight, reviewing the album as an "attractive disk" led by the team. A.H. Weiler of *The New York Times* commented that "Candy Hearts" is "pleasantly tuneful." R.C. Staab criticized the singing performances of the characters, but recalled that "Rag Dolly" is a "catchy number in the style of Scott Joplin." Jay Alan Quintril stated that the songs are of the "Tin Pan Alley school of composition" and fit the "charm and warmth and sheer joy of the entire project." Barbara Corrado Pope commented that "\["I'm No Girl's Toy"\] seems ill-placed in a movie that \[would\] probably have wide appeal for little girls."

#### Track listing

All tracks are written by Joe Raposo

| No. | Title | Performer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Main Title — Rag Dolly" |  | 1:37 |
| 2. | "Where'd You Go?" | Margery Gray & Lynne Stuart | 1:18 |
| 3. | "I Look and What Do I See" | Didi Conn & Cast | 2:55 |
| 4. | "I'm No Girl's Toy" | Mark Baker & Cast | 2:46 |
| 5. | "Rag Dolly" | Didi Conn, Mark Baker, & Cast | 3:50 |
| 6. | "Poor Babette" | Niki Flacks | 1:36 |
| 7. | "A Miracle" | George S. Irving & Arnold Stang | 1:15 |
| 8. | "The Abduction & Ho-Yo" | George S. Irving & Cast | 2:38 |
| 9. | "Candy Hearts" | Didi Conn & Mark Baker | 5:26 |
| 10. | "Blue" | Fred Stuthman | 4:43 |
| 11. | "Camel's Mirage" | Cast | 0:56 |
| 12. | "I Never Get Enough" | Joe Silver | 3:17 |
| 13. | "I Love You" | Alan Sues | 1:41 |
| 14. | "Hail To Our Glorious King" | Cast | 1:04 |
| 15. | "It's Not Easy Being King" | Marty Brill | 2:18 |
| 16. | "Hooray For Me" | Niki Flacks & Cast | 0:45 |
| 17. | "You're My Friend" | George S. Irving & Arnold Stang | 2:09 |
| 18. | "The Plot Thickens" |  | 3:08 |
| 19. | "The Tickling and The Last Laugh" |  | 1:30 |
| 20. | "Home" | Didi Conn, Mark Baker, & Cast | 5:46 |

## Release

The film was originally planned for a release on March 1, 1975, but was later scheduled for December 1976. By April 1976, the film was moved to early 1977 for extra three months of work. According to a two-page advertisement for *Variety* from December 8, 1976, it was estimated that over 70 million viewers watched Didi Conn and Mark Baker as Raggedy Ann and Andy dancing to "Rag Dolly" for two minutes in the Macy's Thanksgiving Day Parade. The promotional campaign for the film reportedly costed $2 million, with a hundred of manufacturers licensed to make more than 500 products. The film premiered on March 20, 1977, in nine major cities. It was later released on April 1, 1977, in 400 theaters in the United States, with approximately 40 theaters opened in New York City. The film was a box-office failure.

### Home video

The film was first released on RCA CED Videodisc, VHS, and Betamax by MGM/CBS Home Video in 1982. It was followed by a VHS release in 1985 by Playhouse Video (in association of CBS/Fox Video) and 1992 by Fox Video. It has never been released on DVD. However, there are 35mm scans of the full movie in widescreen on YouTube.

### Broadcasts

The film aired on Disney Channel for six days in June and July 1988.

## Reception

### Initial release

> "If you're a musical fan, you'll love *Raggedy Ann & Andy: A Musical Adventure*."

Keith Jones, *Register Staff*

> "Raggedy Ann & Andy is a natural for kids from 3 to 12 and their parents won't be bored, either John Gruelle's winsome pair come to life with accomplished animation supervised by Richard Williams. The songs by Joe Raposo are run of the Broadway mill and humor is sparse, but the characters brilliantly realized. Especially Greedy, a self-consuming lava pit of chocolate and other sweets."

Bob Thomas, *Associated Press*

Upon its initial release, *Raggedy Ann & Andy: A Musical Adventure* received mixed reviews from critics. The film was praised for its animation, voice cast, and songs. Film critic Roger Ebert stated that he "enjoyed \[the film\] fully, without the slightest need to revert to my childhood." He praised the animation and concluded that "\[children will\] enjoy Raggedy Ann anytime." Jay Alan Quantril called it the "most delightful film to be released in many a year." He praised the animation as "all done with such artistry and integrity" and the songs as "memorable if a little less than inspired." Rob Edelman commented that it is a "captivating film for children", comparing the film to the "best of Disney" and praising the "imaginative" animation, direction, screenplay, and "pleasant if memorable" songs. Candice Russell of *Knight-Ridder Newspapers* was favorable about the film, stating that the film has a "psychedelic array of colors, delightfully goofy characters, an ingenious story filled with danger and escape, a score by Joe Raposo, and humor sure to please mom and dad as well as the kids."

Suzanne Bowers of *Film Information* called the film's animation "excellent", the songs "easy for all ages to take", the music "catchy", and the film's mood "buoyant". Film Feedback from the Communication Commission, National Council of Churches stated that "children and adults who are young at heart will find much to enjoy and think about in \[the film\]." Peter Schillaci of *Mass Media Newsletter* stated that "creative style, gorgeous color, clear action, and some fine voices make this one children's film which won't put adults to sleep." A.H. Weiler of *The New York Times* commented that the film is "both a rare and welcome addition to the entertainment offered pre-teens these days." Gay Zieger praised the animation and music score of the film. The Marin Motion Picture and TV Council reviewed that the characters made this film a "rare treat". Bob Thomas of *Associated Press* praised the animation and characters in his "At the Movies" review. R.C. Staab praised the "good" animation and "pleasant" songs in his review. Keith Jones of *Register Staff* called the music "bright and catchy" and the animation "superb".

Other aspects were criticized, including some of the characters and its screenplay. Lou Gaul of *Courier Times Entertainment* was mostly favorable about the film, describing the production as "full of marvelous sights, pleasant sounds, and sparkling color." Although he criticized the film's ending for "fraying slightly", he praised the film's balance, music score, and production. David Sterritt of *Christian Science Monitor* called the film "the most unusual family-fun find of the season." He criticized the film's pace, but recalled that "once the plot is underway, it contains some cleverly conceived and brightly drawn situations." Judith Martin of *Los Angeles Times* and *The Washington Post* called the film "pretty" and "tuneful", but criticized the plot as a "vague chase, peopled by formless villains." Barbara Corrado Pope was mixed about the characters in the film, praising the Greedy, Sir Looney Knight, and King Koo Koo as "characters guaranteed to delight children", but criticized Raggedy Ann and Andy as "obnoxious" and a "sexist updating of the story". Howard Beckerman gave the film a mixed review, praising the "ambitious" animation, but criticized the story and the "overabundance" songs of the film, calling the latter that only of a few songs were "memorable". He also criticized its characters Marcella and Babette, stating that the former "don't present any conflict or suspense for the audience to be concerned about" while he called the latter "uninteresting".

### Retrospective

Retrospectively, the film continued to receive mixed reviews. Tim Brayton of *Antagony & Ecstasy* gave the film a score of 7 out of 10, calling the film "rare" and "totally essential and beautiful". Greg Ehrbar of *Animation Research* called the film a "bold, spectacular enterprise", praising the "mammoth talents" and its animation, particularly the Greedy sequence. Another reviewer from *Animation Research*, Michael Lyons, praised the film's animation as "full, kinetic, mesmerizing". According to *Halliwell's Film Guide*: "\[In this\] attractive fully animated cartoon feature \[...\] only the central story is lacking in pace and humor". In the book *Masters of Animation,* author John Grant stated that the film was "filed to the brim with all kinds of excellences." Grant praised the animation, but criticized the overabundance of "largely mediocre songs". Ray Kosarin of *Asifa East* stated that the film is "important and interesting", criticizing the story as "sleepy, sugary" and "fundamentally weak", the plot as "underbaked", and characters as "unmotivating", but praised the animation and its production as "colorful, often-exquisite". In the book *The Scarecrow Video Movie Guide*, reviewer Bryan Theiss stated that the film's animation was "fun to stare at the details of the drawings." He described the story as "unabashedly juvenile" and the songs as "saccharine". He also criticized the Twin Pennies as "creepy" and the Greedy as "disgusting". Sandra Brennan of AllMovie gave the film two out of five stars. Tom Hutchinson of *Radio Times* also gave the film two out of five stars, criticizing the characters for having "appeal but no story to tell that will interest children above the age of five."

