title: Murray Gurfein

abstract: Murray Irwin Gurfein was a United States circuit judge of the United States Court of Appeals for the Second Circuit and prior to that a United States District Judge of the United States District Court for the Southern District of New York.

text:
# Murray Gurfein

**Murray Irwin Gurfein** (November 17, 1907 – December 16, 1979) was a United States circuit judge of the United States Court of Appeals for the Second Circuit and prior to that a United States District Judge of the United States District Court for the Southern District of New York.

## Early life and career

Born on November 17, 1907, in New York City, Gurfein received a Bachelor of Arts degree from Columbia College in 1926. He received a Bachelor of Laws from Harvard Law School in 1930. He served as a law clerk for Judge Julian Mack of the United States Court of Appeals for the Seventh Circuit, from 1930 to 1931. He was an Assistant United States Attorney for the Southern District of New York, from 1931 to 1933. He was in private practice of law in New York City from 1933 to 1935. He was a deputy assistant district attorney of New York County, from 1935 to 1938. He was an assistant district attorney of New York County, from 1938 to 1942. He was in the United States Army as a lieutenant colonel, in the Office of Strategic Services, from 1942 to 1946. He was an assistant to Justice Robert H. Jackson, the United States Chief Counsel at the Nuremberg trials in 1945. He was in private practice of law in New York City from 1946 to 1971.

Gurfein was elected president of HIAS (Hebrew Immigrant Aid Society) from 1956 to 1957 and from 1960 to 1967.

## Federal judicial service

Gurfein was nominated by President Richard Nixon on April 14, 1971, to a seat on the United States District Court for the Southern District of New York vacated by Judge Thomas Francis Murphy. He was confirmed by the United States Senate on May 20, 1971, and received his commission the same day. His service was terminated on September 11, 1974, due to elevation to the Second Circuit.

Gurfein was nominated by President Nixon on July 11, 1974, to a seat on the United States Court of Appeals for the Second Circuit vacated by Judge Paul R. Hays. He was confirmed by the United States Senate on August 22, 1974, and received his commission on August 27, 1974, from President Gerald Ford. His service was terminated on December 16, 1979, due to death.

## Pentagon Papers case

During his first week as a United States District Judge, Gurfein was assigned the Pentagon Papers case and gained national prominence when he refused the government's motion to enjoin publication of the documents. Gurfein's ruling was initially reversed by the Court of Appeals, but ultimately reinstated by the Supreme Court. Gurfein wrote: "The security of the Nation is not at the ramparts alone. Security also lies in the value of our free institutions. A cantankerous press, an obstinate press, an ubiquitous press must be suffered by those in authority in order to preserve the even greater values of freedom of expression and the right of the people to know."

## Personal life

In 1931, he married Eva Hadas. The couple had two daughters: Abigail and Susan Hadas.

Gurfein died in New York City on December 16, 1979.

## InfoBox

| Murray Gurfein | |
| --- | --- |
|  | |
| Judge of the United States Court of Appeals for the Second Circuit | |
| **In office**
August 27, 1974  December 16, 1979 | |
| Nominated by | Richard Nixon |
| Appointed by | Gerald Ford |
| Preceded by | Paul R. Hays |
| Succeeded by | Lawrence W. Pierce |
| Judge of the United States District Court for the Southern District of New York | |
| **In office**
May 20, 1971  September 11, 1974 | |
| Appointed by | Richard Nixon |
| Preceded by | Thomas Francis Murphy |
| Succeeded by | Charles S. Haight Jr. |
|  | |
| Personal details | |
| Born | Murray Irwin Gurfein
(1907-11-17)November 17, 1907
New York City, U.S. |
| Died | December 16, 1979(1979-12-16) (aged 72)
New York City, U.S. |
| Spouse | Eva Hadas (m. 1931) |
| Children | 2 |
| Education | Columbia University (BA)
Harvard University (LLB) |
|  | |


abstract: RAVEN is a charitable organization that provides financial resources to assist Aboriginal nations within Canada in lawfully forcing industrial development to be reconciled with their traditional ways of life, and in a manner that addresses climate change and other ecological sustainability challenges.

text:
# Respecting Aboriginal Values & Environmental Needs

**RAVEN (Respecting Aboriginal Values and Environmental Needs)** is a charitable organization that provides financial resources to assist Aboriginal nations within Canada in lawfully forcing industrial development to be reconciled with their traditional ways of life, and in a manner that addresses climate change and other ecological sustainability challenges.

## Activities and structure

RAVEN raises legal defence funds to assist Indigenous Peoples in Canada who enforce their rights and title through the courts to protect their traditional territories. The legal actions of RAVEN’s First Nation partners have the potential to set precedents for future cases, advance legal rights and title of Indigenous Peoples in Canada, and influence environmental impacts by mitigating climate change, maintaining biological diversity, and improving or maintaining access to clean water and secure food supplies.

Since 2014, RAVEN has raised more than CAD $7,200,000 for First Nations partners. The legal actions funded resulted in the quashing of the approval of the Enbridge Northern Gateway pipeline; protection of 83% of the Peel Watershed in the Yukon; halting of mining developments at Teztan Biny (Fish Lake), and T’ak Tl’ah Bin (Morrison Lake); and the cancellation of the Petronas Pacific Northwest LNG project at the mouth of the Skeena River.

RAVEN raises legal defence funds for Nations that are defending their territories from the destructive impacts of resource extraction:

RAVEN is the only non-profit organization in Canada with a mandate to raise legal defence funds to help Indigenous Peoples in Canada defend their Aboriginal rights and title (as guaranteed in section 35 of the Canadian Constitution), and the integrity of their traditional lands and cultures.

A sample of the organizations RAVEN has worked with includes Sierra Club BC, Amnesty International, Indigenous Climate Action, Canadian Parks and Wilderness Society, Skeena Wild Conservation Trust, Force of Nature, Greenpeace, Yellowstone to Yukon (Y2Y) Conservation Initiative, LeadNow, The Leap, Dogwood Initiative, and 1% for the Planet.

RAVEN's board of directors includes Jeffrey Nicholls (President), Ron Lameman, Cliff Atleo, Rachelle Loos, Susan Gee, Clara Bradley and Robert Hallam (Treasurer). RAVEN's legal advisory panel comprises John Borrows, Karen Drake, Brenda Gunn, Alan Hanna and Brock Roe.

### Friends of RAVEN Foundation

Friends of RAVEN Foundation was established to support the work of RAVEN (Respecting Aboriginal Values and Environmental Needs). Friends of RAVEN will hold donations, endowments, and legacy gifts, for the purpose of disbursing to RAVEN to facilitate its purposes, which are to assist Indigenous Peoples in protecting and restoring the natural environment for all peoples in Canada by providing legal services, including litigation, aimed at enforcing compliance with the existing laws of Canada; and developing and delivering education programs to advance knowledge and understanding of available legal rights and remedies.

Through an endowment from Harmony Foundation of Canada, Friends of RAVEN is supporting the RAVEN-Harmony Foundation Environmental Essay Prize for Young Scholars.

Initiatives that RAVEN provides ongoing support to include an Intervenor Fund to allow Indigenous Nations to participate nimbly in legal interventions. There are also plans to develop funds to support Title Actions, which require extensive financial resources. Friends of RAVEN expects to ultimately support the core/operating side of RAVEN, so that all funds raised in campaigns for Nations can go to cover the legal costs.

## Campaigns

### Beaver Lake Cree Nation vs. the tar sands

The Beaver Lake Cree, a small, impoverished band of 900 people in eastern Alberta, are suing the Canadian federal and Alberta provincial governments to protect the land. They claim that Alberta's tar sands developments are obliterating their traditional hunting and fishing lands in Alberta. The animals, fish, plants and medicine that sustain the Beaver Lake Cree are being destroyed.

