title: The Art of the Motorcycle

abstract: The Art of the Motorcycle was an exhibition that presented 114 motorcycles chosen for their historic importance or design excellence in a display designed by Frank Gehry in the curved rotunda of the Frank Lloyd Wright-designed Solomon R. Guggenheim Museum in New York City, running for three months in late 1998. The exhibition attracted the largest crowds ever at that museum, and received mixed but positive reviews in the art world, with the exception of some art and social critics who rejected outright the existence of such a show at an institution like the Guggenheim, condemning it for excessive populism, and for being compromised by the financial influence of its sponsors. The unusual move to place motorcycles in the Guggenheim came from director Thomas Krens, himself a motorcycling enthusiast, supported by a novel corporate tie-in with BMW. The motorcycles were chosen by experts including Krens, physicist and motorcycling historian Charles Falco, Guggenheim advisers Ultan Guilfoyle and Manon Slone, and others. The exhibition was described by historian Jeremy Packer as representing the end of a cycle of demonization and social rejection of motorcyclists, followed by acceptance and reintegration that had begun with the mythologized Hollister riot of 1947 and ended with the high-end marketing of motorcycles and the newly fashionable biker image of the 1980s and 1990s. Or at least the show served as "a long-overdue celebration of the sport, the machines and the pioneers they love." The exhibition was the beginning of a new trend in profitable, blockbuster museum exhibits, foreshadowed by The Treasures of Tutankhamun tour of 1972-1979. Questions over the museum's relationship with corporate financial sponsors, both in this show and the tribute to the work of fashion designer Giorgio Armani that followed shortly after, contributed to soul searching and the drafting of new ethical guidelines by the Association of Art Museum Directors.

text:
# The Art of the Motorcycle

**The Art of the Motorcycle** was an exhibition that presented 114 motorcycles chosen for their historic importance or design excellence in a display designed by Frank Gehry in the curved rotunda of the Frank Lloyd Wright-designed Solomon R. Guggenheim Museum in New York City, running for three months in late 1998. The exhibition attracted the largest crowds ever at that museum, and received mixed but positive reviews in the art world, with the exception of some art and social critics who rejected outright the existence of such a show at an institution like the Guggenheim, condemning it for excessive populism, and for being compromised by the financial influence of its sponsors.

The unusual move to place motorcycles in the Guggenheim came from director Thomas Krens, himself a motorcycling enthusiast, supported by a novel corporate tie-in with BMW. The motorcycles were chosen by experts including Krens, physicist and motorcycling historian Charles Falco, Guggenheim advisers Ultan Guilfoyle and Manon Slone, and others. The exhibition was described by historian Jeremy Packer as representing the end of a cycle of demonization and social rejection of motorcyclists, followed by acceptance and reintegration that had begun with the mythologized Hollister riot of 1947 and ended with the high-end marketing of motorcycles and the newly fashionable biker image of the 1980s and 1990s. Or at least the show served as "a long-overdue celebration of the sport, the machines and the pioneers they love."

The exhibition was the beginning of a new trend in profitable, blockbuster museum exhibits, foreshadowed by The Treasures of Tutankhamun tour of 1972-1979. Questions over the museum's relationship with corporate financial sponsors, both in this show and the tribute to the work of fashion designer Giorgio Armani (on the heels of a $15 million pledge to the museum from Mr. Armani) that followed shortly after, contributed to soul searching and the drafting of new ethical guidelines by the Association of Art Museum Directors.

## Exhibition

The catalog of the exhibition covered a broad range of historic motorcycles starting from pre-20th century steam-powered velocipedes and tricycles, covering the earliest production motorcycles, Art Deco machines of the 20s and 30s, iconic Harley-Davidsons and Indians, British roadsters, and on up to the striking race replica street bikes of the 80s and 90s, ending with the MV Agusta F4. The idea of the show was to use motorcycles as a way of surveying the 20th century, exploring such themes as mobility and freedom in a way that cars can no longer do because they are too commonplace and utilitarian, while motorcycles retain a unique romance.

The interior of the Guggenheim's spiral ramp was covered in reflective stainless steel, a design by Frank Gehry, with a stylized pavement under the tires of the exhibits, and the bikes not leaned over on their kickstands, but rather standing up, as if in motion, held by thin wires and small clear plastic chocks under the wheels. Early examples from the 19th century, steam cycles and three wheelers mostly, were in a single room near the entrance. The first series produced motorcycle, and the first motorcycle included in the exhibition catalog proper, the 1894 Hildebrand & Wolfmüller stood outside the gallery. The exhibition also featured a film exhibit, "The Motorcycle on Screen," with Easy Rider director Dennis Hopper speaking, and clips from that film as well as the Buster Keaton silent film *Sherlock Jr.*, Andy Warhol's *Bike Boy*, and the TV show *CHiPs*.

The year 1998 coincided with the 50th anniversary of Honda motorcycles, the 75th of BMW motorcycles and the 95th of Harley-Davidson. Fifty-four collections loaned motorcycles, with the greatest number lent by the Barber Vintage Motorsports Museum, and the Chandler Vintage Museum of Transportation and Wildlife.

BMW's interest in the world of fine art was not unprecedented, as that company had experimented with commissioning prominent artists to paint some of their race cars in the 1970s, leading to the collection, the BMW Art Cars, becoming an ongoing project exhibited in the Louvre, Guggenheim Museum Bilbao, and in 2009, at the Los Angeles County Museum of Art and New York's Grand Central Terminal.

The Chicago Field Museum exhibition presented 72 of the original collection's motorcycles, and added details such as coverage of the Motor Maids women's motorcycling club founded after WWII. That show also added a participatory group motorcycle ride open to 2,000 bikers at a cost of US$50.

## Popularity

Average attendance was at 45 percent higher than normal, with over 4,000 visitors daily, and more than 5,000 people a day visiting on the weekends. Total attendance at the New York museum was 301,037, the largest in the history of the Guggenheim, prompting the ad hoc show at the Chicago Field Museum, where advance tickets were sold for the first time. That show was followed by runs at Guggenheim Bilbao and Guggenheim Las Vegas. The name *The Art of the Motorcycle* and some associated media content was subsequently licensed for shows at Wonders: The Memphis International Cultural Series and the Orlando Museum of Art. Many of the same bikes appeared at these venues. Attendance at the Chicago exhibition was 320,000, the highest since The Treasures of Tutankhamun two decades before. Attendance at the next venue, Bilbao, was over 3/4 million, and at Las Vegas, over 250,000, making the tour's total attendance among the top 5 exhibitions ever in a museum. Many attendees attracted to these shows had never been to any museum before. Copies of the exhibition's lavish, large-format 427-page color catalog outsold any museum catalog yet, with over 250,000 copies in print as of 2005.

1900 Thomas. 1.8 bhp (1.3 kW), top speed 25 mph (40 km/h). Memphis, July 2005.1960 Honda CB92 Benly Super Sport 125 cc (7.6 cu in). Las Vegas exhibition January 2005Undulating ramps built in Las Vegas created a lively effect, while in New York the motorcycles followed a sloping, spiral ramp.1962 Ducati Elite. 204 cc (12.4 cu in). Power: 17 bhp (13 kW) @ 7,500 rpm. Top speed: 85 mph (137 km/h). Memphis, July 2005.

## Historical context

In 1969 Thomas Hoving made a splash at the beginning of his career as director of the Metropolitan Museum of Art with a blockbuster exhibition "Harlem on My Mind," featuring the previously overlooked art of African Americans in Harlem, New York City and was buffeted by criticism from many quarters. Regardless of what final judgments were made on that show, the impact of the large-scale, media extravaganza art museum exhibition had been felt widely in the museum world. Hoving would go on to a successful career as director of the Met that would reach a high point with the even larger The Treasures of Tutankhamun show, setting attendance records that are still unbroken. Hoving is credited with inventing modern museum populism in his King Tut show.

Rotunda of the Solomon R. Guggenheim museum in New York, NY (top). Frank Gehry covered these surfaces with polished stainless steel (bottom), creating the feeling of being inside a giant machine, or an engine cylinder.

Other trends were at work as well, with a succession of public museum controversies over shocking art reaching back to the sixties, but coming to a head in the 1980s and 1990s with battles over art financed by the US National Endowment for the Arts (NEA). The fights over financing of shows by Robert Mapplethorpe and others drew bitter battle lines, with most artists, museum directors, gallery owners, and critics lining up to defend free expression and public financing of art with no restrictions on content. Opponents of this art were generally focused on cutting off funding for and evicting offensive art from public spaces, but there was also a positive side to their arguments, that the proper financing of art was in private sector and art which could successfully attract private financing was by definition deserving of being shown. Jacob Weisberg of *Slate* saw the efforts of directors like Krens to drive overflowing museum attendance, at the cost of showing something other than, in Weistberg's view, real art, as a demonstration that they are not an elitist institution, a direct answer, and capitulation, to conservative attacks on museums and the NEA for shows like Mapplethorpe's.

It was in 1989 and 1990, one decade before *The Art of the Motorcycle*, that Mapplethorpe's *The Perfect Moment* exhibition was hounded from one venue to another by outraged conservatives. It was at this point also when performance artist Karen Finley was denied NEA funding, and Andres Serrano's *Piss Christ* became another center of controversy. The 1990s saw one victory after another for the conservative movement in public art and museums. The economy was booming, and a kind of optimism was felt and expressed by such colorful figures as Malcolm Forbes, whose "Capitalist Tools Motorcycle Club" toured exotic venues celebrating both wealth and a love of fine motorcycles.

In the summer of 1999, the Brooklyn Museum did battle with then-New York Mayor Rudolph Giuliani over the exhibition "Sensation," with charges of presenting sexually and religiously offensive art. In the face of all this, and the series of battles in the American culture war, *The Art of the Motorcycle* stood as a counterpoint, and possibly the high-water mark for the other kind of museum show: not offensive, not exclusive, but welcoming to the sensibilities of the general public. People who were baffled and irritated by modern and postmodern art could feel good about this show. The financing, while critics cried foul, was private. The show was by nature consented to directly by those who paid the bills, rather than passive taxpayers, and it was aimed at keeping the audience happy, rather than inciting rage with, say, US flags stuffed into toilets, as had been done in one famous museum exhibit decades earlier.

One decade after *The Art of the Motorcycle* opened, Thomas Krens has stepped aside from the top position at the Guggenheim. *The New York Times'* Holland Cotter has declared the blockbuster exhibition dead, victim of a weak economy that cannot afford such expensive excess, though this was on a positive note, suggesting a new and exuberant role for independent artists and smaller venues.

## Critical reception

Reaction to the exhibition came from two distinct camps of critics, with few having views from both. One camp rejected the very idea of *The Art of the Motorcycle*, having nothing to do with the machines on display in the Guggenheim or Thomas Krens' way of displaying them, nor his way of financing such a show. The other camp accepted in principle that such a show was acceptable, as art, or at least as subject for a museum like the Guggenheim, and from that basis formed a range of opinions about the quality of the show itself.

### Outright condemnation

The exhibition was condemned outright by some art critics and social commenters who rejected the very existence of an exhibition of motorcycles at the Guggenheim. They saw it as a failure of the museum to carry out its social role as a leader and educator of the public's understanding of art. Rather than guide the masses toward works they might not have considered or been aware of, *The Art of the Motorcycle* showed them things they already were familiar with, and already liked; in other words, pandering to the lowest common denominator by giving people more of what they wanted and none of what they needed. To the extent that the exhibition responded to desires other than what made the public feel good, the Guggenheim was catering to the marketing needs of the shows sponsors, in particular BMW. They saw a great cultural institution renting itself out as an exhibition hall for a mere trade show.