## Stage adaptations

### 1981 drama adaptation

In 1981, Thackray reworked the story for *Raggedy Ann & Andy*, a play which is available to license for performances at schools and community theatres in the United States and Canada.

### 1986 Broadway musical

In 1984, Raposo and playwright William Gibson crafted a much darker variation of the story, first called *Raggedy Ann* and then briefly retitled *Rag Dolly*. Raposo retained two songs ("Rag Dolly" and "Blue") and reworked the opening title theme into a song called "Gingham and Yarn". The plot was completely different and follows the dying young Marcella, who goes on a journey with Raggedy Ann and her friends to meet the Doll Doctor, who can mend her broken heart. This version ran in three theatres (including one in Moscow) before landing with a thud on Broadway on October 16, 1986 at the Nederlander Theatre. After five performances and 15 previews, it was closed on October 19. The Broadway show received negative reviews, and it was considered a failure. It developed a cult following from bootleg recordings.

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55. Cinemaker 1977, p. 91.
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58. "Raggedy Ann & Andy: A Musical Adventure" (PDF). *Billboard*. April 2, 1977. Retrieved December 28, 2022.
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61. Weiler, A.H. (April 2, 1977). "'Raggedy Ann' Is Indeed an Animated Movie". *The New York Times*. Archived from the original on December 29, 2022. Retrieved December 28, 2022.
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66. Cinemaker 1977, p. 120.
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## Works cited

## InfoBox

| Raggedy Ann & Andy:<br>A Musical Adventure | |
| --- | --- |
| Theatrical release poster | |
| Directed by | Richard Williams |
| Screenplay by |  |
| Based on | Characters<br>by Johnny Gruelle |
| Produced by | * Richard Horner * Stanley Sills |
| Starring |  |
| Cinematography | * Dick Mingalone (Live-action) * Al Rezek (Animation) |
| Edited by | * Harry Chang * Lee Kent * Ken McIlwaine * Maxwell Seligman |
| Music by | Joe Raposo |
| Production<br>companies |  |
| Distributed by | 20th Century-Fox<br>ITT Inc. |
| Release date | * April 1, 1977 (1977-04-01) |
| Running time | 85 minutes |
| Countries | * United Kingdom * United States |
| Language | English |
| Budget | $4 million |
| Box office | $1.35 million (Rentals) |


title: Rachel Dennison

abstract: Rachel Ann Parton George is an American retired singer and actress and the youngest sibling of entertainer Dolly Parton.

text:
# Rachel Dennison

**Rachel Ann Parton George** (formerly **Dennison**, née **Parton**; born August 31, 1959) is an American retired singer and actress and the youngest sibling of entertainer Dolly Parton.

## Career

Parton was raised in the Church of God. She is the youngest of twelve children born to Avie Lee Caroline (née Owens; 19232003) and Robert Lee Parton Sr. (19212000). As well as Dolly Parton, her other celebrity siblings include older brother, entertainer Randy and sister Stella Parton.

As a child, she enjoyed wearing make-up and imitating her favorite stars. She later recalled, "I was the only girl in the first grade that routinely powdered and rouged my face." Dennison also remembered, "I never really wanted to be in show business. I just wanted to raise my kids and keep house, but I guess being in the business is just a 'family tradition'." She quit school after the eighth grade and toured the country with her family, often doing her elder sisters' make-up and occasionally singing backup. At age 15, she performed solo on stage for the first time. During her first performance, as she remembers, "right off I saw this new piano man (pianist Richard Dennison) and knew he was the fella for me." She and Dennison were married three years later.

In 1982, Dennison landed her first and only acting role in the ABC television sitcom incarnation of *9 to 5*. Before the show premiered, she stated in a *People* magazine interview: "I'm sure people will compare me to Dolly—it's only human nature." Her role, as bombshell secretary Doralee Rhodes, had been originated by her older sister, Dolly Parton, in the hit 1980 theatrical film of the same name. *9 to 5* was shot before a live studio audience and co-starred Rita Moreno and Valerie Curtin. The series had an impressive beginning in the ratings, but after a retooling (including the addition of Leah Ayres to the cast), the series was canceled by ABC after 33 episodes in 1983. The sitcom proved popular in reruns, leading producers to revive it in first-run syndication in 1986. Sally Struthers joined the cast, and the sitcom's popularity revived, producing another 52 episodes before ending in 1988.

During the network run of the series, she and her fellow cast members appeared on an episode of *Battle of the Network Stars* in 1983. She performed alongside her sister in a 1987 episode of her sister's variety series *Dolly*. Dennison's last appearance on camera was during an episode of *Bravo Profiles* titled "Dolly Parton: Diamond in a Rhinestone World" in 1999. Dennison has since retired from acting. Occasionally, she will sing with her siblings.

Her culinary work has been prominently featured in cabaret shows by Jacklynn Hyde.

## InfoBox

| Rachel Dennison | |
| --- | --- |
| Born | Rachel Ann Parton
(1959-08-31) August 31, 1959
Franklin, Tennessee, U.S. |
| Occupation | Actress/singer |
| Years active | 19821999 |
| Height | 5 ft 4 in (163 cm) |
| Spouses | * Richard Dennison (1978divorced) * Eric George (current) |
| Relatives |  |


title: USS Ouachita

abstract: USS Ouachita was a steamer captured by the Union Navy during the American Civil War. She was used by the Navy to patrol navigable waterways of the Confederacy to prevent the South from trading with other countries.

text:
# USS Ouachita

**USS *Ouachita*** was a steamer captured by the Union Navy during the American Civil War. She was used by the Navy to patrol navigable waterways of the Confederacy to prevent the South from trading with other countries.

## Service history

Union gunboats USS *Manitou* and USS *Rattler* captured Confederate side wheel steamer *Louisville* in the Little Red River 13 July 1863. The Navy purchased the prize from the Prize Court at Cairo, Illinois, 29 September 1863, and commissioned her as *Ouachita* 18 January 1864. Lt. Comdr. Byron Wilson assumed command 1 February. During the remainder of the Civil War, the gunboat operated in the Mississippi River and its tributaries, especially the Red, Black, and Ouachita Rivers. She participated in Rear Admiral David Dixon Porter’s expedition up the Red River to Alexandria 12 March to 22 May 1864. She performed patrol duty through the end of the war, and again ascended the Red River in May and June 1865 to receive the surrender of Confederate forces. Decommissioned 3 July 1865, *Ouachita* was sold at auction at Mound City, Illinois, 25 September 1865 to Tait, Able, and Gill.

*This article incorporates text from the public domain* Dictionary of American Naval Fighting Ships*. The entry can be found here.*

## InfoBox

| USS Ouachita | |
| --- | --- |
| History | |
| United States | |
| Acquired | 29 September 1863 |
| Commissioned | 18 January 1864 |
| Decommissioned | 3 July 1865 |
| Captured | 13 July 1863 |
| Fate | Sold, 25 September 1865 |
| General characteristics | |
| Displacement | 720 tons |
| Length | 227 ft 6 in (69.34 m) |
| Beam | 38 ft (12 m) |
| Draft | 7 ft (2.1 m) |
| Depth of hold | 7 ft 6 in (2.29 m) |
| Propulsion |  |
| Armament | * four 30-pounder Army Parrott rifles * one 30-pounder Navy Parrott rifles * eight 24-pounder guns * one 12 pounder rifled gun |


title: U Street (Washington, D.C.)

abstract: The U Street Corridor or Greater U Street, sometimes known as Cardozo/Shaw, is a neighborhood in Washington, D.C., located in Northwest D.C. Centered along U Street, the neighborhood is one of Washington's most popular nightlife and entertainment districts, as well as one of the most significant African American heritage districts in the country. The area was largely built after the U.S. Civil War and with the arrival of the Washington streetcar system in the 1880s, the neighborhood development boomed. By 1920, the neighborhood was predominantly African-American and flourished as the "Black Broadway", the heart of African-American culture in Washington. The area declined for a period following the 1968 Washington riots, but recovered following the 1991 opening of the U Street station of the Washington Metro. Since the 2000s, the area has been subject to significant urban redevelopment and gentrification.

text:
# U Street (Washington, D.C.)