In Canada, the rights of Indigenous people are constitutionally protected. Led by Chief Al Lameman, the Beaver Lake Cree Nation is asserting a treaty right to hunt and fish throughout lands where tar sands activity is destroying the forest. This court action seeks an injunction against new developments. The Beaver Lake Cree’s Statement of Claim cites more than 17,000 infringements on their treaty rights and in the course of doing so names every major oil company in the world.

Investment in the bituminous sands in northern Alberta – the world's last great oil field – totals approximately $200 billion. No assessment of the cumulative environmental or cultural damage has been done. It has been argued that this project – unhindered – will destroy a large part of the great boreal forest of North America, will escalate global warming, and will destroy an indigenous way of life. The Alberta government continues to approve projects, such that production of dirty oil will increase from the current 1.3 million barrels per day (210,000 m3/d) to 3 million barrels per day (480,000 m3/d) by 2015.

Already vast expanses of the boreal forest have been cut down – causing significant damage to the environment and to the earth's well-being. The forest is home to a long list of animals, from black bears and caribou to marten and moose. Chief Al Lameman says they can no longer find caribou herds where caribou were abundant just 12 years ago. Moose are also being displaced in large numbers and simply cannot be found. There is evidence the herds are also not self-sustaining – there is not a new calf population to replace the older population of moose.

As the forest is eroded to make way for open mines and in-situ mines, the ‘great lung’ of North America with its rich carbon-storing peat and soil, is disappearing. In its place, rapid growth of carbon emissions threatens to increase the Earth's temperature. Meanwhile, oil sands extraction pollutes the earth with its tailings ponds, pollutes the air with its emissions, and pollutes the water using two to four barrels of water to produce just one barrel of bitumen and creating vast lakes of chemicals that leach into local watersheds.

#### Beaver Lake Cree history

The Beaver Lake Cree is a small Indian community located in eastern Alberta, north-east of Edmonton and just outside Lac La Biche. It currently has approximately 900 members. In the early 19th century, the Hudson's Bay Company built a trading post at Lac La Biche, and the locals hunted, fished and trapped fur to sell to the HBC agents. In the 1870s the Canadian government was involved in a gradual process of treaty making aimed at addressing Aboriginal title and opening up the lands for settlement. By the middle of the decade, food supplies for the plains Cree were running low with a rapid decline in buffalo, and geographical survey crews were running into tensions with the local inhabitants. In July 1875, Cree warriors stopped a telegraph crew at the fork of the Saskatchewan River. In response the Canadian government sent Treaty Commissioner Alexander Morris to meet with Cree, Chipewyan and Salteaux leaders beginning on August 15, 1876.

Discussions lasted for several days and included many pipe ceremonies. The pipe ceremonies were viewed by the Cree people as a mark of the solemnity of the occasion. In the presence of the pipe only the truth could be told and it was understood that promises made as part of such ceremonies would be kept. For their part, the Commissioners invoked the name of the Queen, and made the treaty promises in her name. Beaver Lake's immediate ancestors met with Commissioner Morris at Fort Pitt in September, 1876. There Morris gave this speech:

> … I see the Queen's Councillors taking the Indian by the hand saying we are brothers, we will lift you up, we will teach you, if you will learn, the cunning of the white man. All along the road I see Indians gathering, I see gardens growing and houses building; I see them receiving money from the Queen's Commissioners to purchase clothing for their children, at the same time I see them enjoying their hunting and fishing as before, I see them retaining their old mode of living with the Queen's gift in addition.

Chief Pay-ay-sis signed Treaty 6. He and the other chiefs surrendered approximately 195,000 square kilometres of land . In return for their land, they were promised that they would be able to hunt and fish to make a living from the land as they had always done, and they were promised that each band member would be paid $5.00 per year.

The promise to pay $5.00 per year to each Cree person has been faithfully kept every year.

The important text of Treaty 6 is:

> The Plain and Wood Cree Tribes of Indians, and all other the Indians inhabiting the district hereinafter described and defined, do hereby cede, release, surrender and yield up to the Government of the Dominion of Canada, for Her Majesty the Queen and Her successors forever, all their rights, titles and privileges, whatsoever, to the lands included within the following limits… Her Majesty further agrees with Her said Indians that they, the said Indians, shall have right to pursue their avocations of hunting and fishing throughout the tract surrendered as hereinbefore described, subject to such regulations as may from time to time be made by Her Government of Her Dominion of Canada, and saving and excepting such tracts as may from time to time be required or taken up for settlement, mining, lumbering or other purposes by Her said Government of the Dominion of Canada, or by any of the subjects thereof duly authorized therefor by the said Government.

There is a tension built into the treaty between the Crown's right to take up land, and the enduring right of the Indians to hunt and fish. In the 19th century the amount of unspoiled land available for hunting and fishing was so huge that no amount of settlement seemed to affect the wildlife populations. For over one hundred years under the treaty there was always a meaningful opportunity to hunt and fish, so conflict between the Crown's rights and the Indian's rights did not arise.

But in the last two decades, the tar sands developments have encroached on such huge amounts of land that there is now a conflict between the viability of the treaty rights and the Crown's right to continue to alienate land.

The law in this situation has recently been expressed by the Supreme Court of Canada. The Crown cannot take up so much land as to compromise the meaningful right to hunt. If game becomes so scarce that the Indians would have to travel too far, and expend too much effort to make the hunting worthwhile, then the treaty right is no longer meaningful. If that decrease in the abundance of fish and wildlife is caused by Crown actions, then the Crown actions can be declared unconstitutional.

#### Potential impact of tar sands on the Beaver Lake Cree

The Athabasca oil sands deposit represents the second largest known deposit of oil in the world - after Saudi Arabia. There are estimated to be more than a trillion barrels of oil embedded in the sands, with an estimated 315 billion barrels (5.01×1010 m3) considered to be recoverable. Production of synthetic crude oil from the tar sands is well under way – Alberta is producing about 1.3 million barrels (210,000 m3) of dirty oil per day. That amount is expected to double or triple in the next few years, based on recent massive private investment in these projects.

The environmental liabilities that result from the various steps in oil sands extraction and refining process include: (i) Destruction of the boreal forest eco-system; (ii) Damage to the Athabasca watershed; (iii) Heavy consumption of natural gas; (iv) Creation of toxic tailings ponds; and (v) Increased release of greenhouse gases

i. Destruction of the boreal forest eco-system

> All of the oil sands leases slated for development are located in the boreal forest. The boreal forest is particularly valuable for its ability to store large amounts of carbon in its bogs, peat, soil, and trees. The destruction of boreal forest reduces the Earth's capacity to store carbon and releases greenhouse gases into the atmosphere as it is destroyed. The currently proposed oil sands projects, if all were to be activated, would directly remove an area of boreal forest eco-system twice the size of Ireland. Destruction of the forest eliminates the habitat for birds, fish, and mammals, including caribou, bear, deer, moose, wolves, coyotes, lynx, wolverine, beaver, fisher, marten, muskrat, and squirrels. Reclamation is not a credible solution.

ii. Damage to the Athabasca watershed

> Two to four and a half barrels of water are required to produce a barrel of oil from the tar sands. Water is used to create the slurry of bitumen and oil that is heated and processed. Water is also disposed of through Steam Assisted Gravity Drainage method of extraction where steam is pumped into the ground to cause bitumen to flow into a lower pipe for removal. For every barrel of oil produced approximately one barrel of water is contaminated in the process and deposited into a tailings pond.
>
> At present, large water allocations from the Athabasca River are assigned to industrial use. A recent Alberta government report concluded that: “Over the long term, the Athabasca River may not have sufficient flows to meet the needs of all the planned mining operations and maintain adequate instream flows.” This is one of Canada's largest rivers.
>
> Water impacts threaten fish, wildlife, downstream communities, and transportation in the McKenzie delta. The toxicity of the tailings ponds also represent threats to local aquifers and to the quality of water in the Athabasca River due to the danger of seepage or a sudden and large catastrophic failure of a pond's enclosure. Already there have been reports of unusually high incidence of certain kinds of cancer in the populations living downstream.