In his book *The Future of Freedom*, journalist and author Fareed Zakaria argued that the Guggenheim's motorcycle exhibition, and other populist shows, were indicative of the downfall of American civilization in general, due to the undermining of traditional centers of authority and intellectual leadership. Zakaria writes that Thomas Krens' "gimmicks are flamboyant and often upstage the art itself," and that the point is not to get the public to look at the art anyway, but only to get them into the museum. While not rejecting that modern and commercial work should be included in modern art shows, Zakaria says, with *The New Republic's* Jed Perl, that the show fails to "define a style or period" and instead merely parrots current taste, giving the public validation. Due to the overly dependent relationship with BMW, the show is driven by non-aesthetic criteria, and is too politically correct and uncontroversial. Zakaria goes on to point out that, indeed, the Guggenheim gave up plans for a show "Picasso and the Age of Iron" because it was too old-fashioned to attract a sponsor, and that BMW turned down a request to sponsor a show "Masterworks from Munich" because Munich isn't sexy.

Zakaria equates sexiness and buzz with popularity, which drives profit, pointing to a connection between democratization and marketization. This means bad aesthetic choices will be made by the people, rather than having informed, aesthetically sound leadership by aristocratic arbiters of taste whose wealth frees them from ulterior motives, enabling them to lead a reluctant public to perhaps challenging and unenjoyable art, that is nonetheless good for them.

These misgivings were cemented for many when the Guggenheim followed a few months later with an homage to fashion designer Giorgio Armani in a show whose financing was even more suspect. Armani had pledged US$15 million to the Guggenheim Foundation and appeared to be rewarded in a quid pro quo manner with an uncritical and otherwise unjustified marketing coup at one of New York's most prestigious venues.

This type of criticism was described by Jeremy Packer as an *ad hominem* attack on the stereotypical biker in service of a "rear-guard line of defense" of Western cultural and aesthetic values, perceived to be overrun by the "spiritually poor, oversexed, and insane." Such criticism was rebuked by *Washington Post* columnist Geneva Overholser as "dusty foolishness," a foot-dragging reaction to progress, in which some critics were hypocritically denouncing popular works in public while, in private, secretly enjoying the greater accessibility and relevance that was bringing in huge crowds, to the benefit of both museums and the public. Curator and Guggenheim director Thomas Krens defended the premise of the show saying, "We can't focus on Monet and minimalism too much. We have to keep the intellectual vitality of the institution sharp, and I think the bikes do that. They vary the rhythm of the museum and pique your curiosity about what the next show might be. This show isn't meant to be a thumb of the nose at art."

*Newsweek* critic Peter Plagens defended motorcycles as art by arguing that, "Just as aerodynamic airplanes are simple and streamlined, a motorcycle--which manages to balance an engine and a seat between two wheels--has a mechanical integrity, with intertwining pipes, chains and springs, that is fascinating to behold," comparing the aesthetic to the modernist, minimalist sculptures of Brâncuși. Patrons need not feel guilty for enjoying themselves, because not all visits to a museum must be endured as grim ordeals of self-improvement.

Film stills were used as backgrounds in the Las Vegas exhibition.Pamela Anderson in *Barb Wire* (1996)Steve McQueen in *The Great Escape* (1963). Motorcycles shown are Britten V1000, Harley-Davidson Sportster, Jackson-Rotax JAP Speedway and Matchless G50*Roman Holiday* (1953) behind Honda Super Cub and Vespa GSAnn-Margret in *The Swinger* (1966) behind 1960 Honda CB92

### Criticism of content

Among critics who accepted the premise of the show and the legitimacy of motorcycles under the Guggenheim's roof, since museums have included design exhibitions before, and shown, for example, utilitarian bowls or ancient chariots as art, many still had misgivings about the way in which it was financed. While appreciative of Thomas Krens' innovative museum direction, *The New York Times* mused that, "one can't help wondering which came first, the idea for the exhibition or the realization that money \[from BMW\] would be available for such a show." A number of times the Guggenheim answered critics of BMW's involvement by ticking off the total number of Harley-Davidsons and Hondas, which were greater than BMWs included. But it was suggested that even at that, there were BMWs shown that were not significant enough to be present.

Text behind the motorcycles offered some context. Las Vegas exhibit, January 2003

With regard to the content, the concept that the motorcycle could serve as a metaphor for the 20th century was received with interest, but some wondered whether the claim was fulfilled by the appearance of the motorcycles chosen and the way they were presented. The motorcycles shown did, at least, "illustrate technology and taste as they have evolved together in the 20th century, which is an issue basic to modern art." While there were many who lauded Frank Gehry's spare design, with only the reflective stainless steel and a terse string of words on the walls behind the bikes to evoke the decade they came from, others saw this as shallow or a failure to offer as much insight as the show could have.

Some of the text was criticized as flippant, and the connection between the social and historical context and the motorcycle designs produced from that was left unexplained. Packer contends this "buzzword approach to context forces the viewer to fill in the blanks, and it also reveals the extent to which the museum display is predicated upon the assertion of a naturalized link between essentialized culture and the artifacts that are said to emanate from it," so *The Art of the Motorcycle* was constructing the illusion that motorcyclists are a monolithic subculture rather than being different kinds of riders having "numerous relationships to motorcycling."

Packer also argues that "progressivist, developmentalist logic was underpinned by the chronological ordering" of the exhibits themselves, with the clean, productive member of the establishment image of motorcyclists found at the end of the progression.

*The New York Times'* Jim McCraw was satisfied that, "All the great bikes of the 20th century are represented," and the catalog is "impressive in its depth, breadth and purpose, worth several visits for avid motorcyclists." However, McCraw pointed out the following omissions: the Wankel-engined Suzuki RE5, the inline-6 Honda CBX1000 (instead the less popular but antecedent Benelli 750 Sei was included), any of the Japanese turbocharged motorcycles of the 1980s-1990s, the world's fastest motorcycle in the quarter mile at the time, the Yamaha R1, the motorcycle with greatest top speed at the time, the Honda CBR1100XX, and no police motorcycles at all. James Hyde of *Art in America* pointed to the omission of the Moto Guzzi V8.

*Slate's* Jacob Weisberg found 114 motorcycles in the catalog to be too many, and too boring for the non-motorcycle aficionado. In contrast to critics like Zakaria, Perl, and Hilton Kramer, who want museums to challenge and educate the public with difficult art like abstract expressionism, which might require a little homework to learn to like, Weisberg complained that the information accompanying the motorcycle exhibits was too technical and bewildering to the non-gearhead, with talk of self-aligning bearings, compression ratios and near-hemispherical combustion chambers. That is, he wrote, "the approach is design-technical rather than design-aesthetic or design-cultural," and thus it failed to make the case that industrial design is more than just the "stepchild of fine art" and that "the cross-fertilization of high and pop is an important part of the story of artistic modernism."

The selection of motorcycles was overwhelmingly Western, and mostly limited to motorcycles of the United States market, and mostly of the high end, leaving out utilitarian examples. One scooter is present, and one motorcycle truly for the masses, the Honda Super Cub. That motorcycles are the number one mode of transport in a great many countries such as Malaysia and Indonesia, and thus central to the lives of most of the world's population was completely ignored by *The Art of the Motorcycle*, and little mention was made of the design context of creating motorcycles for this market. Creative uses of motorcycles in the developing world, such as the tuk tuk and similar vehicles, was overlooked. Even the critical role that motorcycles played as utilitarian transport prior to the advent of the Ford Model T was left largely out. Instead, motorcycling was seen through the lens of the late 20th century American: a form of recreation, and most of all, a form of self-expression. There were critics, such as *The New York Times'* Michael Kimmelman, who, somewhat playfully, shared this US-centric point of view, in that "motorcycles are frivolous to begin with: they're about irresponsibility, about not conforming, about getting away. Or at least they're about embracing the image of nonconformity."

## Legacy

In the year following the opening of the Guggenheim motorcycle exhibition, The Metropolitan Museum of Art presented *Rock Style*, featuring music performance costumes, sponsored by Tommy Hilfiger, Condé Nast Publications, and Estée Lauder Companies, seen by *The Guardian's* Michael Ellison as corporate-museum interdependency similar to the BMW and Armani shows at the Guggenheim. In addition to touring their Art Cars in various museums, BMW has continued to find new ways to be a major player in the arts, in accordance with their marketing goals, for example in the 2006 "BMW Performance Series" featuring jazz music and black filmmakers, all overtly targeted at black car buyers.

After the Las Vegas exhibit, derivative versions of *The Art of the Motorcycle* were presented at Wonders: The Memphis International Cultural Series and Orlando Museum of Art. The Legend of the Motorcycle concours was in part inspired by the success of the Guggenheim's exhibit. A group of celebrity movie actors, friends of the "consummate showman" Thomas Krens named themselves the "Guggenheim Motorcycle Club" and rode motorcycles on various adventures in Spain and elsewhere. The Motorcycle Hall of Fame museum's 2008 *MotoStars* event, designed to "go even further" than the Guggenheim shows, was anchored by celebrity appearances, and included Krens and co-curator Charles Falco. A forthcoming exhibition at the Bermuda National Gallery, inspired by *The Art of the Motorcycle*, will use the identical concept of the motorcycle as "possible metaphor for the 20th century." The Penrith Regional Gallery's curator was inspired in part by the Krens' success in New York City to create the 2009 *Born To Be Wild: The Motorcycle In Australia*, an examination of the motorcycle in contemporary art.

1910 Pierce Four. Power: 4 bhp (3.0 kW). Top speed: 60 mph (97 km/h). Memphis exhibition, July 2005.1914 Cyclone. 61 cu in (1,000 cc). Power: 45 bhp (34 kW) @ 5,000 rpm. Top speed: unknown. Memphis exhibition, July 2005.1919 Harley-Davidson Model W Sport Twin. 36 cu in (590 cc), Power: 6 bhp (4.5 kW). Top speed: 50 miles per hour (80 km/h). Memphis exhibition, July 2005.1923 BMW R32. 494 cc (30.1 cu in), Power: 8.5 bhp (6.3 kW) @ 3,200 rpm. Top speed: 62 mph (100 km/h). Memphis exhibition, July 2005.