The **U Street Corridor** or **Greater U Street**, sometimes known as **Cardozo/Shaw**, is a neighborhood in Washington, D.C., located in Northwest D.C. Centered along U Street, the neighborhood is one of Washington's most popular nightlife and entertainment districts, as well as one of the most significant African American heritage districts in the country.

The area was largely built after the U.S. Civil War and with the arrival of the Washington streetcar system in the 1880s, the neighborhood development boomed. By 1920, the neighborhood was predominantly African-American and flourished as the "Black Broadway", the heart of African-American culture in Washington. The area declined for a period following the 1968 Washington riots, but recovered following the 1991 opening of the U Street station of the Washington Metro. Since the 2000s, the area has been subject to significant urban redevelopment and gentrification.

## History

### 19th century

U Street is a largely Victorian-era neighborhood, developed between 1862 and 1900, the majority of which has been designated as the Greater U Street historic district.

At the time of the Civil War, the area was woods and open fields. The Union command chose this area for military encampments including Camp Barker near 13th and R streets and others in what is now the Shaw neighborhood proper. The encampments were safe havens for freed slaves fleeing the South, and thus the area became a popular one for African Americans to settle.

After the war, horse-drawn streetcar lines opened, running north from downtown Washington along 7th, 9th and 14th streets, making the area an easily accessible place to live. The lines were later turned into cable cars. Both blacks and whites lived here, gradually shifting to a predominantly African American population between 1900 and 1920. The area's oldest buildings are Italianate, Second Empire and Queen Anne-style row houses built rapidly by speculative developers in response to the city's high demand for housing with the post-Civil War growth of the federal government.

### Early 20th century

Until the 1920s, when it was overtaken by Harlem, the U Street Corridor was home to the nation's largest urban African American community. The area was home to the Industrial Bank, the city's oldest African American-owned bank, and to hundreds of black-owned and black-friendly businesses, churches, theaters, gyms, and other community spaces. Natives of the area included jazz musician Duke Ellington, opera singer Lillian Evanti, surgeon Charles R. Drew, and law professor Charles Hamilton Houston.

In its cultural heyday – roughly consisting of the years between 1900 and the early 1960s – the U Street Corridor was known as "Black Broadway", a phrase coined by singer Pearl Bailey. Performers who played the local clubs of the era included Cab Calloway, Louis Armstrong, Miles Davis, Sarah Vaughan, Billie Holiday, and Jelly Roll Morton, among many others.

During Prohibition, U Street was also home to many of the capital's 2,000-3,000 speakeasies, which some historians credit for helping integrate a city long divided between black and white.

From 1911 to 1963, the west end of the U Street neighborhood was anchored by Griffith Stadium, home of the District's baseball team, the Washington Senators. The Lincoln Theatre opened in 1921, and Howard Theatre in 1926. Duke Ellington's childhood home was located on 13th street between T and S Streets.

The Green Book, a travel guide for black travelers (1933–1963) listed many sites along U Street NW by Green Book Travelers.

### Late 20th century

While the area remained a cultural center for the African American community through the 1960s, the neighborhood began to decline following the assassination of Martin Luther King Jr. on 4 April 1968. The intersection of 14th Street and U Street was the epicenter of violence, 13 deaths and damage to 1,200 homes and businesses during the 1968 Washington, D.C. riots, which rampaged for four days after King's murder. Following the riots, and the subsequent flight of affluent residents and businesses from the area, the corridor became blighted. Drug trafficking rose dramatically in the mid-1970s, when the intersection of 14th and U Streets was an area of drug trafficking in Washington, D.C.

Following the economic downturn the area faced following the 1968 riots, the community and DC government launched numerous redevelopment efforts, such as the construction of the Reeves Center in 1986, the opening of the U Street station in 1991, and the 1998 Department of Housing and Urban Development grants funding "Remembering U Street" signage marking 15 historic properties and as façade improvements to 150 dilapidated storefronts on U and 14th streets

In the 1990s, revitalization of Adams Morgan and later Logan Circle began. More than 2,000 luxury condominiums and apartments were constructed between 1997 and 2007. As the area improved and became more attractive Washingtonians of all races and ethnicities, and of higher incomes and wealth, to live there, the ethnic mix of the neighborhood changed dramatically: in 2000 it was roughly 20% white and 60% black; while by 2010 that had reversed and the it was roughly 60% white and 20% black.

### 21st century

Redevelopment continued further into the 2000s and 2010s, along with rising concerns about gentrification.

Since 2013 numerous large mixed use residential buildings with retail on the ground floor have been built into the corridor. This represents a significant population increase versus the population of 4,572 registered in the 2010 census.

In 2011, U Street NW was designated a Great Street among Great Places in America by the American Planning Association. It is said to have been selected for in recognition of the street return to its grandeur after several decades of difficulties. Once again, the street hosts the arts, food, and businesses. The community works to embrace its historical significance for the African American community of Washington, D.C. during segregation.

On January 4, 2021, the book "Black Broadway" by DC author and journalist Briana A. Thomas was published by The History Press Thomas narrates U Street's rich and unique history, from the early triumph of emancipation to the days of civil rights pioneer Mary Church Terrell and music giant Duke Ellington, through the recent struggles of gentrification.

## Geography

The U Street Corridor is bounded by:

In addition to U Street itself, the intersecting 14th Street is a major retail, dining, and entertainment corridor. Retailers located on 14th near U include Room and Board, West Elm, and Lululemon.

### Name

The area is often referred to as the U Street Corridor, and has been known by other names:

* Part of **Shaw**: The 1966 *Shaw School Urban Renewal Area* plan covered the neighborhood now commonly known as Shaw, but also the U Street Corridor, Logan Circle, that for decades were also considered part of Shaw.
* **Cardozo**: in the 1990s the U Street Corridor was often referred to as Cardozo/Shaw, a name that the DC planning department still uses. Google Maps labels the neighborhood **Cardozo**. In both cases this is defined as a neighborhood separate from the Shaw neighborhood proper. The Cardozo Education Campus is located adjacent to the U Street Corridor but is actually in Columbia Heights neighborhood.

## Demographics

Figures are for Census tract 44 through 2017, which was split into tracts 44.01 (north of U Street) and 44.02 (south of U street) as of the 2020 census.

| Demographic | 2020 census | 2010 census | 2000 census | 1990 census | 1980 census |
| --- | --- | --- | --- | --- | --- |
| Total pop. | 6,185 | 4,572 | 2,450 | 2,951 | 3,598 |
| Children (under 18) |  | 6.8% |  | 27% |  |
| Seniors (65+) |  | 4.8% |  | 8.6% |  |
| Citizen (of over 18 pop.) |  |  |  |  |  |
| NH White | 63.3% | 60.8% | 22% | 8.7% |  |
| NH Black | 13.4% | 21.5% | 58% | 77% |  |
| Asian & Pacific Islander |  | 6.8% | 1.7% | 1.6% |  |
| Asian | 8.3% (NH) |  |  |  |  |
| Pacific Islander & Native Hawaiian | 0.05% (NH) |  |  |  |  |
| Some other race | 0.53% (NH) |  |  |  |  |
| Two or more races | 5.2% (NH) | 2.7% |  |  |  |
| Hispanic | 9.2% | 9.1% | 17% | 12% |  |
|

NH = non-Hispanic, NHPI = does not include Native Hawaiians and Pacific Islanders

Census tract 44 was bounded by 14th, S, and 7th streets and Florida Av. NW, thus including the entire U Street Corridor plus four blocks east of 9th St. NW. As of 2020, it was divided into tracts 44.01 and 44.02 along U Street. This area counted a population of 5,385 in the more than double the 1990 population. The official census count was 4,572 in 2010, an 87% increase from only 2,450 in 2000, thus reversing the trend of a decreasing population from 2,951 in 1990 and 3,598 in 1980.