iii. Heavy consumption of natural gas

> Natural gas is burned to heat the bitumen in the tar sands in order to extract the liquid oil. The energy equivalent of one barrel of oil in natural gas is needed to produce three barrels of synthetic crude. Producing a barrel of oil from the oil sands requires approximately one thousand cubic feet of natural gas. Natural gas is a fossil fuel, and when it burns to create heat it adds carbon dioxide to the atmosphere. But the additional concern is that natural gas releases less carbon dioxide per unit of energy produced than oil does - especially heavy oil, or synthetic crude. So, a relatively clean non-renewable fossil fuel is being burned to create a very dirty fossil fuel.

iv. Creation of toxic tailings ponds

> The “tailings” from the bitumen retrieval and refining processes include sand, silt and clay mixed with leftover hydrocarbons and other toxic substances. Tailings are being created at a rate of 2,000 or so litres per barrel of bitumen, resulting in about 1.8 billion litres of tailings every day. In May 2008, tailings ponds covered approximately 130 km2 of Alberta.
>
> Tailings ponds include substances of concern for the water quality that discharge to surface waters: • salts • elevated sodium, chloride, sulphate • elevated total dissolved solids, pH, conductivity and alkalinity • lower calcium and magnesium (soft water) • variable levels of trace metals, including boron, arsenic and strontium • elevated ammonia • naphthenic acids, phenols, hydrocarbons • and polycyclic aromatic hydrocarbons • other acute and chronic toxicants
>
> In many cases, huge ponds sit with very short berms separating them from the Athabasca River. The Athabasca is the source river of the McKenzie watershed – downstream are communities that depend on the river for their water and livelihood. It is the principal source of food fish for Aboriginal communities.
>
> In April 2008, considerable press coverage arose when 500 ducks landed on the Syncrude tailings pond and died. Syncrude did not report the incident and it only became public because of an anonymous tip. Provincial regulations require the use of scarecrows and soundmakers to attempt to divert the birds from the ponds, but these were not functioning at the time. A member of the Sierra Club of Alberta, Jeh Custer, started a private prosecution against Syncrude in 2008. A private prosecution for an environmental office is a legal proceeding where an individual attempts to enforce an environmental statute, in circumstances where the Crown prosecutors fail to do so. Such private prosecutions almost always fail. But they serve to embarrass governments who are not doing their job. On February 10 both Canada and Alberta commenced formal court proceedings against Syncrude for the same offences. If convicted, Syncrude could face a maximum $300,000 fine.

v. The release of greenhouse gases

> There are three main sources of greenhouse gas increases resulting from tar sands extractions:
>
> 1. Release of carbon from the living boreal forest as it is destroyed. 2. Burning of natural gas, itself a fossil fuel, in the refining process 3. The carbon released from the bitumen itself. Because of the huge amount of greenhouse gas release in the process of creating synthetic crude oil, Alberta produces three times more greenhouse gas emissions per capita than the Canadian average and six times the West European average.
>
> The Earth's atmosphere currently contains about 459 ppm CO2 equivalent greenhouse gases. At that elevated level Earth is now into the danger zone. It is well understood that as the concentrations of CO2 approach 550 ppm there is near certainty that the Earth will warm 2 degrees, and will probably warm 3 degrees, an amount of warming that would be fully catastrophic. Over the next 30 years as the tar sands are exploited under current plans, this one source alone will add about 65 ppm of carbon dioxide to Earth's atmosphere. Even if nobody else on Earth created carbon dioxide over the next 30 years, exploitation of the tar sands will push the level of CO2 in the atmosphere to 525 ppm. This one source will single-handedly cancel out all worldwide efforts to control climate change. All the good effects of conservation, conversion to solar, wind, tidal, geothermal and other expensive unconventional energy sources will be for nothing, because this one industrial project will continue pushing up the atmospheric concentrations of carbon dioxide and equivalent greenhouse gases. All the planning and sacrifice by the rest of the world will be cancelled out by this one industry.
>
> And, in the course of exploiting the tar sands and destroying the boreal forest, the treaty rights of the Beaver Lake Cree Nation will be rendered meaningless.

#### Toxic Fuels Campaign

In February 2009, the Co-operative Financial Services announced it was backing the Beaver Lake Cree legal action. In the bank's press release, Paul Monaghan, Head of Social Goals and Sustainability at CFS said: “We already know that commercialisation of tar sands risks massive environmental damage. If the Beaver Lake Cree Nation are successful in their ground-breaking legal challenge and other indigenous groups follow, oil companies could also be looking at massive investment damages.” CFS launched its **Toxic Fuels** campaign, designed to "combat the shocking global trend of extracting oil from unconventional sources, such as tar sands and shale oil. Such exploitation threatens global efforts to avoid dangerous levels of climate change and risks local ecological disaster." The Toxic Fuels campaign has a direct link to RAVEN in order to provide financial support for the lengthy and costly legal action. CFS has donated more than £100,000 towards the Beaver Lake Cree's lawsuit.

### Tsilhqot'in fight to save Teztan Biny

Taseko Mines Ltd. is proposing to develop the Prosperity Mine, a massive open pit gold and copper mine, deep within the traditional territory of the Tsilhqot'in Nation. The proposed Prosperity Mine is located in south central British Columbia, approximately 125 km southwest of Williams Lake, on an alpine plateau in the Chilcotin, beneath the rugged glaciated peaks of the Coast Range. The Prosperity Mine, if developed, would be situated in a site of exceptional natural splendor, close to the Nemaiah Valley, Ts'yl-os Provincial Park, and the ?Elegesi Qayus Wild Horse Preserve.

A statement prepared by the Tsilhqot'in National Government and placed on the RAVEN website says:

> the proposed mine’s two kilometer-wide open pit, tailings pond, waste rock piles, roads, and transmission lines would destroy an entire sub-alpine ecosystem, and most importantly Teztan Biny, a lake sacred to the Tsilhqot'in Nation, and known to others as Fish Lake. Teztan Biny is a beautiful mountain lake which our ancestors have used and managed since time immemorial. Teztan Biny supports a vibrant population (some 85,000) of genetically unique Rainbow Trout that provide a critical food source for the Tsilhqot'in people and local wildlife; including blue-listed species of concern such as Grizzly Bears.

For generations the Tsilhqot'in have gone to Teztan Biny to fish, to set fish traps and nets, hunt and trap, gather medicines, engage in spiritual practices, reconnect with the land, honor their elders, share stories, and foster unity. It is more than a lake to the Tsilhqot'in – it is an integral part of Tsilhqot'in culture, and vital to their cultural continuity and survival. Many non-Aboriginal local residents and tourists also enjoy Teztan Biny for a wide variety of recreational activities. The Tsilhqot'in Nation is neither against development nor against the responsible use of natural resources. In fact, as the traditional keepers of the land for thousands of years, we have successfully balanced the need for sustainable harvesting with long-term preservation. To the Tsilhqot'in people, the destruction of Teztan Biny is an unacceptable use of land and water, incompatible with modern principles of sustainability, and an ill-conceived and shortsighted attempt to inject an industrial project into the heart of our pristine watershed.

It is here that wild salmon begin their long journey to the Pacific Ocean via the Chilko, the Chilcotin and ultimately, the Fraser River. Teztan Biny is a vital part of the watershed that supports one of the largest and most productive salmon fisheries in North America. Toxic effluents that seep from the mine tailings and waste rock facilities at the proposed mine could negatively impact BC's already threatened Fraser salmon fishery.