## InfoBox

*The Art of the Motorcycle*
|  | |
| --- | --- |
| Subject: | motorcycles |
| Nation/culture: | US and other industrialized countries. |
| Media: | motorcycles, film, speeches, memorabilia |
| Period: | 20th century |
| Host: | Solomon R. Guggenheim Museum, New York, NY |
| Major lenders: | Barber Vintage Motorsports Museum, Chandler Vintage Museum of Transportation and Wildlife |
| Financial sponsors: | BMW, Lufthansa |
| Opening Venue: | Solomon R. Guggenheim Museum, New York, NY June 26, 1998 (1998-06-26) \- September 20, 1998 (1998-September-20) |
| Second Venue: | Field Museum of Natural History, Chicago, IL November 7, 1998 (1998-11-07) \- March 21, 1999 (1999-03-21) |
| Third Venue: | Guggenheim Museum Bilbao, Spain November 24, 1999 (1999-November-24) \- September 3, 2000 (2000-September-03) |
| Final Venue\*: | Guggenheim Las Vegas, NV October 7, 2001 (2001-10-07) \- January 6, 2003 (2003-01-06) |
| Total attendance: | 2,000,000 |
| Curators | Thomas Krens, Charles Falco, Ultan Guilfoyle |
| * Later derivative exhibitions licensing the name were put on by Wonders: The Memphis International Cultural Series and the Orlando Museum of Art, and others, using some of the original catalog and a variety of interior designs, but not curated by the Guggenheim. | |
|  | |


title: Search for the Titanic

abstract: Search for the Titanic is a graphic adventure developed by Codesmiths and IntraCorp and published by its subsidiary Capstone Software in 1989. It was released for MS-DOS compatible operating systems, then ported to the Commodore 64. Versions for the Apple II and Amiga were planned, but never reached development. Accolade, Inc. helped to distribute the game. Much of the gameplay is based on Robert Ballard's expedition to locate the wreck of the RMS Titanic.

text:
# Search for the Titanic

***Search for the Titanic*** is a graphic adventure developed by Codesmiths and IntraCorp and published by its subsidiary Capstone Software in 1989. It was released for MS-DOS compatible operating systems, then ported to the Commodore 64. Versions for the Apple II and Amiga were planned, but never reached development (or just cancelled and not completed in the case of the announced Apple II port). Accolade, Inc. helped to distribute the game. Much of the gameplay is based on Robert Ballard's expedition to locate the wreck of the RMS *Titanic*.

## Gameplay

The game does oceanographic simulation. The player has to build up reputation and resources by exploring sunken ships on an expedition to find the *Titanic*. To gain funds, the player needs sponsorship with good reasons to carry out the voyage. If that works out, the player needs the right equipment, adequate supplies, an ideal vessel and competent personnel on a limited budget. Next the player navigates through the sea and finds a suitable place to dive and find a shipwreck. The game includes 75 shipwrecks, over 100 maps and charts and 47 ports to stop at. Problems can occur during the expedition including the crew's health declining, bad weather and running out of supplies and funds. Some of those shipwrecks include Spanish treasure and Noah's Ark.

## Development

President of Intracorp, Leigh Rothschild was fascinated by historical shipwrecks and earned a degree in history the University of Miami. Being president of the large electronic company, Rothschild had access to a lot of multimedia. He built up his inspiration from whatever literature and videos on diving and shipwrecks he could dig up. It wasn't until June 1987, that Rothschild actually came up with an idea on the *Titanic*. For this project he needed recent photos of the shipwreck and expertise from an oceanographer. He turned his attention to Woods Hole Oceanographic Institution, whom his brother Kenneth had worked with previously and were conveniently located near enough for him to contact on a daily basis. Woods Hole were keen on the idea of a video game based on their exploits and Intracorp got the required rights. At the request of Robert Ballard, Intracorp changed it so that no treasure collecting occurred in the gameplay, in order to set a good example for players and future oceanographers.

Coding the game required the help of Codesmiths programmers Jeff Jones and Sean Puckett. Before their assignment, they did have a keen interest in the *Titanic* ocean liner. The proposal took ten days to produce. By November 1988, a substantial amount of programming had been completed. Puckett drew the maps of the game by hand. The simulated weather was the hardest feature to implement. All organisation names in the game were created so as not to coincide with real-life companies. Jones and Puckett had difficulty accurately researching the diving equipment, so they had to make educated guesses. Ballard's photos were no good for digitizing in their current format, so Codesmiths had the slides converted to contact prints (placed on one sheet of light-sensitive paper) at a photographic lab. Then the page of contact prints were placed inside a scanner with a special digitizing program to input them into a computer. The digitized images were then resized with dithering applied.

## Release

An Amiga version of *Search for the Titanic* was introduced at the Winter CES in January 1989. The IBM PC compatible version was highlighted at the ACE Game of Show in 1989. The Commodore 64 version was shown at the European Computer Trade Show in April 1990.

## Reception

A reviewer from *The Games Machine* gave the game a score of 68% saying that the game lacks gameplay and gets boring, but may be worth checking out if you are looking for something different. A reviewer from *Zzap!64* gave the game a score of 50% finding the graphics and screens uninteresting and the gameplay boring. An ST Log reviewer described the game as an off-beat adventure with enough detail to consume a computer-bound treasure hunter for hours.

Woods Hole Oceanographic Institution reviewed the game for its geographical accuracy.

## InfoBox

| Search for the Titanic | |
| --- | --- |
|  | |
| Developer(s) | Codesmiths
IntraCorp |
| Publisher(s) | Capstone Software |
| Programmer(s) | Jeff Jones
Sean Puckett |
| Platform(s) | MS-DOS, Commodore 64 |
| Release | **February 1989:** MS-DOS
**1989:** C64 |
| Genre(s) | Adventure |
| Mode(s) | Single-player |


title: René Lussier

abstract: René Lussier is a jazz guitarist based in Montreal, Quebec, Canada. He is a composer, guitarist, bass guitarist, percussionist, bass clarinetist, and singer. Lussier has collaborated with Fred Frith, Chris Cutler, Jean Derome, and Robert M. Lepage. He combines elements from several genres and is often referred to within the discourse of contemporary classical music or Musiques Actuelles in French.

text:
# René Lussier

**René Lussier** (born April 15, 1957) is a jazz guitarist based in Montreal, Quebec, Canada. He is a composer, guitarist, bass guitarist, percussionist, bass clarinetist, and singer. Lussier has collaborated with Fred Frith, Chris Cutler, Jean Derome, and Robert M. Lepage. He combines elements from several genres and is often referred to within the discourse of contemporary classical music or *Musiques Actuelles* in French.

## Biography

Born in Montreal, Quebec, Lussier began his musical career in 1973 in Chambly, Quebec as part of the progressive rock band Arpège. From 1976 to 1980, he was a member of the Montreal folk-progressive group Conventum led by André Duchesne. Lussier was also a member of the groups Quatour de l'Emmieux and les Reins, Nébu and La G.U.M in the late 1970s and early 1980s. In 1986 he joined Duchesne's Les 4 Guitaristes de l'Apocalypso-Bar.

In 1979 he worked with Duchesne on the music for a short film called *Tanobe*. He has written or co-written the scores to more than 35 films, including *Chronique d'un génocide annoncé*, a documentary by Danièle Lacourse and Yvan Patry about the Rwandan genocide.

Lussier played guitar for singer Pauline Julien between 1982 and 1984, though he also worked on esoteric music that blurred distinctions between progressive rock, jazz, improvisation, modern composition, and circus music. His first solo album, *Fin du travail (version I)*, was released in 1983. He has collaborated with Derome and Lepage, and has recorded three albums with the Fred Frith Guitar Quartet, *Ayaya Moses* (1997) and *Upbeat* (1999) as well as the second side of *Quartets* (1994). Lussier is featured prominently in *Step Across the Border* (1990), a documentary by Nicolas Humbert and Werner Penzel about the work and travels of Frith. Lussier was also a member of Frith's band Keep the Dog (1989–1991).

In 1983, Lussier co-founded the Ambiances Magnétiques record label and recording with Derome, Lepage and Duchesne. *Le trésor de la langue* (1989), was created during this period. The album interspersed music with taped recordings of Quebec residents discussing the importance of the French language. It won the Grand Prix Paul-Gilson award in 1989.

In the late 1990s, Lussier recorded two albums for solo guitar and a pair of collaborations with Martin Tétreault which reflected an interest in the history of musique concrète and electroacoustic music composition and theory.

## Discography

* *Fin du travail (version 1)* (1983)
* *Chants et danses du monde inanimée* (with Robert Lepage) (1984)
* *Soyez vigilants... restez vivants!* (with Jean Derome) (1986)
* *Nous autres* (with Fred Frith) (1986)
* *Le retour des granules* (1987)
* *Le trésor de la langue* (1989)
* *Des pas et des mois* (with Martin Tétreault and Michel F. Coté) (1990)
* *Au royaume du silencieux* (1992)
* *Le corps de l'ouvrage* (1994)
* *Three Suite Piece* (with Jean Derome and Chris Cutler) (1996)
* *Le tour du bloc* (1996)
* *Trois histoires* (1996)
* *La vie qui bat chèvre* (with Pierre Tanguay) (1997)
* *La vie qui bat chevreuil* (with Pierre Tanguay) (1998)
* *Chronique d'un génocide annoncé* (1998)
* *Dur noyau dur* (with Martin Tétreault) (1998)
* *Qu'ouis-je* (with Martin Tétreault) (2000)
* *Solos de guitar électrique* (2000)
* *Deboutonné* (2000)
* *Tombola rasa* (2001)
* *Le contrat* with Gilles Gobeil (empreintes DIGITALes, IMED 0372, 2003)
* *Grand vent* (2005)
* *Le prix du bonheur* (2005)

## InfoBox

| René Lussier | |
| --- | --- |
| Born | (1957-04-15) April 15, 1957<br>Montreal, Quebec, Canada |
| Genres | Avant-garde jazz |
| Occupation | Musician |
| Instrument | Guitar |
| Years active | 1980s–present |
| Labels | Ambiances Magnétiques |
|  | |
| Website | renelussier.ca |


title: Larsiny Family

abstract: Larsiny is an American hip hop group from North Philadelphia, Pennsylvania. Rapper Cassidy formed the group in the late 1990s with hometown natives Akbar and Shiz Lansky. They first signed with the Ruff Ryders Entertainment-subsidiary label TD Entertainment by 2000, and were subsequently featured on the song "Ryde Or Die Boyz" from the Ruff Ryders Ryde or Die Vol. 2 (2000) compilation album. AR-Ab later joined the group in 2005, while Lansky was featured the song "I Pray" from Cassidy's B.A.R.S. The Barry Adrian Reese Story (2010) album.

text:
# Larsiny Family

**Larsiny** is an American hip hop group from North Philadelphia, Pennsylvania. Rapper Cassidy formed the group in the late 1990s with hometown natives Akbar (Rodney Jean-Jacques) and Shiz Lansky (Sean Lassiter). They first signed with the Ruff Ryders Entertainment-subsidiary label TD Entertainment by 2000, and were subsequently featured on the song "Ryde Or Die Boyz" from the Ruff Ryders *Ryde or Die Vol. 2* (2000) compilation album. AR-Ab later joined the group in 2005, while Lansky was featured the song "I Pray" from Cassidy's *B.A.R.S. The Barry Adrian Reese Story* (2010) album.

## History

### 2000–2007: Full Surface

Larsiny (then consisting of Shiz Lansky, Akbar, and Cassidy) was discovered in Philadelphia, Pennsylvania by Swizz Beatz's father Terrence Dean, and in turn, the group signed to the Ruff Ryders-subsidiary label TD Entertainment. Their breakout appearance was on the song "Ryde Or Die Boyz" from *Ryde or Die Vol.2* in 2000. Members Shiz Lansky and Cassidy help co-write Eve's single "Got It All" from the album as well.

In 2003, AR-Ab was added to the group due to his affiliation with Cassidy.

The group has released two mixtapes: *Put Ya L's In The Sky*; released on January 4, 2008; and the second, *100 Bars Mixtape (a.k.a. North Philly of Death)* released on April 19, 2009.