The racial change in the tract's population has been dramatic; non-Hispanic Black residents who were once the dominant group in the area, were only 13% of the population in 2020, down from 22% in 2010, and sharply down from 58% in 2000 and 77% in 1990; corresponding to an increase in whites and Asians: the white non-Hispanic population was 63% in 2020, 61% in 2010, 22% in 2000, 8.7% in 1990. The Asian/Pacific Islander population was 8.3%, a continued increase from 6.8% in 2010, and much higher than 1.7% in 2000 and 1.6% in 1990. The Hispanic population was 9.2% in 2020, relatively stable vs. 9.1% in 2010, but down from 17% in 2000 and 12% in 1990.

The 2017 American Community Survey showed 6.8% of the area's residents were children in 2010, sharply down from 27% in 1990. Seniors also showed a decline at 4.8% in 2010, down from 8.6% in 1990. The foreign-born population was 18% in 2011–15, up from only 2.3% in 1980.

The per capita income in 2017 was est. $110,175 ±$10,961, more than double the average in D.C. ($50,832 ±$645); the Median household income was est. $166,071, more than$166,071, more than double the D.C. average of $77,649.

## Landmarks

|  | |
| --- | --- |
| Greater U Street Historic District | |
| U.S. National Register of Historic Places | |
| U.S. Historic district | |
|  | |
|  | |
| Location | Boundary map |
| Architectural style | Various (approximately 1580 contributing properties) |
| NRHP reference No. | 98001557 |
| Added to NRHP | December 31, 1998 |

The neighborhood's landmark buildings are nearly all the works of prominent early 20th century African American architects, including:

Other landmarks include:

## Culture

U Street has long been a center of Washington's music scene, with the Lincoln Theatre (1922), Howard Theatre, Bohemian Caverns (1926), and other clubs like on 9th Street at Harrington's, and Chez Maurice Restaurants and historic jazz venues. The 9:30 Club, the Black Cat, DC9, U Street Music Hall, and the Velvet Lounge musical venues are located on the corridor.

U Street also hosts the annual Funk Parade, a festival and celebration of funk music, community arts, and creativity. Public art, street art or graffiti and murals can be found on almost every corner along U Street.

## Transportation

The Corridor is served by the U Street station of the Washington Metro (subway), with service on the Green Line. WMATA buses run along both U and 14th streets, and the DC Circulator Woodley Park-Adams Morgan-McPherson Square line stops at 14th and U. Capital Bikeshare and various scooter-sharing systems have stations/vehicles in the area.

38°55′1.2″N 77°1′46.5″W / 38.917000°N 77.029583°W / 38.917000; -77.029583

## InfoBox

| U Street Corridor | |
| --- | --- |
| Neighborhood of Washington, D.C. | |
| Top: Lincoln Theatre (left) and Ben's Chili Bowl (right); middle: view of U Street; bottom: U Street by 16th Street (left) and U Street by 14th Street (right) | |
| Coordinates: 38°55′01″N 77°01′59″W / 38.917046°N 77.03293°W / 38.917046; -77.03293 | |
| Country | United States |
| District | Washington, D.C. |
| Ward | Ward 1 |
| Government | |
| Councilmember | Brianne Nadeau (Ward 1) |
| Area | |
| Total | .2 sq mi (0.5 km2) |
| Population (2017) | |
| Total | 5,385 |
| Density | 26,732/sq mi (10,321/km2) |
| Website | https://washington.org/dc-neighborhoods/u-street |
|  | |


title: Buteur Métayer

abstract: Buteur Métayer was a gang leader in Haiti during the 2004 Haiti rebellion. Following the assassination of his brother, Amiot Métayer, in 2003, he became the leader of his brother's gang, then known as the "Cannibal Army". He renamed the gang the "Revolutionary Artibonite Resistance Front" and participated in the seizure of the northern city of Gonaïves at the start of the rebellion against Haitian President Jean-Bertrand Aristide on February 5, 2004. On February 19, he declared himself the president of the "liberated" parts of Haiti as a new state called "Artibonite" and renamed the rebel group again, this time as the National Revolutionary Front for the Liberation of Haiti. In June 2005, he died of kidney failure in Gonaïves. Some of his supporters claim that he had been poisoned.

text:
# Buteur Métayer

**Buteur Métayer** (French pronunciation: \[bytœʁ metɛje\]; *c*. 1970 – June 8, 2005) was a gang leader in Haiti during the 2004 Haiti rebellion.

Following the assassination of his brother, Amiot Métayer, in 2003, he became the leader of his brother's gang, then known as the "Cannibal Army". He renamed the gang the "Revolutionary Artibonite Resistance Front" and participated in the seizure of the northern city of Gonaïves at the start of the rebellion against Haitian President Jean-Bertrand Aristide on February 5, 2004. On February 19, he declared himself the president of the "liberated" parts of Haiti as a new state called "Artibonite" and renamed the rebel group again, this time as the National Revolutionary Front for the Liberation of Haiti.

In June 2005, he died of kidney failure in Gonaïves. Some of his supporters claim that he had been poisoned.


title: Stone Quarry Hill Art Park

abstract: Stone Quarry Hill Art Park is an outdoor sculpture park located near Cazenovia, New York. It is open every day from dawn to dusk. The Art Park provides visitors the opportunity to explore unique outdoor artwork amidst 104 acres of conserved land, along four miles of trails, with vista views of the breathtaking rural landscape of Cazenovia and Madison County in Central New York. Inspired by the relationship between art and nature, the Art Park is dedicated to providing a unique environment for emerging and established artists to produce and showcase works in natural and gallery settings. Stone Quarry Hill Art Park is a non-profit organization that relies on memberships and donations to support its programs. Its mission is to educate and engage people and landscape through exhibitions, workshops, tours, and community outreach programs in the arts. In addition to its art and nature programming, the Art Park catalyzes the production of site specific works of art through its Artist in Residence Program. Since its incorporation in 1991, over 100 artists from 19 states and 8 foreign countries have created artwork that responds to the landscape of Stone Quarry Hill Art Park.

text:
# Stone Quarry Hill Art Park

**Stone Quarry Hill Art Park** is an outdoor sculpture park located near Cazenovia, New York. It is open every day from dawn to dusk. The Art Park provides visitors the opportunity to explore unique outdoor artwork amidst 104 acres of conserved land, along four miles of trails, with vista views of the breathtaking rural landscape of Cazenovia and Madison County in Central New York. Inspired by the relationship between art and nature, the Art Park is dedicated to providing a unique environment for emerging and established artists to produce and showcase works in natural and gallery settings. Stone Quarry Hill Art Park is a non-profit organization that relies on memberships and donations to support its programs. Its mission is to educate and engage people and landscape through exhibitions, workshops, tours, and community outreach programs in the arts.

In addition to its art and nature programming, the Art Park catalyzes the production of site specific works of art through its Artist in Residence Program. Since its incorporation in 1991, over 100 artists from 19 states and 8 foreign countries have created artwork that responds to the landscape of Stone Quarry Hill Art Park.

## History

Cazenovia was established in 1793 by John Linklaen. In 180, the property at 3883 Stone Quarry Road was settled as an early 19th century farm by a widow, Mary Hackley, and her two teenage sons. The foundations, hedgerows and a few apple trees make up what is currently referred to as the "Homestead Site," the oldest remains on the property. In the 1840s the quarry along Stone Quarry Road, opened and operated on a small scale until the late 1800s. Remnants from the quarry are still visible from Stone Quarry Road as one approaches the entrance to the Art Park. After many changes in ownership and changes in land boundaries, Dorothy and Robert (Bob) Riester, made their first land purchase in 1958, which included the 23 acres of Mary Hackley’s Farm.