The Prosperity Mine was rejected in 2010 by the federal government, based on a scathing independent federal review that found the mine would have irreversible, devastating impacts to local fish and fish habitat and endangered grizzly populations, to Tsilhqot’in cultural activities and heritage, and to the proven and asserted Aboriginal rights and title of the Tsilhqot’in people.

In 2011, Taseko Mines resubmitted a revised plan, rebranded as the New Prosperity Mine, to a second federal review panel. The New Prosperity mine was rejected by the federal government again in 2014 based on environmental and cultural impacts. The independent federal panel of experts concluded in 2013 that New Prosperity would have significant and immitigable impacts on water quality, fisheries and Tŝilhqot'in cultural heritage, rights and traditional practices. The panel’s report also noted that Taseko Mines was unable to even meet “proof of concept” for its unprecedented, unproven, entire-lake recirculation proposal and that Teztan Biny would be contaminated over time, despite mitigation efforts.

Based on the review panel’s findings, the federal Cabinet rejected the New Prosperity proposal in 2014. Taseko Mines launched legal proceedings, to challenge the second rejection. This rejection was subsequently affirmed by various levels of the judiciary, including a Judicial Review, the Federal Court of Appeal, and the Supreme Court of Canada, which declined in 2020 to hear any further appeals from Taseko Mines.

Taseko was at the same time pushing “exploratory drilling” in the Teztan Biny area, for which they had provincial permits issued to them by the out-going government led by Christy Clark in 2017. Even though the federal government had rejected New Prosperity mine – a decision confirmed by the Supreme Court – mineral exploration permits such as Taseko holds are issued by the province of British Columbia, and do not require an actual mine proposal. Those permits are not affected by the Supreme Court decision.

In 2019, with Taseko preparing for exploratory drilling, the Tŝilhqot'in filed a civil action against Taseko, British Columbia and certain British Columbia government officials for infringement of proven Aboriginal rights at Teztan Biny (Fish Lake) and the surrounding area, called Nabaŝ. This comprehensive legal action will be heard in 2022; in the meantime Taseko has been prohibited from drilling under an injunction issued by the B.C. Supreme Court.

RAVEN continues to support the Tŝilhqot'in through this ongoing legal action whose goal is to protect the Teztan Biny/Nabaŝ area once and for all from any further encroachment by mining.


title: The Orchid House (novel)

abstract: The Orchid House is a book published in 1953 and the only novel written by Dominican writer Phyllis Shand Allfrey. It is considered "a pioneering work of Caribbean literature". The Orchid House is a fictionalized account of Allfrey's early life, narrated by an old Black nurse Lally from Montserrat. It was turned into a highly acclaimed film for British television. Originally published by Constable & Co., it was reissued in 1982 by Virago Press, and reprinted in 1991 at the time its Channel 4 television adaptation of the same name came out (directed by Horace Ové with Casting Director John Hubbard and starring Elizabeth Hurley, Madge Sinclair, Diana Quick, Kate Buffery, Lennox Honychurch, British painter and grand-niece of Phyllis Shand Allfrey, Lindy Allfrey and Frances Barber. An American edition of the novel appeared in 1996. A French-language version, La Maison des Orchidées, appeared in 1954.

text:
# The Orchid House (novel)

***The Orchid House*** is a book published in 1953 and the only novel written by Dominican writer Phyllis Shand Allfrey. It is considered "a pioneering work of Caribbean literature". *The Orchid House* is a fictionalized account of Allfrey's early life, narrated by an old Black nurse Lally from Montserrat. It was turned into a highly acclaimed film for British television.

Originally published by Constable & Co., it was reissued in 1982 by Virago Press, and reprinted in 1991 at the time its Channel 4 television adaptation of the same name came out (directed by Horace Ové with Casting Director John Hubbard and starring Elizabeth Hurley, Madge Sinclair, Diana Quick, Kate Buffery, Lennox Honychurch, British painter and grand-niece of Phyllis Shand Allfrey, Lindy Allfrey and Frances Barber. An American edition of the novel appeared in 1996.

A French-language version, *La Maison des Orchidées*, appeared in 1954.

## Summary

Summarized in an Introduction by Lizabeth Paravisini-Gebert, "The novel, as narrated by the old nurse Lally, revolves around the return of three Creole sisters to their native island after years abroad: Stella, drawn to the lush tropical by an impassioned yearning; Joan, a grass-roots political activist in London; and Natalie, a wealthy old man's hedonistic widow..."

## Reprints

* *The Orchid House*. Virago Press. 1991. ISBN 1-85381-338-9.
* *The Orchid House*. Rutgers University Press. 1992. ISBN 0-8135-2332-X.

## InfoBox

The Orchid House
|  | |
| --- | --- |
| Author | Phyllis Shand Allfrey |
| Genre | Fiction, Literary Fiction |
| Publisher | Constable & Co. |
| Publication date | January 1, 1953 |
| Pages | 223 pages |


title: Jack Marsh (footballer, born 1947)

abstract: John William Marsh is an English former professional footballer who played as a goalkeeper.

text:
# Jack Marsh (footballer, born 1947)

**John William Marsh** (born 17 December 1947) is an English former professional footballer who played as a goalkeeper.

## Career

Born in Leeds, Marsh joined Bradford City in June 1966 from New Farnley. He made 12 league appearances for the club. He was released by the club in 1967.

## Sources

* Frost, Terry (1988). *Bradford City A Complete Record 1903-1988*. Breedon Books Sport. ISBN 0-907969-38-0.

## InfoBox

Jack Marsh
| Personal information | | | |
| --- | --- | --- | --- |
| Full name | John William Marsh | | |
| Date of birth | (1947-12-17) 17 December 1947 | | |
| Place of birth | Leeds, England | | |
| Position(s) | Goalkeeper | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
|  | New Farnley |  |  |
| 1966–1967 | Bradford City | 12 | (0) |
| \*Club domestic league appearances and goals | | | |


title: Nerisyrenia

abstract: Nerisyrenia is a genus of flowering plants belonging to the family Brassicaceae. Its native range is from the southern-central United States to north-eastern Mexico.

text:
# Nerisyrenia

***Nerisyrenia*** is a genus of flowering plants belonging to the family Brassicaceae.

Its native range is from the southern-central United States to north-eastern Mexico.

## Species

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

## InfoBox

| *Nerisyrenia* | |
| --- | --- |
|  | |
| *Nerisyrenia hypercorax* | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Rosids |
| Order: | Brassicales |
| Family: | Brassicaceae |
| Genus: | *Nerisyrenia*<br>Greene |
|


title: Nerita aterrima

abstract: Nerita aterrima is a species of sea snail, a marine gastropod mollusk in the family Neritidae.

text:
# Nerita aterrima

***Nerita aterrima*** is a species of sea snail, a marine gastropod mollusk in the family Neritidae.

## Description

The shell grows to a length of 27 mm

## Distribution

This species occurs in the Pacific Ocean off the Philippines and Western Australia.

* Steyn, D.G. & Lussi, M. (1998) Marine Shells of South Africa. An Illustrated Collector's Guide to Beached Shells. Ekogilde Publishers, Hartebeespoort, South Africa, ii + 264 pp.