### 2008–2009: Quarrels

In 2008, there was a beef brewing between Cassidy and Akbar that came to public attention. By February 2009, various clips of Akbar dissing Cassidy appeared on YouTube, resulting in a response track on Cassidy's *Apply Pressure* (2009) mixtape called "Dear Rodney (Akbar Diss)" and also Akbar's departure from Larsiny.

### 2009–present: Kross Over Entertainment

Cassidy took his Larsiny Family label over to Kross Over Entertainment and E1 Music with him, and released his fourth studio album *C.A.S.H.* (2010.

## Discography

### Mixtapes

* 2008: *Put Ya L's in the Sky* (hosted by DJ Thoro)
* 2009: *100 Bars (North Philly of Death)*

## InfoBox

| Larsiny | |
| --- | --- |
| Origin | North Philadelphia, Pennsylvania, U.S. |
| Genres | Hip hop |
| Years active | 2000–present |
| Labels | TD Entertainment |
|  | |
| Members | Shiz Lansky
Akbar
Cassidy |
|  | |
| Past members | AR-Ab |


title: Sokolovac, Bjelovar-Bilogora County

abstract: Sokolovac is a village in the municipality Dežanovac, Bjelovar-Bilogora County in Croatia.

text:
# Sokolovac, Bjelovar-Bilogora County

**Sokolovac** is a village in the municipality Dežanovac, Bjelovar-Bilogora County in Croatia.

## Demographics

According to the 2021 census, its population was 176. According to the 2001 census, there were 255 inhabitants, in 85 family households.

## InfoBox

| Sokolovac | |
| --- | --- |
| Village | |
| Sokolovac | |
| Coordinates: 45°35′06″N 17°01′35″E / 45.58500°N 17.02639°E / 45.58500; 17.02639 | |
| Country | Croatia |
| County | Bjelovar-Bilogora County |
| Municipality | Dežanovac |
| Area | |
| Total | 5.2 sq mi (13.5 km2) |
| Elevation | 377 ft (115 m) |
| Population (2021) | |
| Total | 176 |
| Density | 34/sq mi (13/km2) |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |
| Postal code | 43506 Dežanovac |
| Area code | 043 |
| Vehicle registration | DA |


title: Ben Nesselhuf

abstract: Benjamin J. 'BJ, Ben' Nesselhuf is a former Democratic member of the South Dakota Senate, BJ formerly represented the 17th district from 2004 to 2010. Previously he was a member of the South Dakota House of Representatives from 2001 through 2005. He unsuccessfully ran for South Dakota Secretary of State in 2010. He was succeeded in the Senate by Eldon Nygaard.

text:
# Ben Nesselhuf

**Benjamin J. 'BJ, Ben' Nesselhuf** is a former Democratic member of the South Dakota Senate, BJ formerly represented the 17th district from 2004 to 2010. Previously he was a member of the South Dakota House of Representatives from 2001 through 2005. He unsuccessfully ran for South Dakota Secretary of State in 2010. He was succeeded in the Senate by Eldon Nygaard.

## InfoBox

| Ben Nesselhuf | |
| --- | --- |
|  | |
| Member of the South Dakota Senate
from the 17th district | |
| **In office**
2005–2011 | |
| Preceded by | John J. Reedy |
| Succeeded by | Eldon Nygaard |
|  | |
| Personal details | |
| Born | (1975-10-13) October 13, 1975
Rapid City, South Dakota |
| Political party | Democratic |
| Residence | Vermillion, South Dakota |
| Occupation | insurance agent |
|  | |


title: Sidney Luft

abstract: Michael Sidney Luft was an American show business figure, the second husband of actress Lynn Bari, and later the third husband of actress and singer Judy Garland.

text:
# Sidney Luft

**Michael Sidney Luft** (November 2, 1915 – September 15, 2005) was an American show business figure, the second husband of actress Lynn Bari, and later the third husband of actress and singer Judy Garland.

## Early life

Luft was born in New York City, the son of Leonora (Meyers) and Norbert Luft, who were Jewish immigrants from Russia and Germany. His family moved to Westchester County, where he grew up.

## Career

Luft was once an amateur boxer and bar-room brawler and had the nickname "One-Punch Luft". He was a pilot in the Royal Canadian Air Force and in the early 1940s was a test pilot for Douglas Aircraft Company.

Luft's first Hollywood assignment was as the secretary and manager of dancer Eleanor Powell. He is credited with keeping Judy Garland working and with setting up a deal with Warner Bros. to bankroll his wife's comeback film, a 1954 musical remake of *A Star Is Born* plus future projects. Luft's name is on the film's credits as producer. *A Star Is Born* was a major critical success. During its first release, the picture proved to be very popular with audiences and grossed an enormous amount of money, but it failed to recoup its production costs. This was considered a major factor in Garland not winning the Academy Award that year for Best Actress. As a result, the studio canceled the Luft–Garland contract.

## Personal life

He was married five times:

* In December 1940 to aspiring actress MaryLou Simpson. They divorced in 1942.
* On November 28, 1943, to actress Lynn Bari. They had two children, a daughter who died shortly after birth and a son named John Michael Luft (born 1948). They divorced on December 26, 1950.
* On June 29, 1952, to singer and actress Judy Garland. They had two children, Lorna Luft (born November 21, 1952, in Santa Monica, California) and Joseph Wiley "Joey" Luft (born March 29, 1955, in Los Angeles). They separated in 1963 and divorced in 1965. Garland accused him of drunkenness, gambling indebtedness and abuse.
* In 1970, to Patti Hemingway (sometimes spelled Patty Hemingway). They divorced less than a year later.
* On March 20, 1993, to Camille Keaton.

## Death

Sidney Luft died on September 15, 2005, in Santa Monica, California, apparently of a heart attack, at the age of 89.

## Filmography

## InfoBox

| Sidney Luft | |
| --- | --- |
|  | |
| Born | Michael Sidney Luft
(1915-11-02)November 2, 1915
New York City, New York, U.S. |
| Died | September 15, 2005(2005-09-15) (aged 89)
Santa Monica, California, U.S. |
| Occupation | Impresario |
| Years active | 1947–2004 |
| Spouses | *   MaryLou Simpson  (m. 1940; div. 1942) *   Lynn Bari  (m. 1943; div. 1950) *   Judy Garland  (m. 1952; div. 1965) *   Patti Hemingway  (m. 1970; div. 1971) *   Camille Keaton
(m. 1993) |
| Children | 4, including Lorna Luft |


title: Charger (song)

abstract: "Charger" is a song by British virtual band Gorillaz, released on their fifth studio album Humanz. It features guest vocals by Grace Jones, who accompanies lead singer Damon Albarn throughout the track.

text:
# Charger (song)

"**Charger**" is a song by British virtual band Gorillaz, released on their fifth studio album *Humanz*. It features guest vocals by Grace Jones, who accompanies lead singer Damon Albarn throughout the track.

## Composition and recording

### Origins

One of Damon Albarn's goals during the production of *Humanz* was to represent female artists more thoroughly. Speaking in an interview, Albarn listed Bobby Womack, Ike Turner, and Ibrahim Ferrer as examples of musical "patriarchs" who he'd already collaborated with; Albarn desired to collaborate with "matriarchs" as well, believing it necessary for an album titled "Humanz".

According to Albarn, he and Jones had met several times before recording "Charger" together: "I'd met her once in her nightclub, where I made the mistake of saying she looked like Little Red Riding Hood because she was wearing a red cape. She turned around and said 'Little *Black* Riding Hood,' and turned back. I didn't speak to her again." Despite the misstep in introductions, Jones later attended a performance of Albarn's *Monkey: Journey to the West*, admitting to Albarn that she enjoyed it. Jones and Albarn were acquainted through mutual management affiliates, though Albarn emphasized that it didn't make the process of collaborating with her any easier.

### Recording

Scheduling proved difficult from the onset, with Albarn claiming that it took about four months to secure a recording day with Jones. During this period, Albarn continued work on "Charger"; by the time Jones was available to record, Albarn had already constructed an instrumental onto which an unnamed vocalist sang over, presumed to be Pauline Black, as she is featured on the Super Deluxe version of the song.

Once Jones and Albarn had gathered in the studio, Albarn played the song to her. Jones was initially ambivalent, complaining about a "noise." Albarn repeatedly questioned Jones on what the noise might be, eventually coming to his conclusion that Jones wasn't satisfied with the other vocalist's singing. After Albarn removed the unnamed singer's vocals from "Charger," Jones was prepared to begin recording. Commenting on the moment, Albarn said: "She wouldn't say it was this other person's voice. Once the voice had been taken off, the track was ready to work on. Some people don't necessarily want to be on the same tune with somebody else."

Jones' recording session was prolonged and frenetic, lasting four hours. Jones ad-libbed much of the session, and with such intensity that Albarn was taken aback: "It's slightly supernatural, her energy. Not entirely of this world." Some time after the recording session, Albarn covered the studio floor with pieces of paper with Jones' lyrics printed on them, crafting the lyrics to "Charger" from whichever fragments he felt were suitable. Album recording engineer Stephen Sedgwick’s final mix session of "Charger" contains 90 separate tracks.

## Critical reception

"Charger" has received generally positive reviews: both *Q Magazine* and *Consequence of Sound* listed it as one of *Humanz'* highlight tracks, with the latter commenting: "Sure, Grace Jones' insidious laughter on 'Charger' while industrial beats scratch behind her may seem out of place, but it's one of Gorillaz's best songs to date, pushing the dance playlist setup of the album into a decidedly disordered flash of color and sound." Some critics took pleasure in the dichotomy between Albarn and Jones' vocals, with *NME* characterizing "Charger" as a track "where Grace Jones bares some sphinx-like teeth over a distorted two-note line \[...\] while Albarn's bewildered vocals splutter out in flouncy dribs and drabs. So strange, it's fantastic."

## Personnel

## InfoBox

| "Charger" | |
| --- | --- |
| Song by Gorillaz featuring Grace Jones | |
| from the album  *Humanz* | |
| B-side | "Charger (Alternative Version)" |
| Released | 28 April 2017 |
| Genre |  |
| Length | 3:34 |
| Label |  |
| Songwriter(s) |  |
| Producer(s) |  |
|  | |
| Audio | |
| "Charger" on YouTube | |
|  | |


title: Expro

abstract: Expro is an energy services provider headquartered in Houston, Texas, United States.

text:
# Expro

**Expro** is an energy services provider headquartered in Houston, Texas, United States.

## History

The company was founded by J. Trewhella, J. Ross and H. Green in 1973 at Great Yarmouth as **Exploration & Production Services (North Sea) Ltd** with the objective of carrying out well testing in the North Sea. In 1986, about 84% of the company was acquired by Flextech from whom the management subsequently bought out the business in 1992. The company was first listed on the London Stock Exchange in 1994. In 2006, it acquired PowerWell Services, another leading well management concern, for $674.5 million.

### Takeover

In May 2008, Halliburton made a £1.7 billion takeover of the business, while a competing bid worth £1.8bn was made the following month by Umbrellastream, a Candover-led consortium also comprising Goldman Sachs and Alpinvest. An improved bid from Halliburton was then rejected by the Expro board, a position backed by the High Court after an appeal lodged by a group of activist shareholders. The acquisition of Expro by Umbrellastream was completed in July 2008.

In March 2021 Expro announced a merger with Frank's International. The merger was completed in October 2021 and began trading under NYSE:XPRO.