From 1959–1965 the Riesters worked on building a house on the hilltop. Dorothy designed the house, shaped like a cone on its side, in keeping with the contours of the hill and considering the wind direction and bedrock of the land. The Dorothy Riester House and Studio (affectionately referred to as the Hilltop House) is a work of art in itself, much of it hand built by the couple. It is complete with an ivy-covered entryway fashioned after a Japanese Genkan, six-walled library and music room, a greenhouse plant room, handmade tiles for the kitchen and bath, sand-cast walls and fireplace, concrete work and painting. An A-frame art studio was also built to accommodate Dorothy's artistic practice. In 1965, the Hilltop House became a permanent home for the couple. By 1970, the site began its path as a place of artistic activity with the addition of the Art Barn studio, which became a base for the Syracuse Ceramic Guild. The studio was equipped with electric, salt and raku kilns. In 1979, the Syracuse Ceramic Guild initiated the annual Pottery Fair that the Art Park continues to host on its land. As the years went on, the Art Park continued to grow, it was incorporated as a non-profit in 1991. Shortly after the incorporation, Dorothy and Bob Riester hosted the first outdoor exhibition, “Sculpture on the Hilltop.” Today, the Art Park offers indoor and outdoor exhibitions, artist residencies, artist-led workshops, special events, and educational tours.

## The Dorothy Riester House and Studio

The Dorothy Riester House and Studio, the former home of Art Park founders Dorothy and Robert Riester remains at the hilltop locus of the Art Park. On March 19, 2014, the house was listed on the National Register of Historic Places. The home and studio space is listed under Criterion C as a highly intact example of a mid-twentieth century modern house and artist studio. The home was designed and built by the Riesters, with help from local contractors Dan McCabe, Gordon Bowers, and Sam Flatt. The home reflects Dorothy’s artistic viewpoint with additions such as the sculpted fireplace, textured barn board interior walls, and customized sandcast walls.

## Artworks

The Art Park displays many sculptures from the founder, Dorothy Riester, mixed in with rotating sculptures from artists-in-residence and collections around the world, including but not limited to works by Emilie Brzezinski, Rodger Mack, Enrique Saavedra, Esther Benedict, Christopher Gentner, Michael Kalish, and Takafumi Ide.

## InfoBox

| Stone Quarry Hill Art Park | |
| --- | --- |
|  | |
|  | |
| Type | sculpture park |
| Location | 3883 Stone Quarry Rd, Cazenovia, NY 13035 |
| Coordinates | 42°54′43″N 75°50′04″W / 42.9118145°N 75.8344595°W / 42.9118145; -75.8344595 |
| Website | https://sqhap.org/ |


title: Elmer Bischoff

abstract: Elmer Nelson Bischoff, was an American visual artist, from the San Francisco Bay Area. Bischoff, along with Richard Diebenkorn and David Park, was part of the post-World War II generation of artists who started as abstract painters and found their way back to figurative art.

text:
# Elmer Bischoff

**Elmer Nelson Bischoff** (July 9, 1916 – March 2, 1991), was an American visual artist, from the San Francisco Bay Area. Bischoff, along with Richard Diebenkorn and David Park, was part of the post-World War II generation of artists who started as abstract painters and found their way back to figurative art.

## Biography

Elmer Bischoff, second child of John and Elna (*née* Nelson) Bischoff, and grew up in Berkeley, California. He was the second-generation Californian, a son of a father of German descent, and a mother of mixed Swedish-Ecuadorian origin.

He entered the University of California, Berkeley, in September 1934, completing his master's degree in May 1939, and immediately started teaching art at Sacramento High School (1939–41). During his years at university, one teacher had influenced him most: the highly independent-minded Margaret Peterson (artist), whose total dedication to her teaching, and insistence on the ethical value of art, were to have a great impact on the artist Elmer Bischoff would be. World War II, however, was to change Bischoff's life. In 1941, he served as a lieutenant colonel in intelligence services of the United States Army Air Forces in England, stationing near Oxford, and only coming back to the US in November 1945.

After the war, back in San Francisco, Bischoff found himself once more in the midst of avant-garde artistic ebullience - mixing, among other painters (and to name but two), with such artists as Mark Rothko and Clyfford Still. In January 1946, a golden opportunity was offered him: one of his artist friends, Karl Kasten (himself a war veteran, like Bischoff) suggested Bischoff as art teacher for a position still available, at San Francisco's California School of Fine Arts. It was then that Bischoff entered a faculty which already included some of the most talented new artists of post-war America. It is there that he eventually met David Park and Richard Diebenkorn. In 1973, Bischoff was elected into the National Academy of Design as an Associate member, and became a full member in 1985.

While distinct from expressionist art that came from Europe, art of the Bay Area Figurative Movement displays the immediacy and warmth that one sees in abstract expressionist painting. Elmer Bischoff was older than Diebenkorn, and he had experiences in the world that led to his taking an independent turn in painting. Bischoff's quiet and lyrical paintings were serious in a different way from the painting which was being taken seriously at the time; and which saw the rise of Abstract expressionism.

A retrospective of Elmer Bischoff's work, *Grand Lyricist: The Art of Elmer Bischoff*, was offered by the Oakland Museum of California, November 3, 2001- January 13, 2002. The Crocker Art Museum (California), the de Young Museum, the Hirshhorn Museum and Sculpture Garden (Washington D.C.), the Honolulu Museum of Art, the Kemper Museum of Contemporary Art (Kansas City, Missouri), the Museum of the National Academy of Design (New York City), the Museum of Fine Arts, Houston (Texas), the Oklahoma City Museum of Art, the Orange County Museum of Art, The Phillips Collection (Washington D.C.), the San Francisco Museum of Modern Art, and the Smithsonian American Art Museum (Washington D.C.) are among the public collections holding works by Elmer Bischoff.

Bischoff was the father of composer John Bischoff.

### Reference books

* *Elmer Bischoff: the Ethics of Paint* (monography), Susan Landauer, 2001, Oakland Museum of California-University of California Press.

## InfoBox

| Elmer Bischoff | |
| --- | --- |
| Born | (1916-07-08)July 8, 1916<br>California, US |
| Died | March 2, 1991(1991-03-02) (aged 74) |
| Education | University of California |
| Known for | Painting |
| Movement | Bay Area Figurative Movement |
| Spouse | Adelie Landis Bischoff |


title: Fakhreddine Jaziri

abstract: Fakhreddine Jaziri is a Tunisian football midfielder who currently plays for Club Africain.

text:
# Fakhreddine Jaziri

**Fakhreddine Jaziri** (born 25 January 1989) is a Tunisian football midfielder who currently plays for Club Africain.

## InfoBox

Fakhreddine Jaziri
|  | | | |
| --- | --- | --- | --- |
| Personal information | | | |
| Full name | Fakhreddine Jaziri | | |
| Date of birth | (1989-01-25) 25 January 1989 | | |
| Place of birth | Tunis, Tunisia | | |
| Position(s) | midfielder | | |
| Team information | | | |
| Current team | Club Africain | | |
| Number | 27 | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 2008–2015 | CA Bizertin |  |  |
| 2015–2016 | EGS Gafsa |  |  |
| 2016– | Club Africain |  |  |
| \*Club domestic league appearances and goals | | | |


abstract: The Women's 200 metre breaststroke competition of the 2024 European Aquatics Championships was held on 20 and 21 June 2024.

text:
# Swimming at the 2024 European Aquatics Championships – Women's 200 metre breaststroke

The **Women's 200 metre breaststroke** competition of the 2024 European Aquatics Championships was held on 20 and 21 June 2024.