## InfoBox

| *Nerita aterrima* | |
| --- | --- |
|  | |
| *Nerita aterrima* | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Subclass: | Neritimorpha |
| Order: | Cycloneritida |
| Family: | Neritidae |
| Genus: | *Nerita* |
| Species: | ***N. aterrima*** |
| Binomial name | |
| ***Nerita aterrima***<br>Gmelin, 1791 | |
|
| Synonyms | |
| * *Nerita (Argonerita) aterrima* Gmelin, 1791· accepted, alternate representation * *Nerita commanotata* Reeve, 1855 * *Nerita mascareignarum* Récluz, 1850 * *Nerita mascarenharum* Récluz, 1842 * *Nerita mauritiae* Récluz, 1841 (invalid: junior homonym of Nerita mauritiae Lesson, 1831; N. mascarenharum is a replacement name) * *Nerita punctata* Quoy & Gaimard, 1834 (invalid: junior homonym of Nerita punctata O.F. Müller, 1774, and several others) | |


title: Gabulbarra

abstract: The Gabulbarra people, also rendered Gabalbura, Gabalbara and Kabalbara, were an Aboriginal Australian people of an area in eastern Central Queensland, but there is little recorded information about them.

text:
# Gabulbarra

The **Gabulbarra** people, also rendered **Gabalbura**, **Gabalbara** and **Kabalbara**, were an Aboriginal Australian people of an area in eastern Central Queensland, but there is little recorded information about them.

## Country

Gabulbarra traditional lands were estimated by Norman Tindale to encompass roughly 6,700 square kilometres (2,600 sq mi) around the areas to the west of the Mackenzie and Isaac rivers as far as Peak Range. Their northern limits lay close to Cotherstone.

Gavan Breen says that the name alludes to a Central Queensland group who spoke a Biri dialect. The origin of the name is from *gabul*, the word for "carpet snake", so it means "carpet snake people".

## Alternative spellings

Other spellings of the name include Kabelbara, Kaiabara, Gabelbara, and Gabulbara.

Geoffrey O'Grady also assigned the name Yettimaralla.

## Language

There has been no linguistic information recorded for this language, but they may have spoken a dialect of the Biri language.

## Gabulbarra Reference Group

There is an entity known as the Gabulbarra Reference Group registered in Townsville, which lodged two native title claims over parts of Magnetic Island in 1998, but this group was acting for the Wulgurukaba people of Townsville and the Manbarra people of Palm Island.

### Citations

1. Tindale 1974, p. 172.
2. E45 Gabulbarra at the Australian Indigenous Languages Database, Australian Institute of Aboriginal and Torres Strait Islander Studies
3. "Historical details for ABN 18 213 655 215". *ABN Lookup*. 1 November 2014. Retrieved 20 October 2020.
4. "Claims" (PDF). Land, Rights, Law: Issues of Native Title. NTRU  via Austlii.
5. "Native Title Act Native title representative bodies Reports Central Queensland Land Council Aboriginal Corporation 2001-02". *ParlInfo*. 2 July 2000. Retrieved 20 October 2020.

## Sources


abstract: New Douglas Township is located in Madison County, Illinois, in the United States. As of the 2010 census, its population was 509 and it contained 238 housing units.

text:
# New Douglas Township, Madison County, Illinois

**New Douglas Township** is located in Madison County, Illinois, in the United States. As of the 2010 census, its population was 509 and it contained 238 housing units.

## Geography

According to the 2010 census, the township has a total area of 20.96 square miles (54.3 km2), of which 20.9 square miles (54 km2) (or 99.71%) is land and 0.06 square miles (0.16 km2) (or 0.29%) is water.

## Demographics

Historical population
| Census | Pop. | Note |  |
| --- | --- | --- | --- |
| 2016 (est.) | 501 |  |  |
| U.S. Decennial Census | | | |

1. "Population and Housing Unit Estimates". Retrieved June 9, 2017.
2. "Population, Housing Units, Area, and Density: 2010 - County -- County Subdivision and Place -- 2010 Census Summary File 1". United States Census. Archived from the original on February 12, 2020. Retrieved May 28, 2013.
3. "Census of Population and Housing". Census.gov. Retrieved June 4, 2016.

## InfoBox

| New Douglas Township | |
| --- | --- |
| Township | |
|  | |
| Location of Illinois in the United States | |
| Coordinates: 38°57′27″N 89°40′34″W / 38.95750°N 89.67611°W / 38.95750; -89.67611 | |
| Country | United States |
| State | Illinois |
| County | Madison |
| Settled | November 2, 1875 |
| Area | |
| Total | 20.96 sq mi (54.3 km2) |
| Land | 20.9 sq mi (54 km2) |
| Water | 0.06 sq mi (0.2 km2) |
| Elevation | 610 ft (190 m) |
| Population (2010) | |
| Estimate (2016) | 501 |
| Density | 24.4/sq mi (9.4/km2) |
| Time zone | UTC-6 (CST) |
| Summer (DST) | UTC-5 (CDT) |
| FIPS code | 17-119-52428 |


title: Port of Apalachicola

abstract: The Port of Apalachicola is a historic Gulf Coast port located on St. George Island in Franklin County, Florida. The Port of Apalachicola lies at the mouth of the Apalachicola River off Apalachicola Bay on the Intracoastal Waterway. The Port of Apalachicola was of primary strategic importance during the United States Civil War. Union forces established a blockade of the port on 11 June 1861, with the USS Montgomery. At times, the blockade employed a squadron of three or more vessels in the area. On 3 April 1862, a landing at Apalachicola was achieved without resistance from the Confederacy. The port continued to change hands repeatedly throughout the war, usually without serious conflict.

text:
# Port of Apalachicola

The **Port of Apalachicola** is a historic Gulf Coast port located on St. George Island in Franklin County, Florida. The Port of Apalachicola lies at the mouth of the Apalachicola River off Apalachicola Bay on the Intracoastal Waterway.

The Port of Apalachicola was of primary strategic importance during the United States Civil War. Union forces established a blockade of the port on 11 June 1861, with the USS *Montgomery*. At times, the blockade employed a squadron of three or more vessels in the area. On 3 April 1862, a landing at Apalachicola was achieved without resistance from the Confederacy.

The port continued to change hands repeatedly throughout the war, usually without serious conflict.

29°39′32″N 84°52′40″W / 29.65889°N 84.87778°W / 29.65889; -84.87778


title: Muqaddar Ka Badshaah

abstract: Muqaddar Ka Badshah is a 1990 Hindi-language film directed by T. Rama Rao. It is a spiritual sequel of 1979 film Muqaddar Ka Sikander. The film stars Vinod Khanna, Shabana Azmi, Vijayshanti, Anupam Kher, Kader Khan and Amrish Puri. Dialogues of this movie became very popular and therefore audio cassette of Dialogues were released it was written by Iqbal Durrani.

text:
# Muqaddar Ka Badshaah

***Muqaddar Ka Badshah*** (transl.King of Destiny) is a 1990 Hindi-language film directed by T. Rama Rao. It is a spiritual sequel of 1979 film Muqaddar Ka Sikander. The film stars Vinod Khanna, Shabana Azmi, Vijayshanti, Anupam Kher, Kader Khan and Amrish Puri. Dialogues of this movie became very popular and therefore audio cassette of Dialogues were released it was written by Iqbal Durrani.

## Plot

## Cast

## Music

All lyrics are written by Sameer; all music is composed by Viju Shah

| No. | Title | Singer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Aiko Haina" | Amit Kumar and Sapna Mukherjee | 5:00 |
| 2. | Untitled | Amit Kumar and Sadhana Sargam | 5:10 |
| 3. | "Muqaddar Ka Badshah" | Amit Kumar | 4:34 |
| 4. | "Shararat Karoonga" | Amit Kumar & Sapna Mukherjee | 5:46 |
| 5. | "Ho Jaayega Loaccha" | Amit Kumar & Boney | 7:05 |
| 6. | "Aiko Haina" | Amit Kumar | 1:50 |

## InfoBox

| Muqaddar Ka Badshah | |
| --- | --- |
|  | |
| Directed by | T. Rama Rao |
| Written by | Iqbal Durrani |
| Produced by | A. Poornachandra Rao |
| Starring | Vinod Khanna
Shabana Azmi
Vijayshanti
Anupam Kher
Kader Khan |
| Music by | Viju Shah |
| Production
company | Lakshmi Productions |
| Release date | * 1990 (1990) |
| Country | India |
| Language | Hindi |


abstract: This is a list of the National Register of Historic Places listings in Noble County, Oklahoma. This is intended to be a complete list of the properties and districts on the National Register of Historic Places in Noble County, Oklahoma, United States. The locations of National Register properties and districts for which the latitude and longitude coordinates are included below, may be seen in a map. There are 13 properties and districts listed on the National Register in the county.           This National Park Service list is complete through NPS recent listings posted October 4, 2024.

text:
# National Register of Historic Places listings in Noble County, Oklahoma

This is a list of the **National Register of Historic Places listings in Noble County, Oklahoma**.