## InfoBox

Expro
|
|  |
| Company type | Publicly held company |
| Traded as | NYSE: XPRO |
| Industry | Energy |
| Founded | 1938 (1938) |
| Defunct | 8 December 2021 |
| Headquarters | Houston, Texas |
| Key people | Michael Jardon <br>(Chief executive officer) |
| Products | Well Construction, Well Flow Management, Subsea Well Access and Well Intervention and Integrity |
| Revenue | US$1.4 billion (2022) |
| Number of employees | \>6,500 |
| Website | expro.com |


title: Doug Scovil

abstract: Douglas Henry Scovil was an American football player and coach. He served as the head football coach at the University of the Pacific in Stockton, California from 1966 to 1969 and at San Diego State University from 1981 to 1985, compiling a career college football record of 45–51–3. Following his stint as head coach for the San Diego State Aztecs, Scovil worked as the quarterbacks coach for the Philadelphia Eagles of the National Football League (NFL), where he was credited with developing Randall Cunningham, until his death from a heart attack at Veterans Stadium during the 1989 season. In memory of Scovil's passing, the Eagles marked their helmets with black electrical tape for the rest of the season. Scovil's coaching stops included the College of San Mateo, the United States Naval Academy, Brigham Young University (BYU), and the San Francisco 49ers of the NFL. While serving as quarterbacks coach at BYU, Scovil mentored future NFL quarterbacks Gifford Nielsen, Marc Wilson, and Jim McMahon. Scovil played at Stockton Junior College and at the University of the Pacific.

text:
# Doug Scovil

**Douglas Henry Scovil** (July 1, 1927 – December 9, 1989) was an American football player and coach. He served as the head football coach at the University of the Pacific in Stockton, California from 1966 to 1969 and at San Diego State University from 1981 to 1985, compiling a career college football record of 45–51–3. Following his stint as head coach for the San Diego State Aztecs, Scovil worked as the quarterbacks coach for the Philadelphia Eagles of the National Football League (NFL), where he was credited with developing Randall Cunningham, until his death from a heart attack at Veterans Stadium during the 1989 season. In memory of Scovil's passing, the Eagles marked their helmets with black electrical tape for the rest of the season.

Scovil's coaching stops included the College of San Mateo, the United States Naval Academy, Brigham Young University (BYU), and the San Francisco 49ers of the NFL. While serving as quarterbacks coach at BYU, Scovil mentored future NFL quarterbacks Gifford Nielsen, Marc Wilson, and Jim McMahon.

Scovil played at Stockton Junior College and at the University of the Pacific.

## Coaching career

While head coach at San Diego State, he helped develop several players under the system he had started at BYU.

* 1981: QB Matt Kofler was 262/436 for 3,337 yards with 21 TD vs 15 INT. WR Darius Durham had 65 catches for 988 yards with 7 TD.
* 1982: WR Darius Durham had 45 catches for 781 yards with 4 TD. WR Clinton Sampson had 32 catches for 665 yards with 7 TD.
* 1983: WR Jim Sandusky had 69 catches for 1,171 yards with 6 TD. WR Vince Warren had 28 catches for 594 yards with 5 TD.
* 1984: RB Mike Waters ran for 704 yards with 5 TD. WR Webster Slaughter had 40 catches for 576 yards with 3 TD.
* 1985: QB Todd Santos was 226/357 for 2,877 yards with 21 TD vs 17 INT. RB Chris Hardy ran for 1,150 yards with 7 TD (on just 158 carries). WR Webster Slaughter had 82 catches for 1,071 yards with 10 TD. WR Vince Warren had 38 catches for 788 yards with 5 TD.

## Head coaching record

### College

| Year | Team | Overall | Conference | Standing | Bowl/playoffs |
| --- | --- | --- | --- | --- | --- |
| **Pacific Tigers** *(NCAA College Division independent)* (1966–1967) | | | | | | | | |
| 1966 | Pacific | 4–7 |  |  |  |
| 1967 | Pacific | 4–5 |  |  |  |
| **Pacific Tigers** *(NCAA University Division independent)* (1966–1968) | | | | | | | | |
| 1968 | Pacific | 6–4 |  |  |  |
| **Pacific Tigers** *(Pacific Coast Athletic Association)* (1969) | | | | | | | | |
| 1969 | Pacific | 7–3 | 2–2 | 3rd |  |
| **Pacific:** | | 21–19 | 2–2 |  | | | | |
| **San Diego State Aztecs** *(Western Athletic Conference)* (1981–1985) | | | | | | | | |
| 1981 | San Diego State | 6–5 | 3–5 | 7th |  |
| 1982 | San Diego State | 7–5 | 4–3 | T–3rd |  |
| 1983 | San Diego State | 2–9–1 | 1–6–1 | 8th |  |
| 1984 | San Diego State | 4–7–1 | 4–3–1 | T–4th |  |
| 1985 | San Diego State | 5–6–1 | 3–4–1 | 6th |  |
| **San Diego State:** | | 24–32–3 | 15–21–3 |  | | | | |
| **Total:** | | 45–51–3 |  | | | | | | |

## InfoBox

Doug Scovil
| Biographical details | |
| --- | --- |
| Born | (1927-07-01)July 1, 1927
Anacortes, Washington, U.S. |
| Died | December 9, 1989(1989-12-09) (aged 62)
Philadelphia, Pennsylvania, U.S. |
| Playing career | |
| 1948 | Stockton Junior College |
| 1949–1951 | Pacific (CA) |
|  | |
| Position(s) | Quarterback |
| Coaching career (HC unless noted) | |
| 1954–1957 | Sacred Heart Cathedral Prep (CA) |
| 1958–1962 | San Mateo |
| 1963–1965 | Navy (QB) |
| 1966–1969 | Pacific (CA) |
| 1970 | San Francisco 49ers (ST) |
| 1971–1975 | San Francisco 49ers (QB) |
| 1976–1977 | BYU (QB/OC) |
| 1978 | Chicago Bears (WR) |
| 1979–1980 | BYU (QB/OC) |
| 1981–1985 | San Diego State |
| 1986–1989 | Philadelphia Eagles (QB) |
|  | |
| Head coaching record | |
| Overall | 45–51–3 (college) |
|  | |


title: Deon St. Mor

abstract:
Deon St. Mor is an Australian business owner and designer.
MOR cosmetics was created by Deon St. Mor and co-founder Dianna Burmas in 2001. Of Italian descent Deon St. Mor was born in Mareeba, Australia in 1972. Mother Vivienne Cardillo is from Sicily. Father Elso Iuretigh is from Trieste.

text:
# Deon St. Mor

**Deon St. Mor** is an Australian business owner and designer. MOR cosmetics was created by Deon St. Mor and co-founder Dianna Burmas in 2001.

Of Italian descent Deon St. Mor was born in Mareeba (Far North Queensland), Australia in 1972. Mother Vivienne Cardillo is from Sicily (South Italy). Father Elso Iuretigh is from Trieste (North Italy).

## Education

1991 - 1992 - Associate Diploma in Design (Furniture) Bairnsdale TAFE

1993 - 1995 - Bachelor of Design (Industrial Design) RMIT University Melbourne, Australia.

## Early career

1995 - 1998 Deon St. Mor was the managing director and product designer for D.D.T Design. St. Mor was involved in the total development of the 'MO' Retail Concept Store project. This involved product design, furniture design, interior design, retail design, graphic design, fashion design and out-sourcing. Whilst working at D.D.T St.Mor worked on the "Southside Business Centre" project. This consisted of interior and furniture design and he also accompanied the successful launch of and design of D.D.T's own range of home ware products.

1998 - 2001 Deon St. Mor and Co-Founder Dianna Burmas met in 1998. Deon St.Mor was an industrial design graduate and co-owner of a Melbourne-based interior design company. Dianna Burmas was working as a visual merchandiser in department store floors across the globe. They were both interested in travel, food and the arts, therefore their union led to the development of an extensive range of contemporary lifestyle products and the opening of an interior-design retail store "D1" in the Melbourne CBD.

Pieces from the D1 collection included lamps, vases, cushions, candle holders and stationery with a distinct, chic-urban edge. The range extended to include a collection of soaps - their first foray into the world of beauty products. A collection of lotions, aromatic oil blends and candles followed soon after.

It was here they began to turn their designs into a cosmetics range.

## The MOR Cosmetics Brand

In 2001 Deon St. Mor and Dianna Burmas registered MOR Cosmetics. Deon and Dianna represent the MOR brand internationally as the media/publicity face of the brand.

## Awards

* "The Most Innovative and Creative Micro business of 1997" for achievements within D.D.T Design.
* "Interior Design Young Designers Finalists" Runner up for the 'MO' Project
* "BRW's fast 100 list" - Ranking 12th - 2004
* "Best stand award" 2004 New York Extracts fair
* "Atlanta Gift and Home Furnishings Market"- 2004
* "Best Stand Award" New York International Gift Fair - 2004
* "Best Stand Award" California Gift Fair - 2004
* "#1 Choice - Best Bath Buddy - Australian Cleo Best Beauty Awards 2004
* "Reed Gift Awards - Body Category - 2004
* "Australian Packaging Awards 2005 - Bronze - Folding Carton Category
* "City of Melbourne B3000 Export award - Winner - 2005 - Australia
* Best Milieu Advertisement award (REED Gift Fairs) - Winner - 2010 - Australia

## Personal life

Deon St. Mor currently resides in the city of Melbourne, Australia. Deon has two Jack Russell Dog's Jaspa and Spike and is a keen supporter of the RSPCA


title: Search for the Truth (film)

abstract: Search for the Truth is an anti-Mormon video produced by Tri-Grace Ministries. The video begins with the claim that Jesus Christ and Joseph Smith were "two of the world's most prominent and influential men." It then presents what it claims to be the teachings of Joseph Smith and contrasts them to what it claims to be the teachings of Jesus Christ. A question is raised regarding whether the movements which the video classifies as "Christianity" and "Mormonism" are compatible, despite the claim by both that "Jesus is the Christ." The video takes portions of the Book of Mormon and compares it to the Bible. The video implies that people must follow Jesus or Joseph Smith but cannot follow both.

text:
# Search for the Truth (film)

***Search for the Truth*** (also known by the name ***Jesus Christ/Joseph Smith*** in its DVD form) is an anti-Mormon video produced by Tri-Grace Ministries. The video begins with the claim that Jesus Christ and Joseph Smith were "two of the world's most prominent and influential men." It then presents what it claims to be the teachings of Joseph Smith and contrasts them to what it claims to be the teachings of Jesus Christ. A question is raised regarding whether the movements which the video classifies as "Christianity" and "Mormonism" are compatible, despite the claim by both that "Jesus is the Christ." The video takes portions of the Book of Mormon and compares it to the Bible. The video implies that people must follow Jesus or Joseph Smith but cannot follow both.

## Distribution

The production of the DVD was funded by "an ex-Mormon businessman who financed the project by selling stock in his company." The video was distributed by many groups, one of which was called Concerned Christians, Inc.: the same group that initially distributed the film *The God Makers* in 1982. The producers claim that the video was made out of love for the Mormon people. The video distributed around 500,000 videos in Utah and 5,000 in the Palmyra New York region. A letter of instruction was included with copies of the DVD to those that were to perform the initial door-to-door distribution, several days before the 177th Annual General Conference of the church that was held on March 31 and April 1, 2007:

> This video is to be viewed by CHRISTIANS ONLY until AFTER the nation-wide distribution which is scheduled for March 25, 2007. In-other-words, do not allow any Mormon people to view the video or learn of our intended evangelistic outreach until after March 25, 2007. Why such extreme caution? If the leadership of the Mormon cult learns of our plans, they will publicly instruct their people not to watch the video and many Mormons will blindly obey.