## Records

Prior to the competition, the existing world, European and championship records were as follows.

|  | Name | Nation | Time | Location | Date |
| --- | --- | --- | --- | --- | --- |
| **World record** | Evgeniia Chikunova | Russia | 2:17.55 | Kazan | 21 April 2023 |
| **European record** | Rikke Pedersen | Denmark | 2:19.11 | Barcelona | 1 August 2013 |
| **Championship record** | | | 2:19.84 | Berlin | 22 August 2014 |

## Results

### Heats

The heats were started on 20 June at 10:16.
*Qualification Rules:* The 16 fastest from the heats qualify to semifinals.

| Rank | Heat | Lane | Name | Nationality | Time | Notes |
| --- | --- | --- | --- | --- | --- | --- |
| 1 | 2 | 4 | Kristýna Horská | Czech Republic | 2:27.45 | Q |
| 2 | 3 | 4 | Thea Blomsterberg | Denmark | 2:28.08 | Q |
| =3 | 1 | 4 | Clara Rybak-Andersen | Denmark | 2:28.31 | Q |
| =3 | 1 | 6 | Nikoleta Trníková | Slovakia | 2:28.31 | Q |
| 5 | 1 | 2 | Ellie McCartney | Ireland | 2:28.63 | Q |
| 6 | 3 | 3 | Eneli Jefimova | Estonia | 2:28.93 | Q |
| 7 | 2 | 6 | Eleni Kontogeorgou | Greece | 2:29.08 | Q |
| 8 | 3 | 5 | Lisa Mamié | Switzerland | 2:29.67 | Q |
| 9 | 2 | 5 | Ana Blažević | Croatia | 2:29.90 | Q |
| 10 | 1 | 7 | Niamh Coyne | Ireland | 2:29.99 | Q |
| 11 | 1 | 3 | Eszter Békési | Hungary | 2:30.63 | Q |
| 12 | 2 | 1 | Laura Lahtinen | Finland | 2:30.84 | Q |
| 13 | 3 | 7 | Lisa Nystrand | Sweden | 2:31.22 | Q |
| 14 | 3 | 2 | Maria Romanjuk | Estonia | 2:31.31 | Q |
| 15 | 3 | 8 | Chara Angelaki | Greece | 2:31.64 | Q |
| 16 | 1 | 5 | Grace Palmer | Belgium | 2:32.51 | Q |
| 17 | 3 | 1 | Emelie Fast | Sweden | 2:32.76 |  |
| 18 | 3 | 6 | Andrea Podmaníková | Slovakia | 2:32.78 |  |
| 19 | 2 | 8 | Nadia Tudo | Andorra | 2:33.74 |  |
| 20 | 2 | 2 | Martina Bukvić | Serbia | 2:34.41 |  |
| 21 | 1 | 8 | Anna Munk Fuglsang | Denmark | 2:37.89 |  |
|  | 1 | 1 | Klara Thormalm | Sweden | Did not start | |
| | 2 | 3 | Olivia Klint Ipsa | Sweden | |
| | 2 | 7 | Ida Hulkko | Finland | |

### Semifinals

The semifinals were started on 20 June at 19:07.
*Qualification Rules:* The 8 fastest from the heats qualify to the final.

| Rank | Heat | Lane | Name | Nationality | Time | Notes |
| --- | --- | --- | --- | --- | --- | --- |
| 1 | 2 | 4 | Kristýna Horská | Czech Republic | 2:24.55 | Q |
| 2 | 1 | 4 | Thea Blomsterberg | Denmark | 2:25.04 | Q |
| 3 | 2 | 5 | Clara Rybak-Andersen | Denmark | 2:26.18 | Q |
| 4 | 2 | 6 | Lisa Mamié | Switzerland | 2:26.34 | Q |
| 5 | 2 | 3 | Ellie McCartney | Ireland | 2:26.76 | Q |
| 6 | 1 | 2 | Eszter Békési | Hungary | 2:27.77 | Q |
| 7 | 1 | 3 | Eleni Kontogeorgou | Greece | 2:28.14 | Q |
| 8 | 1 | 6 | Ana Blažević | Croatia | 2:28.92 | Q |
| 9 | 1 | 5 | Nikoleta Trníková | Slovakia | 2:28.96 |  |
| 10 | 2 | 1 | Maria Romanjuk | Estonia | 2:30.03 |  |
| 11 | 2 | 7 | Laura Lahtinen | Finland | 2:30.11 |  |
| 12 | 2 | 2 | Niamh Coyne | Ireland | 2:30.47 |  |
| 13 | 1 | 8 | Andrea Podmaníková | Slovakia | 2:30.66 |  |
| 14 | 2 | 8 | Grace Palmer | Belgium | 2:32.01 |  |
| 15 | 1 | 1 | Chara Angelaki | Greece | 2:32.79 |  |
| 16 | 1 | 7 | Lisa Nystrand | Sweden | 2:33.18 |  |

### Final

The final was held on 21 June at 18:43.

| Rank | Lane | Name | Nationality | Time | Notes |
| --- | --- | --- | --- | --- | --- |
|  | 4 | Kristýna Horská | Czech Republic | 2:23.60 |  |
|  | 3 | Clara Rybak-Andersen | Denmark | 2:25.20 |  |
|  | 6 | Lisa Mamié | Switzerland | 2:26.10 |  |
| 4 | 5 | Thea Blomsterberg | Denmark | 2:26.42 |  |
| 5 | 7 | Eszter Békési | Hungary | 2:27.72 |  |
| 6 | 1 | Eleni Kontogeorgou | Greece | 2:28.20 |  |
| 7 | 8 | Ana Blažević | Croatia | 2:28.44 |  |
| 8 | 2 | Ellie McCartney | Ireland | 2:28.68 |  |

## InfoBox

| Women's 200 metre breaststroke
at the 2024 European Aquatics Championships | |
| --- | --- |
| Venue | Sports Centre Milan Gale Muškatirović |
| Dates | 20 June (heats and semifinals)
21 June (final) |
| Winning time | 2:23.60 |
| Medalists | |
| Czech Republic  Denmark  Switzerland | |
|


title: Koinmerburra people

abstract: The Koinmerburra people, also known as Koinjmal, Guwinmal, Kungmal and other variants, are an Aboriginal Australian people of the state of Queensland. They are the traditional owners of an area which includes part of the Great Barrier Reef.

text:
# Koinmerburra people

The **Koinmerburra people**, also known as **Koinjmal**, **Guwinmal**, **Kungmal** and other variants, are an Aboriginal Australian people of the state of Queensland. They are the traditional owners of an area which includes part of the Great Barrier Reef.

## Country

Koinmerburra traditional lands covered an estimated 4,100 square kilometres (1,600 sq mi), taking in the western slopes of Pine Mountain in the Normanby Range to the Styx River. They occupied the coastal strip from Broad Sound northwards to Cape Palmerston and took in St. Lawrence. Their inland extensions went as far as the Coast Range, and, to the south, ended around Marlborough. Ecologically, they worked large areas of mangrove mudflats, and employed bark canoes to navigate these shoreline zones.

## Social organisation

The Koinmerburra consisted of several kin groups, the name of at least one of which is known:

* *Mamburra*
* *Bauwiwarra* (This may, alternatively, have been a horde of the Darumbal)

According to an early Rockhampton informant, W. H. Flowers, responding to a request for information by Alfred William Howitt, the Koinjmal were divided into two moieties, the *Yungeru* and the *Witteru*, each in turn subdivided into two sections, creating 4 sub-classes:

The *Yungeru* were split into the *Kurpal* (Eaglkehawk totem) and the *Kuialla* (Laughing jackass totem): the *Witteru* divided into the *Karilbura* and *Munaal*, which had several totems, including the wallaby, Curlew, Hawk, Clearwater and Sand.

### Marriage

According to Flowers, marriages were contracted early, in infancy, when a girl's parents would arrange her marriage to an elder man, who, after the ceremony of betrothal would supply her regularly with game and fish, while scrupulously avoiding going near the camp of her parents or speaking to the mother.

The ceremony was finalised in the following manner:

> The parents having painted the girl and dressed her hair with feathers, her male cousin takes her to where her future husband is sitting cross-legged in silence, and seats her at his back, and close to him. He who has brought the girl after a time removes the feathers from her hair and places them in the hair of her future husband, and then leads the girl back to her parents.

The actual marriage was sealed by a simulated kidnapping of the young girl.

> when a girl who has been promised is considered to be old enough for marriage by her father, he sends the girl as usual with the other women to gather yams or other food, and he tells the man to whom he has promised her, who, then painting himself, takes his weapons and follows her, inviting all the unmarried men in the camp to assist him. When they come up with the women he goes forward alone, and telling the girl he has come for her he takes her by the wrist or hand. The women at once surround her and try to keep her from him. She tries to escape, and if she does not like him she bites his wrist, this being an understood sign that she refuses him.

## History

Some Koinmerburra kin groups could be found living beyond their traditional lands, at places like Yaamba and Bombandy, at the beginning of the 20th century, but this displacement was the consequence of white encroachments, which drove them to push south of their homeland.