This is intended to be a complete list of the properties and districts on the National Register of Historic Places in Noble County, Oklahoma, United States. The locations of National Register properties and districts for which the latitude and longitude coordinates are included below, may be seen in a map.

There are 13 properties and districts listed on the National Register in the county.

*This National Park Service list is complete through NPS recent listings posted October 4, 2024.*

## Current listings

|  | Name on the Register | Image | Date listed | Location | City or town | Description |
| --- | --- | --- | --- | --- | --- | --- |
| 1 | First National Bank and Trust Company Building |  | May 16, 1979
(#79002003) | 300 N. 6th St.
36°17′10″N 97°17′07″W / 36.2861°N 97.2853°W / 36.2861; -97.2853 (First National Bank and Trust Company Building) | Perry |  |
| 2 | Morrison Baptist Church |  | September 28, 1984
(#84003357) | 202 3rd St.
36°17′55″N 97°00′27″W / 36.2986°N 97.0075°W / 36.2986; -97.0075 (Morrison Baptist Church) | Morrison |  |
| 3 | Morrison Suspension Bridge |  | May 23, 1980
(#80003277) | East of Morrison off U.S. Route 64
36°18′30″N 96°57′05″W / 36.3083°N 96.9514°W / 36.3083; -96.9514 (Morrison Suspension Bridge) | Morrison | Destroyed |
| 4 | Noble County Courthouse |  | August 23, 1984
(#84003361) | Courthouse Square
36°17′12″N 97°17′11″W / 36.2867°N 97.2864°W / 36.2867; -97.2864 (Noble County Courthouse) | Perry |  |
| 5 | Perry Armory |  | September 8, 1988
(#88001362) | Delaware and 14th Sts.
36°17′13″N 97°17′57″W / 36.2869°N 97.2992°W / 36.2869; -97.2992 (Perry Armory) | Perry |  |
| 6 | Perry Courthouse Square Historic District |  | September 2, 2003
(#03000881) | Roughly bounded by Birch, Elm, 6th and 7th
36°17′13″N 97°17′13″W / 36.287°N 97.287°W / 36.287; -97.287 (Perry Courthouse Square Historic District) | Perry |  |
| 7 | Perry Lake Park |  | June 1, 2007
(#07000523) | 1520 S. 4th St.
36°16′01″N 97°16′41″W / 36.267°N 97.278°W / 36.267; -97.278 (Perry Lake Park) | Perry |  |
| 8 | Rein School |  | September 8, 1988
(#88001361) | Off U.S. Route 177
36°33′55″N 97°04′07″W / 36.5653°N 97.0686°W / 36.5653; -97.0686 (Rein School) | Ponca City vicinity |  |
| 9 | Renfrow Building |  | September 28, 1984
(#84003365) | 127 W. Main St.
36°31′42″N 97°26′41″W / 36.5283°N 97.4447°W / 36.5283; -97.4447 (Renfrow Building) | Billings |  |
| 10 | Renfrow House |  | September 28, 1984
(#84003373) | Graves St. and Broadway
36°31′39″N 97°26′43″W / 36.5275°N 97.4453°W / 36.5275; -97.4453 (Renfrow House) | Billings |  |
| 11 | Schultz-Neal Stone Barn |  | December 7, 2020
(#100005861) | 250 yds. east of US 177/OK 15, 7 miles (11 km) southeast of Red Rock
36°25′35″N 97°04′04″W / 36.4265°N 97.0677°W / 36.4265; -97.0677 (Schultz-Neal Stone Barn) | Red Rock vicinity |  |
| 12 | Sumner School |  | April 26, 1996
(#96000492) | County Road N3300, 2 miles north of U.S. Route 64
36°19′06″N 97°07′21″W / 36.3183°N 97.1225°W / 36.3183; -97.1225 (Sumner School) | Morrison |  |
| 13 | Wolleson-Nicewander Building |  | May 16, 1979
(#79002004) | 615 Delaware St.
36°17′15″N 97°17′12″W / 36.2875°N 97.2867°W / 36.2875; -97.2867 (Wolleson-Nicewander Building) | Perry |  |


title: Kiss & Cry (song)

abstract: "Kiss & Cry" is a song recorded by Japanese American recording artist Hikaru Utada for their seventh studio and fifth Japanese album, Heart Station (2007). It was written, composed, and arranged by Utada, whilst production was handled by Utada, their father Teruzane Utada, and Akira Miyake. The single premiered on May 31, 2007 as the third single from the album in Japan. It was re-released as a double A-side single with "Beautiful World", which also appeared on the parent album on August 29 in Japan, and digitally worldwide. Musically, "Kiss & Cry" is an R&B song, influenced by pop and hip-hop music. Lyrically, it discusses both Utada's upbringing and social beliefs between both Western and oriental regions. Upon its release, the track garnered generally favorable reviews from music critics. Many critics agreed that it was one of the better singles from the album, and complimented its R&B composition. Charting as an A-side single, it achieved success in Japan, peaking at number two on the Oricon Singles Chart. The single has been certified within four different categories by the Recording Industry Association of Japan (RIAJ). An accompanying music video was shot by Toshitaka Shinoda; it features animation in the style of Nissin's Freedom Project, including major characters such as the protagonist Takeru lip-synching to the song. The song had been promoted through several Japanese commercials and television shows.

text:
# Kiss & Cry (song)

"**Kiss & Cry**" is a song recorded by Japanese American recording artist Hikaru Utada for their seventh studio and fifth Japanese album, *Heart Station* (2007). It was written, composed, and arranged by Utada, whilst production was handled by Utada, their father Teruzane Utada, and Akira Miyake. The single premiered on May 31, 2007 as the third single from the album in Japan. It was re-released as a double A-side single with "Beautiful World", which also appeared on the parent album on August 29 in Japan, and digitally worldwide. Musically, "Kiss & Cry" is an R&B song, influenced by pop and hip-hop music. Lyrically, it discusses both Utada's upbringing and social beliefs between both Western and oriental regions.

Upon its release, the track garnered generally favorable reviews from music critics. Many critics agreed that it was one of the better singles from the album, and complimented its R&B composition. Charting as an A-side single, it achieved success in Japan, peaking at number two on the Oricon Singles Chart. The single has been certified within four different categories by the Recording Industry Association of Japan (RIAJ). An accompanying music video was shot by Toshitaka Shinoda; it features animation in the style of Nissin's Freedom Project, including major characters such as the protagonist Takeru lip-synching to the song. The song had been promoted through several Japanese commercials and television shows.

## Background and release

On April 23, 2007, American website Jame World confirmed the release of a new single, entitled "Kiss & Cry". The song's original working title was "Dancing Leah", which is a reference to Filipina American model Leah Dizon. It was written, composed, and arranged by Utada, whilst production was handled by Utada, their father Teruzane Utada, and Akira Miyake. For the song, Hikaru had played the keyboards and synthesizers, and provided backing vocals. It was originally recorded for their studio album *Ultra Blue* by Atsushi Matsui at Bunkamura Studios and EMI Music Japan Studios, Shibuya, Tokyo in 2007, but the idea was scrapped for unknown reasons. The finished composition was then mastered by American music engineer Ted Jensen at Sterling Studios, New York City, New York. The single also included the A-side track "Beautiful World", which also appeared on Utada's seventh studio and fifth Japanese album, *Heart Station* (2007).