The letter goes on to say that the "Mormon Church is vulnerable. We firmly believe that with enough exposure, Mormonism will crumble and become a shadow of what it is today."

Slick actions by Evangelicals were continued in the letter which spoke of "HANGING THE DVD ON DOOR KNOBS THE VIDEO DOES THE TALKING and, in fact, we do not advise or encourage interaction with Mormon people until sometime after the distribution is complete." They continue to justify this reason because they believed that the DVD "exposes the false teachings of the Mormon cult." and "As a result, people who view the video are much less likely to be converted to Mormonism and these people often use the information found in the DVD to challenge their LDS neighbors and/or LDS missionaries." In the DVD itself, it states that "This video has been produced out of love for our Lord Jesus Christ and love for our Mormon and Christian friends." However, FairMormon, has stated that "the numerous mischaracterizations, misrepresentations, errors, and outright falsehoods found on the DVD make it difficult for believing Latter-day Saints to see that expression of love as sincere." To add to controversies made by the DVD, it is nowhere stated in the letter to distributors that they intend to show love to Mormons, only to "shut down the Mormon machine and lead a multitude of lost souls out of this cult and into a personal relationship with Jesus Christ. (assuming that members of the Church of Jesus Christ of Latter-Day Saints don't already have a relationship with Jesus)."

## Content

### Nature of God and Jesus Christ

Dr. Phil Roberts (President, Midwestern Baptist Theological Seminary), claims that the "Jesus of Mormonism" is different than the "Jesus of the Bible." Roberts claims that Mormons believe that God became a god "by adherence to a system of Mormonism in a previous world in a previous life."

Dr. John Whitcomb (Theology Professor, Old Testament Scholar), quotes and interprets passages from the Bible to support this claim. Referring to Paul's statement in 1 Corinthians 8:4 about "many gods and many lords," Whitcomb points to his head and states that "the Bible says through the Apostle Paul they’re only in here."

Dave Hunt (Author and Founder, The Berean Call Ministries) states that the serpent in the Garden of Eden promised Eve that "she could become a god." Hunt continues by claiming that Brigham Young said that "the devil told the truth."

Charles Larson (Historian, Author) claims that the Book of Abraham, one of the Mormon standard works of scripture, authorizes lying by God, and states that the account of Abraham claiming that his wife was his sister, "is similar to the Bible version only in the book of Abraham god is telling Abraham to lie."

President Gordon B. Hinckley, President of the Church of Jesus Christ of Latter-day Saints, is misquoted as saying, "No I don't believe in the traditional Christ. The traditional Christ of whom they speak is not the Christ of whom I speak, for the Christ of whom I speak has been revealed in this, the dispensation of the fullness of times."

### Character of Joseph Smith

A quote from the Bible (Ephesians 2:8-9) regarding boasting is juxtaposed with a quote from Joseph Smith in which he claims to boast.

The narrator repeats a portion of a quote from Brigham Young, in which he claims that “no man or woman in this dispensation will ever enter the celestial kingdom of god without the consent of Joseph Smith.”

It is claimed that Mormons believe that their "godhood rests on the act of polygamy”, based upon a portion of a quote made by Brigham Young in 1866: “The only men who become Gods, even the sons of God, are those who enter into polygamy.”

### First Vision

It is stated that nine different versions of Joseph Smith's first vision were recorded. The on-screen list includes both accounts of the first vision that is claimed to have occurred in the Sacred Grove and several accounts of the visit of an angel in Smith's bedroom. The onscreen list shows the following accounts:

1. 1827 – A spirit appears to Joseph telling him of a record on gold plates at age 17.
2. 1827 – An angel appears to Joseph telling him he has been chosen to be a prophet and bring forth a record on gold plates at age 18.
3. 1830 – An angel tells Joseph where to find a secret treasure. Joseph returns once a year for several years before obtaining the plates.
4. 1832 – Jesus Christ appears to Joseph at age 15.
5. 1834 – Angel appears to Joseph in his bedroom at age 17.
6. 1835 – Two personages appear to Joseph in grove at age 14.
7. 1835 – Many angels appear to Joseph in grove at age 14.
8. 1838 – God the Father and Jesus appear to Joseph in grove at age 14.
9. 1844 – Two unidentified personages appear to Joseph at age 14.

The narrator claims that Brigham Young “denied that the Lord came to Joseph Smith in the first vision.” Several sentences from a speech given by Brigham Young are shown which state, “The Lord did not come…but He did send His angel to this same obscure person, Joseph Smith…and informed him that he should not join any religious sects of the day…”

### Archaeology

The narrator states that because Joseph Smith's writings are now over 150 years old, that they should be “easily validated by historical and archaeological evidences.” A 1969 quote by BYU professor Dee Green is referenced in which he “confesses” that “No book of Mormon location is known.” It is stated that “not even one coin” has been found, and that coins were mentioned as “being common in Joseph’s writings.”

Joel Kramer (Director, Living Hope Ministries) relates that his group went to the Middle East and Central America and talked to experts in archaeology and anthropology. Kramer states that “in all cases” that they found the “historical reliability” of the Bible and that for the Book of Mormon it was “non-existent.”

Floyd McElveen (Author and Lifetime Evangelist) adds that “Joseph Smith claimed there were huge cites – thirty eight cities in the Americas,” but that “not one single city has ever been dug up.” McElveen adds, “would you want to base your eternity on something that is totally unknown?”

Sandra Tanner (President, Utah Lighthouse Ministry) notes that the LDS Church will not “commit itself” to a specific map of Book of Mormon lands.

### Prophecies

Joseph Smith is claimed to have described “the inhabitants of the moon as being about six-foot tall, dressed like Quakers, and living to be about 1000 years old.” The narrator adds that “Since Neil Armstrong’s walk on the moon in 1969, we now know there are no Quaker looking people on the moon.” In addition, Brigham Young thought that the sun was also inhabited.

### Occult

The video notes that on March 15, 1842, Joseph Smith joined the Masons, which is claimed by the narrator to be “an organization that believes that Jesus is not divine.” It is further claimed that certain Mormon practices and architecture have “Masonic overtones.”

The video cites comments made by LDS historian Dr. Reed Durham regarding an item referred to as the “Jupiter Talisman," which is said to have been owned by Joseph Smith. The narrator refers to this as an "occultic" item whose “talismatic magic” is said to bring riches, power and women to its possessor. The narrator claims that the talisman was “found in Joseph’s pocket the day he died in Carthage.”

The video includes a segment copied from the 1982 film *The God Makers*, which shows what it claims to be a re-enactment of Mormon temple rituals.

### Translator

The narrator states that Joseph Smith “boasted the bold claim” that the Book of Mormon was the “most accurate book in existence.”

## Response

The Church of Jesus Christ of Latter-day Saints responded with a news release, part of which stated,

> "The Church of Jesus Christ of Latter-day Saints has weathered such attacks throughout its history. At a time when the Church is growing strongly throughout the world, it’s not surprising that some groups try to curb that growth in such ways."

The Anti-Defamation League, an advocacy group which fights anti-Semitism, condemned the video as "nothing more than 'Mormon bashing'." Bill Straus, Regional Director of the Anti-Defamation League, stated,

> "This is the same kind of plain, old-fashioned Mormon-bashing that Jim Robertson and his group have been spewing for over a quarter-of-a-century. The only difference is that back then, it was the film, 'The God Makers,' and today it's the DVD, 'Jesus Christ/Joseph Smith.' It was wrong then, and it's wrong now."

The LDS Church noted in its news release that, "The Jewish Anti-Defamation League in Phoenix promptly condemned the distribution, saying that 'hate directed at any of us is hate directed at all of us.'" Bill McKeever, Director of an organization called the Mormonism Research Ministry, sent a letter to the First Presidency of The Church of Jesus Christ of Latter-day Saints protesting what he called the church's "tacit approval" of the Anti-Defamation League's condemnation of the video. McKeever states, "I wish to express my indignation at your church’s tacit approval of the Anti-Defamation League's accusation of hatred towards Christians who were involved in a recent DVD distribution. It is one thing to disagree with the content of the DVD, but it is quite another to accuse them of being motivated by hate." He concludes by stating, "With all the talk of repentance at your last conference, I think you need to lead by example and offer an apology to the thousands of Christians you have offended with this false accusation." McKeever followed up on this letter with an article posted in the *Christian Examiner Online*, in which he claimed that the "Mormon Church went into one of its most hypocritical frenzies in modern times." Claiming that the media in Utah is "either owned by the LDS Church or is sympathetic to it," McKeever claimed that "\[t\]alk show hosts did their best to stir up their listeners against the 'religious bigots' who dared come onto 'our property' with their 'message of hate.'"

The Foundation for Apologetic Information & Research (FAIR), a non-profit organization specializing in Mormon apologetics, produced a point-by-point rebuttal of inaccuracies and exaggerations in the video. This was posted on the FAIR Wiki web site one week before the initial distribution of the DVD. In addition, the LDS affiliated Foundation for Ancient Research and Mormon Studies posted a page with links to articles written by Mormon scholars which deal directly with subjects addressed in the video.


title: Sokolov (company)

abstract: Sokolov is a family-owned Russian jewelry company with production facilities in Kostroma, Krasnoye-na-Volge and Privolzhsk, and over 400 stores in Russia and abroad.

text:
# Sokolov (company)

**Sokolov** is a family-owned Russian jewelry company with production facilities in Kostroma, Krasnoye-na-Volge and Privolzhsk, and over 400 stores in Russia and abroad.

## History

The company was founded by Alexey and Elena Sokolov in 1993 in Krasnoye-na-Volge, Kostroma Oblast, Russia, a place known for jewelry manufacturing since the 19th century. The parents of the company founders used to work at Krasnoselskaya Jewellery Factory, established in Soviet times to consolidate smaller jewelry manufacturers.

In the early 2000s, Sokolovs constructed their own 10,000 sq m facility in Krasnoye-na-Volge, which produced golden rings, earrings, bracelets, and other jewelry with gemstones and sold them to retail chains and wholesale companies. By 2008, the company reached ₽ 1 billion in revenue. During the Great Recession in Russia, it opened an office and a showroom in Moscow and started the production of silver jewelry. Later in 2013, it also opened an office in Bern, Switzerland.

In 2014, the company took the name Sokolov, and Alexey and Elena's eldest son Artem was appointed as CEO. Since 2018, the company has developed its chain of mono-brand stores, which expanded from 20 stores in 2019 to over 400 in 2022. During the COVID-19 pandemic, the company embraced online commerce and launched an e-store and an app. It also received the status of a systemically important company from the Russian authorities.

## Production

Sokolov runs three production facilities in Kostroma, Krasnoye-na-Volge, and Privolzhsk (Ivanovo Oblast) and employs around 2,000 workers. The company produces around 20,000,000 pieces of jewelry per year (2022). It has an in-house design studio of 40 people, which generates up to 600 concepts each month and creases three seasonal collections a year (SS, FW, and "cruise").