## Language

Guwinmal is an extinct dialect of Darumbal.

## Alternative names

As of 2020, the usual name used for this people is Koinmerburra.

* *Koinbal* (meaning people of the plains)
* *Kooinmerburra*
* *Kuinmurbura*
* *Kungmal*
* *Kungalburra*
* Kuinmabara, Kungalburra, Gunmal, Koi, Koinbal, Kweembul, Kwiambal, Kwigalburra, Mamburra, Queenbullaquieumble, Gunymal, Gonjmal, Kuinmur bura, Koinjmal

## Some words

* *kuinmur* (a plain)

## Natural resource management

The Traditional Owner Reference Group consisting of representatives of the Yuwibara, Koinmerburra, Barada Barna, wiri, Ngaro, and those Gia and Juru people whose lands are within Reef Catchments Mackay Whitsunday Isaac region, helps to support natural resource management and look after the cultural heritage sites in the area.

### Citations

1. Tindale 1974, p. 176.
2. Tindale 1974, p. 167.
3. Howitt 1884, p. 336.
4. Howitt 1884, p. 335.
5. Howitt 1889, p. 118.
6. Howitt 1889, p. 118, note.
7. Howitt 1889, p. 123.
8. E49 Guwinbal at the Australian Indigenous Languages Database, Australian Institute of Aboriginal and Torres Strait Islander Studies
9. Lyons, Ilisapeci; Hill, Rosemary; Deshong, Samarla; Mooney, Gary; Turpin, Gerry (2020). "Protecting what is left after colonisation: embedding climate adaptation planning in traditional owner narratives". *Geographical Research*. **58** (1). Wiley: 34–48. Bibcode:2020GeoRs..58...34L. doi:10.1111/1745-5871.12385. ISSN 1745-5863. S2CID 213375090.
10. "Traditional Owners". *Reef Catchments*. 9 September 2020. Retrieved 18 October 2020.


title: Stone Raiders

abstract: Stone Raiders also known as Black Stone Raiders is an American blues rock and funk band. Stone Raiders members are Jean-Paul Bourelly, a Chicago born jazz fusion and blues rock guitarist, Darryl Jones, also a Chicago born jazz and rock bass guitarist who also plays with The Rolling Stones, and Will Calhoun, an American drummer and a member of the group Living Colour.

text:
# Stone Raiders

**Stone Raiders** also known as **Black Stone Raiders** is an American blues rock and funk band.

Stone Raiders members are Jean-Paul Bourelly, a Chicago born jazz fusion and blues rock guitarist, Darryl Jones, also a Chicago born jazz and rock bass guitarist who also plays with The Rolling Stones, and Will Calhoun, an American drummer and a member of the group Living Colour.

## InfoBox

| Stone Raiders | |
| --- | --- |
| Stone Raiders perform live in Kino Šiška, Ljubljana, Slovenia on 2 February 2012. | |
| Background information | |
| Origin | United States |
| Genres |  |
| Labels | Yellowbird records |
|  | |
| Members | Jean-Paul Bourelly
Darryl Jones
Will Calhoun |
|  | |
| Website | www.facebook.com/stoneraiders |


title: Elmer Bliss

abstract: Elmer Ward Bliss was a Major League Baseball pitcher and outfielder. Bliss played for the New York Highlanders in 1903 and 1904. In 1903, Bliss, as a pitcher, played in 1 game and got the win, going 7 innings with one run allowed. Then in 1904, Bliss appeared in a game for the Highlanders as an outfielder. He went 0–1 in the game. He batted left and threw left-handed.

text:
# Elmer Bliss

**Elmer Ward Bliss** (March 9, 1875 – March 18, 1962) was a Major League Baseball pitcher and outfielder. Bliss played for the New York Highlanders in 1903 and 1904. In 1903, Bliss, as a pitcher, played in 1 game and got the win, going 7 innings with one run allowed. Then in 1904, Bliss appeared in a game for the Highlanders as an outfielder. He went 0–1 in the game. He batted left and threw left-handed.

## Biography

A former oil and ironworker, Bliss made his professional baseball debut in 1900, joining the Atlantic League, a successor of the Pennsylvania State League, playing as a shortstop. However, the league folded at the end of the 1900 season and he joined local teams in the Southern Tier of New York while living in Bolivar, New York. After impressing other teams, the Utica Pent-Ups signed Bliss for the 1901 season. After playing for the Pent-Ups from 19011903, the Highlanders purchased his contract in August 1903.

After his appearances for the Highlanders, Bliss ended up with the Baltimore Orioles of the Eastern League in 1904. In 1905 he played for the Montreal Royals and the Rochester Bronchos. Late in the 1905 season, the Chicago White Sox purchased Bliss' contract. For the 19061908 seasons, Bliss served as the manager for the Grand Rapids Wolverines of the Central League. After the 1908 season, the White Sox sold him to the Montgomery Climbers, where he played until his retirement after the 1911 season.

After retiring, Bliss returned to the oil business and started working in real estate, moving to Bradford, Pennsylvania in 1915, where he started his own insurance business. Bliss retired from the insurance business in 1957. He died on March 18, 1962 at Bradford Hospital, aged 87.

## InfoBox

| Elmer Bliss | |
| --- | --- |
|  | |
| **Pitcher / Outfielder** | |
| **Born:** (1875-03-09)March 9, 1875
Penfield, Pennsylvania | |
| **Died:** March 18, 1962(1962-03-18) (aged 87)
Bradford, Pennsylvania | |
| **Batted:** Left**Threw:** Right | |
| MLB debut | |
| September 28, 1903, for the New York Highlanders | |
| Last MLB appearance | |
| May 11, 1904, for the New York Highlanders | |
| MLB statistics | |
| Win–loss record | 1–0 |
| Earned run average | 0.00 |
| Strikeouts | 3 |
|  | |
| Teams | |
|  | |


title: Fakhreddine Galbi

abstract: Fakhreddine Galbi is a Tunisian football (soccer) player who currently plays as a striker for CA Bizertin.

text:
# Fakhreddine Galbi

**Fakhreddine Galbi** (born 14 August 1984, in Korba) is a Tunisian football (soccer) player who currently plays as a striker for CA Bizertin.

## Career

Galbi began his career in his hometown with CS Korba and was promoted 2004 to the senior side, before moved in summer 2006 to Union Sportive Monastir. On 26 August 2008 he moved from Union Sportive Monastir to Liechtenstein club FC Vaduz (playing in the Swiss league system) and signed a contract to 30 June 2010. After just one year was released from his contract with Vaduz and returned back to Tunisia, signing for Stade Tunisien on 23 August 2009.

## International career

He has one cap for Tunisia and five youth games.

## InfoBox

Fakhi Galbi
| Personal information | | | |
| --- | --- | --- | --- |
| Full name | Fakhreddine Galbi | | |
| Date of birth | (1984-08-14) August 14, 1984 | | |
| Place of birth | Korba, Tunisia | | |
| Height | 1.90 m (6 ft 3 in) | | |
| Position(s) | Striker | | |
| Team information | | | |
| Current team | US Ben Guerdane (manager) | | |
| Youth career | | | |
| 1999–2004 | CS Korba | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 2004–2006 | CS Korba | 38 | (27) |
| 2006–2008 | US Monastir | 42 | (23) |
| 2008–2009 | FC Vaduz | 21 | (13) |
| 2009–2010 | Stade Tunisien | 19 | (11) |
| 2010–2011 | CS Sfaxien | 16 | (07) |
| 2011–2012 | Al-Mokawloon Al-Arab | 09 | (04) |
| 2012–2013 | Stade Gabèsien | 25 | (16) |
| 2013–2014 | CA Bizertin |  |  |
| International career | | | |
| 2004–2006 | Tunisia U-21 | 16 | (09) |
| 2006– | Tunisia | 13 | (05) |
| \*Club domestic league appearances and goals, correct as of 13 May 2008<br>‡ National team caps and goals, correct as of 23 June 2006 | | | |


title: Boletellus dicymbophilus

abstract: Boletellus dicymbophilus is a species of fungus in the family Boletaceae. Found in Guyana, it was described as new to science in 2008.

text:
# Boletellus dicymbophilus

***Boletellus dicymbophilus*** is a species of fungus in the family Boletaceae. Found in Guyana, it was described as new to science in 2008.