It premiered as a promotional single on April 20, 2007, and debuted on Japanese radio on May 21. It was served as the third single from the album on May 31. Both singles were then released as a physical single on August 29 in Japan, and digitally worldwide. The CD single contains both "Beautiful World" and "Kiss & Cry", plus their instrumental versions. It also contains a remixed version of Utada's 1999 cover version of the 1954 Kaye Ballard song, "Fly Me to the Moon (In Other Words)"; its instrumental version was also included on the CD format. Utada's 1999 cover was originally included on her single "Wait & See (Risk)". The artwork to "Kiss & Cry" features Utada sitting on a ledge at the bottom of a concrete garage building, while motion-blurred school children walk past her. The CD features an extra lyric booklet, printed on plain white paper. The song was used as the theme song for the Nissin Cup Noodles product, which was released in Japan.

## Composition

Musically, "Kiss & Cry" is an R&B song, influenced by pop and electronic music. According to the sheet music published at Music.j-total.net, the song is written in the key of F minor, the song pre-chorus is interpolated the verses of her song "Hotel Lobby" from her 2004 English studio album *Exodus*. During the first and second verse and pre-chorus, the song follows a key sequence of F minor. Through the first, second and third chorus, the song has a sequence of A#m7–D#m7–E–D#m7. During the bridge section, the key sequence changes to A#m7–C7–F minor. It opens with a percussion section that includes a drum machine and cymbals; it then carries on with Palm Products GmbH synthesizers and keyboards, as described by a member at Selective Hearing. In an interview with MSN Hotmail in 2008, Utada said about the song; "I wanted to write quite a lively song and after writing it, I still feel that this has the most energetic feeling to it and that it’s probably the most polished song too." She personally enjoyed the end result of the song, as she described the arrangement and lyrical content, and cited it one of her favorite songs form the album. A reviewer from Selective Hearing said that the song "sound\[s\] like throw backs to her R&B days." The editor analyzed the song's music structure, and said that the "sample at the beginning sounds like it might be from a Godzilla movie."

Amanda Walujono from *Audrey Magazine* felt that, while the song had a "danceable beat", "it’s not exactly club material." *CD Journal* staff members noted elements of hip hop music, and identified instrumentation of horns, keyboards and a drum machine. She described the lyrical content as a tie between both her "Western and oriental beliefs", and believed that people surrounded by Western culture tend to "follow their destiny", whilst people growing up around Asian culture believe that destiny is "pre-determined". *CD Journal* staff members felt the lyrical delivery expressed both "joy" and "sorrow" topics. The title also references the ice skating area of the same name, where "Kiss" expresses "joy", and "cry" expresses "sorrow". The second chorus of the single's lyrics references the Nissin Noodle product ("Tonight I'll have Nissin Cup Noodle").

## Critical response

"Kiss & Cry" received positive reviews from music critics. A reviewer from Selective Hearing was positive in their review, labeling it a "very catchy track". They also selected it as one of the best track on the album. *CD Journal* reviewers noted the song's "surprising introduction", and described the song as an "impressive R&B tune with a heavy beat". Tomoyuki Mori from Amazon was positive in his review, complimenting Utada's songwriting and production. He also praised the "gorgeous atmospheric" composition, and labelled it "charming". Tetsuo Hiraga from *Hot Express* described the song as "fun", and highlighted its composition as a strong factor to its overall delivery. However, Daniel Robson, who wrote for *The Japan Times*, felt its inclusion into *Heart Station* was disappointing as he quoted, "\[After opening track "Fight the Blues"\] it’s followed by a run of five previous singles and a short, dull interlude track, which just feels so lazy." He felt the inclusion, alongside other singles, made him question the value of the overall album.

"Kiss & Cry" has achieved several accolades from several different publications and organisations. Amanda Walujono from *Audrey Magazine* ranked the song at number four on her "Top 5 Hikaru Utada Songs", praising the composition and "danceable beat". In December 2015, in honor of Utada's comeback into the music business, Japanese website Goo.ne.jp hosted a poll for fans to rank their favorite songs by Utada out of 25 positions; the poll was held in only twenty-four hours, and thousands submitted their votes. As a result, "Kiss & Cry" was ranked at number 24. In October 2007, Utada became the highest selling digital artist in Japan, based on the sales of "Kiss & Cry", and two other album singles "Flavor of Life" and "Beautiful World"; she sold over 10 million digital units according to Listen Japan.

## Commercial performance

Charting together as an A-side single, "Beautiful World" and "Kiss & Cry" debuted at number three on Japan's Oricon Singles Chart on the chart week of September 10, 2007; it sold 93,518 units in its first week of sales. The following week, it rose to its peak position of number two; it sold 51,637 units. It stayed in the top ten for two more weeks, until it fell to number 12 on June 1. It stayed in the top 40 for eight weeks, and charted at number 100 during the two-week New Years entries; it sold 1,689 for its two-week accumulation of sales. In total, the A-side singles stayed in the Top 200 chart for 26 weeks, one of her longest charting singles according to Oricon. By the end of 2007, the single was ranked at number 20 on Oricon's Annual 2007 chart; it sold 230,287 units by the end of the year. This became Utada's second highest entry in that annual chart, behind "Flavor of Life" at number two, and both entries made her the highest selling female artist. As of April 2016, the A-side single has sold 245,050 units in Japan, and is her 18th best selling single according to Oricon Database.

The single was certified platinum in September 2007 by the Recording Industry Association of Japan (RIAJ) for physical shipments of 250,000 units in Japan. Although it failed to chart on any digital charts in Japan, or on *Billboard'*s Japan Hot 100 and competent charts, the song was certified gold by the RIAJ for digital sales of 100,000 units. "Kiss & Cry" charted at number 11 on the RIAJ Reco-kyō Singles Chart, during the chart week of October 20, 2007. It then received a double platinum certification in November 2007 by the RIAJ for ringtone downloads from Chaku-Uta stores, exceeding sales of 500,000 units. The song received a gold certification by the RIAJ for full ringtone purchases of 100,000 units, and tallied the overall sales of the single to 935,000 units in Japan.

## Music video and promotion

An animated music video was produced for the song, directed by Toshitaka Shinoda. It was unveiled on August 2, 2007, when it was uploaded to Utada's EMI Music Japan website. The video featured animation in the style of Nissin's *Freedom* OVA and commercials, including major characters such as the protagonist Takeru lip-synching to the song. The project was a joint collaboration for the Freedom project and Nissin Cup Noodle as a celebration of their 35th anniversary. The music video received negative reviews from critics. A review from Halcyin Realms criticized the production of the video, stating "The so called 'rough cut' was a grotesquely put together, random collection of footages lifted from the Freedom series, with lip movement from the characters eerily synced to Utada’s vocals..." For promotional activities, Utada performed the song live on Japanese music television series *Music Station* on August 31, 2007.

## Track listings and formats

## Credits and personnel

Credits adapted from the liner notes of the *Heart Station* album.

**Recording and management** * Recorded by Atsushi Matsui at Bunkamura Studios and EMI Music Japan Studios, Shibuya, Tokyo, 2007.