By 2022, the company operated 416 mono-brand stores in Russia, franchise stores in Belarus, Kazakhstan, Kyrgyzstan, Moldova, and Romania, and ran a 3-store pilot in Shanghai, China. Sokolov jewelry is also sold in Europe and the US via Zalando, Amazon, and local distributors. The company specifically targets travel retail and sells jewelry in Dufry, Regstaer, and Arial duty-free and duty-paid stores.

In 2023, SOKOLOV's own production volumes increased by 34%, reaching 40 tons by weight of precious metals. The share of gold products in the total volume of production was 18%.

## Company

Sokolov is one of the largest jewelry companies in Russia. By mid-2022, it had the third largest store network among the jewelry retailers and had a market share of 10,5%, according to InfoLINE report. In 2022, the company reported ₽ 32 billion in revenue, with online sales totaling roughly 30%. In November 2022, Sokolov became the first Russian jewelry company to score a BBB+ rating from ACRA.

Since 2021, the company has planned an initial public offering. In November 2022, the company scheduled an IPO on MOEX for Q3 or Q4 2023. In December 2022, Sokolov issued 3-year bonds for ₽ 3 billion to support the growth of its retail chain and production facilities.

## Financial indicators

SOKOLOV's turnover in 2023 increased by 59% compared to 2022 and reached 51 billion rubles.

## InfoBox

Sokolov
| Industry | Jewelry |
| --- | --- |
| Founded | 1993 in Krasnoye-na-Volge, Kostroma Oblast, Russia |
| Founders | Alexey Sokolov, Elena Sokolov |
| Headquarters | Russia |
| Areas served | Russia, China, Europe |
| Key people | Artem Sokolov (CEO) |
| Production output | 20,000,000 pieces of jewellery (2022) |
| Revenue | ₽ 24.4 billion (2021) |
| Parent | Welvart Group |
| Website | sokolov.ru |


title: Ben Neumann

abstract: Ben R. Neumann was an American entrepreneur, investor, film producer and mixed martial artist, best known for founding early Internet hosting service Internet Communication Icom.com, and his subsequent investments into companies such as iBoost.com, Globat.com, FatCow.com and his work in the motion picture industry. Some of Ben's more recent ventures were the content delivery networks NetDNA, MaxCDN and HDDN, which he co-founded together with business partner and protégé Chris Ueland in October 2009. In 2011, through his consulting firm Innovative Currency, Ben ventured outside the technology field and created his unique coaching programs InspireMoreHeroes and MillionairesMentor. He helped others with his innovative way of marketing and creating leads. Neumann, a former bodyguard, and avid martial artist since second grade, who grew up in Krefeld, Germany in a working-class family, immigrated to the United States from Germany in 1994. While working on his martial arts career and after winning several mixed martial arts tournaments, he successfully built and sold his first U.S.-based technology company Icom.com at the pinnacle of the Dot-com bubble in 1998, a move that made him one of the original Internet pioneers. He subsequently began investing into other technology and real estate companies and became involved with film making in Los Angeles in early 2004, when he was approached by an independent filmmaker. The result of this partnership was Dark World, starring Michael Pare and Theresa Russell. Neumann also produced or was involved with other notable films and TV shows, such as American Idol, The Apprentice, Grey's Anatomy, House M.D., Only in LA, You, Me, Love and Smile of April. He continued to invest in local niche companies and became an engaged community activist. In March 2006 Neumann was elected to the Board of the Studio City Neighborhood Council and was President of the Council from March 2008 until June 2010. As a successful immigrant entrepreneur, Neumann has been quoted off-line and online in numerous ezines, magazines and books. For his achievements in the technology sector he was nominated for Ernst & Young's Entrepreneur of the Year award in 2000 and 2003. He died in February 2020 after suffering a heart attack.

text:
# Ben Neumann

**Ben R. Neumann** (born **Bernd Neumann**; May 27, 1966 – February 5, 2020) was an American entrepreneur, investor, film producer and mixed martial artist, best known for founding early Internet hosting service Internet Communication Icom.com, and his subsequent investments into companies such as iBoost.com, Globat.com, FatCow.com and his work in the motion picture industry. Some of Ben's more recent ventures were the content delivery networks NetDNA, MaxCDN and HDDN, which he co-founded together with business partner and protégé Chris Ueland in October 2009. In 2011, through his consulting firm Innovative Currency, Ben ventured outside the technology field and created his unique coaching programs InspireMoreHeroes and MillionairesMentor. He helped others with his innovative way of marketing and creating leads.

Neumann, a former bodyguard, and avid martial artist since second grade, who grew up in Krefeld, Germany in a working-class family, immigrated to the United States from Germany in 1994. While working on his martial arts career and after winning several mixed martial arts tournaments, he successfully built and sold his first U.S.-based technology company Icom.com at the pinnacle of the Dot-com bubble in 1998, a move that made him one of the original Internet pioneers. He subsequently began investing into other technology and real estate companies and became involved with film making in Los Angeles in early 2004, when he was approached by an independent filmmaker. The result of this partnership was *Dark World*, starring Michael Pare and Theresa Russell. Neumann also produced or was involved with other notable films and TV shows, such as *American Idol*, *The Apprentice*, *Grey's Anatomy*, *House M.D.*, *Only in LA*, *You, Me, Love* and *Smile of April*. He continued to invest in local niche companies and became an engaged community activist. In March 2006 Neumann was elected to the Board of the Studio City Neighborhood Council and was President of the Council from March 2008 until June 2010.

As a successful immigrant entrepreneur, Neumann has been quoted off-line and online in numerous ezines, magazines and books. For his achievements in the technology sector he was nominated for Ernst & Young's Entrepreneur of the Year award in 2000 and 2003.

He died in February 2020 after suffering a heart attack.

## Mixed Martial Arts Record

Professional record breakdown
| **22 matches** | **20 wins** | **2 losses** |
| --- | --- | --- |
| **By knockout** | 14 | 2 |
| **By submission** | 4 | 0 |
| **By decision** | 2 | 0 |

1. NetDNA Press Clip Archived July 22, 2010, at the Wayback Machine
2. "NetDNA® CDN Completes Latest Funding Round Led by Investment Firm Chelsea Management, Inc". *PRWeb*. Archived from the original on July 15, 2011. Retrieved 2020-02-18.
3. *Dark World*, retrieved 2020-02-18
4. *Debut*, retrieved 2020-02-18
5. *The Apprentice*, retrieved 2020-02-18
6. *Grey's Anatomy*, retrieved 2020-02-18
7. *House*, retrieved 2020-02-18
8. *You, Me, Love*, retrieved 2020-02-18
9. *Smile of April*, retrieved 2020-02-18
10. "Expert Opinion". Archived from the original on 2007-08-20. Retrieved 2007-10-03.
11. "Expert Advice for Start Up Businesses by Kristi Sayles (article)". 2003-05-10. Archived from the original on 2003-05-10. Retrieved 2020-02-18.

## InfoBox

| Ben Neumann | |
| --- | --- |
| Born | Bernd Neumann
(1966-05-27)May 27, 1966
Krefeld, North Rhine-Westphalia, West Germany |
| Died | February 5, 2020 (aged 53) |
| Occupation(s) | Businessperson
Entrepreneur
Chief Executive Officer
Mixed Martial Artist
Producer |
| Years active | 1984–2020 |
| Children | 2 sons |
| Website | http://www.benneumann.com/ |


abstract: East Chicago Central High School or commonly known as Central or EC Central, is a public high school in the industrial City of East Chicago, Indiana, located in the eastern portion of the Chicago metropolitan area. All of East Chicago is in the School City of East Chicago, and this is the sole comprehensive high school of that school district.

text:
# Central High School (East Chicago, Indiana)

**East Chicago Central High School** or commonly known as **Central** or **EC** **Central,** is a public high school in the industrial City of East Chicago, Indiana, located in the eastern portion of the Chicago metropolitan area.

All of East Chicago is in the School City of East Chicago, and this is the sole comprehensive high school of that school district.

## History

The school district built East Chicago Central High School in 1986 to replace two aging high schools; East Chicago Washington and East Chicago Roosevelt High Schools. Central's first semester began in the fall of 1986.

## Academics

East Chicago Central High School is ranked 293rd out of the 397 high schools of Indiana and #12,248 in National Rankings. Central had an average composite ACT score of 22 and has a 69% graduation rate (State graduation rate average is 86%). Central students' proficiency in math is 12% (Lower than the Indiana state average of 54%). Students' proficiency in reading/language arts is 33% (Lower than the Indiana state average of 62%). Central High School placed in the bottom 50% of all schools in Indiana for overall test scores (Math proficiency is bottom 50%, and reading proficiency is bottom 50%).

## Athletics

The athletic director is Grayling Gordon.

The Cardinals compete in the Great Lakes Conference (GLC) as well as in the state championship series sponsored by the Indiana High School Athletic Association (IHSAA) which governs athletic activities in Indiana. School colors are Cardinal red and Navy blue.

The school sponsors interscholastic teams for both boys and girls in Basketball, Coed Flag Football, Coed Track, Cross Country, Soccer, Swimming & Diving, and Tennis. Girls also compete in Volleyball. Boys also compete in Baseball, Football, Golf and Wrestling.

East Chicago Central athletic teams placed in the top four of their respective class in their respective sports in IHSAA sponsored state championship series:

* Basketball (Boys): State Champions (1960, 1971, 2007) Semi-State Champions (1947, 1960, 1962, 1966, 1971, 1976, 1977, 1985) Regional Champions: (1925, 1927, 1928, 1929, 1930, 1931, 1936, 1940, 1941, 1942, 1944, 1953, 1963, 1967, 1978, 1979, 1983) Sectional Champions: (1987, 1989, 1991, 1992, 1993, 1994, 1995, 2001, 2003, 2004, 2006, 2007, 2008, 2016, 2017)
* Basketball (Girls): State Champions (1977, 1979)
* Football: Conference Champion (2016) State Champions (1945, 1946, 1949, 1955, 1957) Regional Champion: (2013 Class 4A Regional)
* Wrestling: State Champions (1934)

*T*itles won by East Chicago Washington High School and East Chicago Roosevelt High School are claimed by Central as a result of merging in 1986 to become East Chicago Central High School.*

### John A. Baratto Athletic Center

The John A. Baratto Athletic Center is the third-largest high school basketball gym by seating capacity in the United States with 8,054 seats, behind Lloyd E. Scott Gymnasium at Seymour High School (capacity: 8,228) and New Castle Fieldhouse at New Castle High School (capacity: 8,424), both of which are also in Indiana.

The gym was dedicated in 1988 and is named in honor of legendary EC Washington basketball coach John Baratto, who went 484-170, secured 15 sectional titles, 8 regional titles, 4 semi-state crowns, and the 1960 IHSAA basketball title. Baratto was inducted into the Indiana Basketball Hall of Fame in 1972.

## Demographics

The racial makeup of students attending Central is 51% Hispanic, 47% African-American, 2% White, and 1% Two or More Races. The gender makeup is 48**%** female and 52**%** male.