## InfoBox

| *Boletellus dicymbophilus* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Fungi |
| Division: | Basidiomycota |
| Class: | Agaricomycetes |
| Order: | Boletales |
| Family: | Boletaceae |
| Genus: | *Boletellus* |
| Species: | ***B. dicymbophilus*** |
| Binomial name | |
| ***Boletellus dicymbophilus***<br>Fulgenzi & T.W.Henkel (2008) | |
|


title: Salama da sugo

abstract: Salama da sugo, also known as salamina da sugo, is a particular salami made of pork typical of the province of Ferrara consumed after cooking. It is recognized with the PGI and PDO designations of origin.

text:
# Salama da sugo

***Salama da sugo***, also known as ***salamina da sugo***, is a particular salami made of pork typical of the province of Ferrara consumed after cooking. It is recognized with the PGI and PDO designations of origin.

## History

Cristoforo di Messisbugo, steward of Duke Alfonso I d'Este, in his work published posthumously in 1549 *Banchetti, composizioni di vivande e apparecchio generale* indicates the general lines which can be the first citation of this preparation when he describes the way of making *mortadelle di carne* by using wine in the mixture of the sausage.

## Cooking

The procedure for cooking according to tradition is quite laborious. A first check (the so-called "*piombatura*") involves immersing the *salama* in cold water. If it sinks like lead, it means that it does not have any defects that have arisen during the aging process. If it tends to float, it means that during the aging process small air pockets have formed inside the *salama* which could have made it rancid.

The preparatory phase includes the immersion in lukewarm water for a whole night, followed by washing under running water in order to remove the layer of mold due to the natural aging process. For cooking it is necessary to have a high pot, in order to allow the *salami* to remain suspended and not to touch the bottom or the walls during the whole cooking process, which can last from four to eight hours (the time depends on the percentage of fat in the original mixture and on the aging time, information obtained from the production process). In order to obtain this result it is necessary that the binding string is usually supported by a long wooden cooking spoon or ladle placed transversally on the edge of the pot. During cooking part of the fat comes out and the mixture reaches the right consistency and the most intense taste. *Salama*, as opposed to *cotechino*, should not be pierced before cooking.

With a fatter product, cooking is achieved in less time because the fat during aging reduces dehydration and the consequent weight loss (compared to a high quality *salama* obtained from leaner meat), therefore it remains softer and cooking is achieved faster. The seasoning also affects the duration of cooking. If it is longer, it is necessary to cook it for a longer time in order to compensate the previous loss of water. The long cooking phase gives the *salama* its pleasant consistency.

Long cooking is a critical phase and one that needs experience. *Salama* must always remain suspended and always covered by water, therefore it is fundamental to refill the pan with hot water when necessary. Even the duration of cooking must be evaluated by an expert person.

### Pre-cooked *salama da sugo*

In modern cooking the time to be dedicated to the preparation of food has decreased in respect to past times. Considering the difficulties of traditional cooking, pre-cooked *salamina da sugo* has been on the local market for many decades, as is already the case, although with a different territorial diffusion, for *zampone Modena*, *cotechino*, *stinco di maiale* and other similar products.

## Consumption

Usually *salama* is consumed hot. It can be done by removing the upper part of the *salama* and extracting the meat with a spoon or by removing the whole skin and presenting it in a container suitable to collect the sauce which comes out during the cutting into slices or slices. The traditional side dish is mashed potatoes to which is added a spoonful of the red sauce which comes out during the cutting of the *salami*. Many other side dishes are possible, but all less used. Because of its caloric content it could be consumed as a single dish, even though, in certain occasions, it is customary to include it in a complete meal which includes some of the most famous dishes of Ferrara's cuisine such as cappelletti, or desserts such as *pampepato*, *torta tenerina*, *torta di tagliatelle* or zuppa inglese.

## Ferrara's tradition

*Salama da sugo* has been part of Ferrara's culinary tradition for centuries. Riccardo Bacchelli in his *Il mulino del Po* (*The Mill on the Po*) mentions it twice. Renzo Ravenna, despite his Jewish faith, consumed it, even if only once a year. The Este Jewish community, which has been present in Ferrara for centuries, has produced a kosher variant. Orio Vergani said he appreciated it thanks to Italo Balbo who, during his visits to Ferrara, let him know all the secrets of the city.

## Festivals and events

The *Sagra della salamina da sugo al cucchiaio* is held between the end of September and the beginning of October in Poggio Renatico, in Madonna Boschi.

The *La sagra della salama da sugo di Buonacompra* is held in the middle of July in Buonacompra. Always in Buonacompra, the *I giorni della salama da sugo I.G.P.* is held in mid-October.

The *Campionato mondiale della salama da sugo* is held in the second half of February in Fiscaglia, organized by the Cultural Center ANCeSCAO Il Volano, in Migliarino.

## Acknowledgements

Antonio Frizzi, historian and writer from Ferrara, in 1722 dedicated a poem to it: *La Salameide*.

*Salama da sugo* has been included in the list of traditional food products and an independent mention is given to the *salama da sugo di Madonna dei Boschi*.

On October 24, 2014, *salama da sugo* was entered in the register of protected geographical indications (PGI).

## Bibliography

## InfoBox

*Salama da sugo*
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| --- | --- |
| Place of origin | Italy |
| Region or state | Emilia-Romagna |
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title: Swainsona burkei

abstract: Swainsona burkei is a species of flowering plant in the family Fabaceae and is endemic to northern Australia. It is a prostrate or perennial subshrub with imparipinnate leaves usually with 5 to 11 oblong to narrowly egg-shaped leaflets, and racemes of 5 to 10 purple flowers.

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# Swainsona burkei

***Swainsona burkei*** is a species of flowering plant in the family Fabaceae and is endemic to northern Australia. It is a prostrate or perennial subshrub with imparipinnate leaves usually with 5 to 11 oblong to narrowly egg-shaped leaflets, and racemes of 5 to 10 purple flowers.

## Description

*Swainsona burkei* is a prostrate or perennial subshrub that typically grows to a height of 30–40 cm (12–16 in) with many slender stems arising from its base. Its leaves are imparipinnate, 2–7 cm (0.79–2.76 in) long with stipules 5–10 mm (0.20–0.39 in) long at the base. There are 5 to 11 oblong to narrowly leaflets with the narrower end towards the base, mostly 10–30 mm (0.39–1.18 in) and 3–10 mm (0.12–0.39 in) wide. The flowers are arranged in racemes 1–30 mm (0.039–1.181 in) long of 5 to 10, each flower on a pedicel 0.5–15 mm (0.020–0.591 in) wide. The sepals are joined at the base, forming a tube about 1.5 mm (0.059 in) long, the sepal lobes often three or more longer than the sepal tube. The petals are purple, occasionally pink or white, the standard petal 9–11 mm (0.35–0.43 in) long, the wings 6–8 mm (0.24–0.31 in) long, and the keel 7–9 mm (0.28–0.35 in) long. The fruit is a more or less oblong pod 8–15 mm (0.31–0.59 in) long and 6–7 mm (0.24–0.28 in) wide with the remains of the style 4–5 mm (0.16–0.20 in) long.

## Taxonomy and naming

*Swainsona burkei* was first formally described in 1864 by George Bentham in *Flora Australiensis* from an unpublished description of Ferdinand von Mueller. Bentham's description was published in his *Flora Australiensis*.

## Distribution and habitat

This species of swainsona grows in grassland and woodland in the central parts of the Northern Territory and in western Queensland.

## InfoBox

| *Swainsona burkei* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Rosids |
| Order: | Fabales |
| Family: | Fabaceae |
| Subfamily: | Faboideae |
| Genus: | *Swainsona* |
| Species: | ***S. burkei*** |
| Binomial name | |
| ***Swainsona burkei***<br>F.Muell. ex Benth. | |
|
| Synonyms | |
| * *Swainsona burkei* F.Muell. ex Benth. subsp. *burkei* * *Swainsonia burkei* F.Muell. orth. var. | |