## Notable alumni

## InfoBox

| East Chicago Central High School | |
| --- | --- |
| Address | |
|  | |
| 1100 West Columbus Drive
East Chicago, Lake County, Indiana 46312
United States | |
| Coordinates | 41°38′23″N 87°29′6″W / 41.63972°N 87.48500°W / 41.63972; -87.48500 |
| Information | |
| Type | Public High School |
| Established | 1986 |
| School district | School City of East Chicago |
| Educational authority | Indiana State Board of Education |
| Superintendent | Dee-Etta Wright |
| Principal | Abrian Brown |
| Asst. Principal | Lisa Melendez |
| Faculty | 77.79 (FTE) |
| Grades | 9th Grade \- 12th Grade |
| Enrollment | 1,079 (2022-23) |
| Student to teacher ratio | 13.87 |
| Color(s) | Cardinal red
Navy blue |
| Slogan | "Home of the Cardinals" |
| Athletics conference | Great Lakes |
| Team name | Cardinals |
| Website | School website |


title: Chapman Glacier (Palmer Land)

abstract: Chapman Glacier is a glacier 11 miles (18 km) long and 10 miles (16 km) wide in its central part, narrowing to 3 miles (5 km) at its mouth, flowing west from the Dyer Plateau of Palmer Land to George VI Sound immediately south of Carse Point. It was first surveyed in 1936 by the British Graham Land Expedition (BGLE) under John Rymill, and named by the UK Antarctic Place-names Committee in 1954 for Frederick S. Chapman, British mountaineer and Arctic explorer, who in 1934 brought 64 dogs from West Greenland to England for the use of the BGLE, 1934–37.

text:
# Chapman Glacier (Palmer Land)

**Chapman Glacier** (70°17′S 67°55′W / 70.283°S 67.917°W / -70.283; -67.917) is a glacier 11 miles (18 km) long and 10 miles (16 km) wide in its central part, narrowing to 3 miles (5 km) at its mouth, flowing west from the Dyer Plateau of Palmer Land to George VI Sound immediately south of Carse Point. It was first surveyed in 1936 by the British Graham Land Expedition (BGLE) under John Rymill, and named by the UK Antarctic Place-names Committee in 1954 for Frederick S. Chapman, British mountaineer and Arctic explorer, who in 1934 brought 64 dogs from West Greenland to England for the use of the BGLE, 1934–37.

* This article incorporates public domain material from "Chapman Glacier". *Geographic Names Information System*. United States Geological Survey.


title: Doug Sellars

abstract: Doug Sellars was a Canadian television executive who worked for the Canadian Broadcasting Corporation (CBC) and Fox Sports. Sellars, a native of Toronto, graduated from Ryerson Polytechnical Institute in 1985 and immediately went to work for CBC's Hockey Night in Canada. He was quickly promoted and produced his first Grey Cup at age 27. By 1989, was in charge of all of CBC Sports productions, including several Olympic and Commonwealth Games, and went on to win multiple Gemini Awards. Sellars worked at CBC Sports as a senior executive until 2000, when he left to join Fox. He started as a producer for Fox's regional sports network and was involved with National Hockey League and other professional sports broadcasts. In August 2010, Sellars was promoted to Executive Vice President, Production and Executive Producer of the Fox Sports Media Group in Los Angeles, where he was in charge of studio and event production for Fox Sports and its specialty channels. Sellars was married to Barb and had two children, Tyler and Kelsey. On December 30, 2011, Sellars died at age 50 after suffering an apparent heart attack during a pick-up hockey game. Following his death, both Hockey Night in Canada and the NFL on Fox paid tribute to Sellars during their weekly pregame shows. He was also specifically thanked 'in memory of' at the end of the Fox's coverage of the 2015 FIFA Women's World Cup.

text:
# Doug Sellars

**Doug Sellars** (1961  December 30, 2011) was a Canadian television executive who worked for the Canadian Broadcasting Corporation (CBC) and Fox Sports.

Sellars, a native of Toronto, graduated from Ryerson Polytechnical Institute in 1985 and immediately went to work for CBC's Hockey Night in Canada. He was quickly promoted and produced his first Grey Cup at age 27. By 1989, was in charge of all of CBC Sports productions, including several Olympic and Commonwealth Games, and went on to win multiple Gemini Awards.

Sellars worked at CBC Sports as a senior executive until 2000, when he left to join Fox. He started as a producer for Fox's regional sports network and was involved with National Hockey League and other professional sports broadcasts. In August 2010, Sellars was promoted to Executive Vice President, Production and Executive Producer of the Fox Sports Media Group in Los Angeles, where he was in charge of studio and event production for Fox Sports and its specialty channels.

Sellars was married to Barb and had two children, Tyler and Kelsey. On December 30, 2011, Sellars died at age 50 after suffering an apparent heart attack during a pick-up hockey game. Following his death, both Hockey Night in Canada and the NFL on Fox paid tribute to Sellars during their weekly pregame shows. He was also specifically thanked 'in memory of' at the end of the Fox's coverage of the 2015 FIFA Women's World Cup.


title: Deon Slabbert

abstract: Deon Slabbert is a South African rugby union player for the Pumas in the Currie Cup. His regular position is lock. Slabbert was named in the Pumas side for the 2022 Currie Cup Premier Division. He made his Currie Cup debut for the Pumas against the Western Province in Round 11 of the 2022 Currie Cup Premier Division.

text:
# Deon Slabbert

**Deon Slabbert** (born 4 May 2000) is a South African rugby union player for the Pumas in the Currie Cup. His regular position is lock.

Slabbert was named in the Pumas side for the 2022 Currie Cup Premier Division. He made his Currie Cup debut for the Pumas against the Western Province in Round 11 of the 2022 Currie Cup Premier Division.

## InfoBox

Deon Slabbert
| Full name | Deon Slabbert |
| --- | --- |
| Date of birth | (2000-05-04) 4 May 2000 |
| Place of birth | South Africa |
| Height | 2.00 m (6 ft 6+12 in) |
| Weight | 117 kg (18 st 6 lb; 258 lb) |
| Rugby union career | |
| **Position(s)** Lock  **Current team** Pumas  Youth career  Sharks  2016 - 2018  Senior career  **Years** **Team** **Apps** **(Points)**  2021 SWD Eagles  4  (5)  2022– Pumas  6  (5)  Correct as of 10 July 2022 | |


title: Sekta Niebo

abstract: The Sekta Niebo was a small religious movement founded in 1990 by faith healer Bogdan Kacmajor, who believed he was a prophet chosen by God and a reincarnation of the prophet Elijah.

text:
# Sekta Niebo

The **Sekta Niebo** (Heaven Sect) (Polish *Zbór Chrześcijański Leczenia Duchem Bożym*; "Christian Church of Healing by Spirit of God") was a small religious movement founded in 1990 by faith healer Bogdan Kacmajor, who believed he was a prophet chosen by God and a reincarnation of the prophet Elijah.

## Beliefs and practices

Members of the sect believed that by the year 2000 the world would come to an end. Their goal was to establish a commune of chosen people. As a symbol of their new life they took new names and destroyed their identity documents. Total submission to Kacmajor was required. Members married each other, refused to send children to public school (as Kacmajor stated, "in chemistry class they teach that you can't turn water into wine, in physics class they teach that you can't walk on water") and refused to take any medical treatment (Kacmajor was convinced that he can heal even AIDS). Niebo gathered approximately 50 members.

## Decline

Because of their total social alienation the group soon started to have troubles with the law. Reports of kidnapping and children being kept prisoner started circulating. The Catholic Church and several church-related movements started a campaign against the community which resulted in bad fame and financial problems. As of 2008 the community does not exist and there are several court cases against Kacmajor.

## Further reading

* Beźnic Sz., Zbór Leczenia Duchem Świętym „Niebo”, in: E.Barker, Nowe ruchy religijne, Nomos, Kraków 1997, p. 299–301.
* Biegalska J., Niebo wciąż na czarnej liście, Kurier Lubelski, 6.06.2006.
* Grochowska M., Niebo, piekło i wyplucie, Gazeta Wyborcza, 27.03.1997.


title: Renée Simonsen

abstract: Renée Toft Simonsen is a Danish writer and former model. Simonsen was one of the most successful models in the world during the 1980s.

text:
# Renée Simonsen

**Renée Toft Simonsen** (born 12 May 1965) is a Danish writer and former model. Simonsen was one of the most successful models in the world during the 1980s.

## Biography

Simonsen was born in Aarhus, where she worked as a supermarket cashier before her modeling potential was discovered.

In 1981 she caught the attention of fashion editor Birte Strandgaard, who convinced photographer Leif Nygaard to take some photos. Simonsen subsequently participated in the *Ekstra Bladet* Contest and won second place. In July 1981 she appeared on the cover of the Danish magazine *Fotokino*.

The following year she won the *Ekstra Bladet* Contest, and was chosen to represent Denmark at the Ford Supermodel contest, which she won in August 1982. In April 1983 she appeared in the American edition of *Vogue*; she subsequently went on to feature on four more American Vogue covers.

From 1983 on she became one of the fastest-rising stars in the modelling world, being featured on the covers of numerous international fashion magazines. She was the cover girl for the German *Vogue* in March, April and September of that year.

In 1983 she was featured on the cover of Roxy Music's *Atlantic Years* album.

Simonsen was the face of cosmetic brands such as Clarins, Maybelline, Covergirl and Lancel luggage. She also appearkibbed in a swimsuit issue of *Sports Illustrated* magazine.

From 1985 to 1989 she dated bass player John Taylor of the British band Duran Duran to whom she was engaged. That same year, she debuted as an actress in Carlo Vanzina's *Sotto il vestito niente* (*The Last Shot*), released as *Nothing Underneath* in America, playing one of several models in Milan caught up in the rampage of a psychopathic murderer. In 1987, she worked again with Vanzina on the comedy *Via Montenapoleone*.

In 1988 she decided to take a break from fashion. Before breaking up with Taylor in 1989, she lived for four months in a kibbutz in Israel with her sister Heidi. Despite an offer to audition for the role of a Bond Girl in one of the upcoming James Bond films, the following year Simonsen ended her modeling career and returned to Denmark to study journalism. After failing the qualifying examination, she began to study psychology instead.

In 1991, she commenced working as a model again; intentionally for Vichy cosmetics. In 1993 Simonsen became the face of Biotherm cosmetics.

Renee has three children: two from a relationship with Kristian Sandvad: Ulrikke, born in 1993 (who is now an established model herself having appeared in the 2014 worldwide Magnum ice cream television advert), and Jens-Kristian, born in 1995 (also a model), and youngest Hugo with her husband, Thomas Helmig.

In 1997 she worked as a fashion editor for the Danish magazine *Asschenfeldts Magasin*, which, however, ceased operations after a few issues. That summer she began a relationship with Danish rock singer Thomas Helmig, whom she married in August 2000. The two separated in 2014 but later reconciled.

In 2002 she completed her degree in psychology. In 2003 Simonsen signed a contract to the French cosmetic company Clarins and began appearing in magazine advertisements for mature skincare products.

In October 2003 she published her first children's book, entitled *Karlas kabale*. In 2006 her children's book *Anthony Greenwood* was nominated for the Danish book-prize "Orla" and she was awarded with "The Most Dynamic Women" award by cosmetic company Clarins for her social engagement at Plan Denmark.

In August 2007, Simonsen released her first novel "*Tirsdag formiddag*" (Tuesday Morning). She followed this with a second adult novel "Dømt til Frihed"(Sentenced to Freedom) in 2010.

In October 2014 her biography was published in Denmark by Politikens Forlag. The book is written by Simonsen herself and journalist Andreas Fugl Thøgersen, while many others such as Eileen Ford, John Taylor, her parents, sisters, best friend, her husband Thomas Helmig and many others make a contribution to the book.

Simonsen continues to write a weekly column in the Danish "Femina" magazine.

## Filmography

## Further reading