**Credits** * Hikaru Utada – arrangement, keyboards, programming, production, songwriting, vocals
* Goetz B. for 365 Artists – mixing
* Atsushi Matsui – recording
* Akira Miyake – production
* Yuzuru Tomita – additional programming
* Ted Jensen – engineer
* Teruzane Utada – production

## Charts and certifications

## Certifications

| Region | Certification | Certified units/sales |
| --- | --- | --- |
| Japan (RIAJ)
*Beautiful World / Kiss & Cry* | Platinum | 245,050 |
| Japan (RIAJ)
*Full-length ringtone* | Gold | 100,000* |
| Japan (RIAJ)
*Ringtone* | 2× Platinum | 500,000* |
| Japan (RIAJ)
*PC download* | Gold | 100,000^ |
| * Sales figures based on certification alone.
^ Shipments figures based on certification alone.
 | | |

## Release history

| Region | Date | Format | Label |
| --- | --- | --- | --- |
| Japan | April 20, 2007 |  | Toshiba-EMI |
| | May 21, 2007 |  | |
| | May 31, 2007 |  | |
| | June 1, 2007 |  | |
| | August 29, 2007 |  | |
| | United States | Digital download | EMI Music Japan |
| | | Australia |
| | | New Zealand |
| | | Canada |
| | | United Kingdom |
| | | Germany |
| | | Ireland |
| | | France |
| | | Spain |
| | | Taiwan |
| South Korea | August 30, 2007 | Digital download | Universal Music Korea |
| Taiwan | August 31, 2007 | CD single | Gold Typhoon |

## InfoBox

| "Kiss & Cry" | |
| --- | --- |
| "Beautiful World" / "Kiss & Cry" cover | |
| Single by Hikaru Utada | |
| from the album  *Heart Station* | |
| A-side | "Beautiful World" |
| Released | May 31, 2007 (2007-05-31) |
| Recorded | 2007 |
| Studio | * Bunkamura Studios * EMI Music Japan Studios (Shibuya, Tokyo) |
| Genre | R&B |
| Length | 5:06 |
| Label | EMI Music Japan |
| Songwriter(s) | Hikaru Utada |
| Producer(s) |  |
| Hikaru Utada singles chronology | |
| "Flavor of Life"
(2007) "**Kiss & Cry**"
(2007) "Beautiful World"
(2007) | |
|  | |
| Music video | |
| "Kiss & Cry" on YouTube | |
|  | |


title: The Orckestra

abstract: The Orckestra were a 12-piece English avant-garde jazz and avant-rock ensemble formed in March 1977 with the merger of avant-rock group Henry Cow, the Mike Westbrook Brass Band and folk singer Frankie Armstrong. They gave two performances in London in March and June 1977, and then embarked on two tours of Europe between September 1977 and May 1978, where they performed in Italy, France and Sweden.

text:
# The Orckestra

**The Orckestra** were a 12-piece English avant-garde jazz and avant-rock ensemble formed in March 1977 with the merger of avant-rock group Henry Cow, the Mike Westbrook Brass Band and folk singer Frankie Armstrong. They gave two performances in London in March and June 1977, and then embarked on two tours of Europe between September 1977 and May 1978, where they performed in Italy, France and Sweden.

## History

Henry Cow and the Mike Westbrook Brass Band crossed paths several times before they merged in 1977. Westbrook was one of the guests at Henry Cow's Rainbow Theatre concert with Faust in London in October 1973, and the Brass Band played for the audience in the foyer of the auditorium before the concert began. At the November 1975 Sigma Festival in Bordeaux, France, Henry Cow and the Brass Band performed in different parts of the same building, and at the end of Henry Cow's set, the Brass Band played a New Orleans funeral march from the audience while the members of Henry Cow danced together on stage. Then in October 1976, Henry Cow, the Mike Westbrook Brass Band and folk singer Frankie Armstrong performed different sets on the same bill at Goldsmith College in New Cross, London.

When they appeared on the same bill again on 13 March 1977, this time at the *Moving Left Revue* at The Roundhouse in London, Henry Cow, the Brass Band and Armstrong decided to merge and gave their debut performance. The *Moving Left Revue* was a Communist Party benefit concert that the Brass Band's Paul Rutherford had helped to organise. Steve Lake of the British music newspaper, *Melody Maker* described the three-hour concert as "a great success", and said that this merger was the "most exciting" of Henry Cow's succession of projects. Their drummer, Chris Cutler said that they had always wanted the explore the potential of an orchestra, and their "ideological common ground" made a cooperative venture inevitable.

On 26 June 1977 the Orckestra performed at the Open Air Theatre in Regent's Park. Reviewing the event in *The Guardian*, Ronald Atkins wrote that he was impressed by how wide-ranging the ensemble's music was, which, he said, "could hardly be equalled by any other group". In September 1977 they embarked on a three-month tour of Europe where they played at Milan and Modena in Italy, and at Nancy and Paris in France. In March 1978 the Orckestra returned to Europe where they played in Stockholm, Norrköping and Gothenburg in Sweden, Oslo in Norway, and Paris, Nancy, Longlaville, Loos-en-Gohelle, Poitiers, Orléans and Bordeaux in France.

While Henry Cow enjoyed playing in the Orckestra, the merger was not without its problems. The Brass Band had difficulty coming to terms with Henry Cow's irregular rhythms. Westbrook said, "In jazz, because of its origins in dance, we always have a pulse to relate to", but Henry Cow's approach "is totally alien to our way of writing and thinking about music." As a result, the ensemble's concerts tended to be dominated by Brass Band material, with a few selected Henry Cow pieces the group could perform. Atkins wrote that at the Regent's Park event, "the group sounded rather like the Westbrook band augmented by a rhythm section." The lack of rehearsal time also affected the ensemble's performances, and there was never enough time for the Brass Band to learn Henry Cow's work. No new material was written for the group, although Henry Cow and Rutherford did collaborate on some arrangements for it to perform. The Orckestra's last concert was on 24 May 1978 in Bordeaux, France, after which they decided to disband. Georgie Born and Lindsay Cooper from Henry Cow, however, continued to collaborate with Westbrook for several more years.

## Music

The Orckestra did not generate any new material, and generally performed pieces that the Mike Westbrook Brass Band, Henry Cow and Frankie Armstrong performed individually. At their debut performance at the Roundhouse, their set list was:

* "Wheel of Fortune"
* "Beautiful as the Moon..."
* "Django"
* "God Bless the Child"
* "Naima"
* "Mourn not the Dead"
* "Anthem"
* "Jackie-ing"
* "On Suicide"
* "Lady Howard's Coach"
* "Kanonensong"
* "Santiago, You are Suffering"
* "Let the Slave"
* "Serpent Maigre"
* "Bartlemy Fair"
* "The Saucy Sailor"
* "Little Duke Arthur's Nurse"
* "Sovay, Sovay"
* "Jack the Lad"
* "Holy Thursday"
* "I See Thy Form"
* "Alabama Song"

Henry Cow later incorporated some of the Brass Band pieces into their own sets, for example, "Jackie-ing" which appears on *Volume 9: Late* in *The 40th Anniversary Henry Cow Box Set* (2009).

## Recordings

No recordings of the Orckestra were released during their lifetime. A live album of extracts from their 20 November 1977 Paris concert at the Fête du Nouveau Populaire in the Hippodrome was planned, but was abandoned when it was discovered that the recording was sub-standard and that it had been premixed. A bootleg recording of this concert was released in 2003, but its sound quality has been reported as being poor.

The first officially released recording of the Orckestra appeared in 2006 when a 12-minute 3" CD single, "Unreleased Orckestra Extract" was given to subscribers of the *Henry Cow Box*. It contained an untitled piece by Fred Frith and "Would You Prefer Us to Lie?" by Chris Cutler and John Greaves, both taken from some of the Orckestra's live performances in Europe in March–May 1978. The two pieces were later reissued on *Ex Box – Collected Fragments 1971–1978*, a bonus CD given to subscribers of *The Henry Cow Box Redux: The Complete Henry Cow* (2019).

## Members

## Discography

### Singles

### Bootlegs

* *Live in Paris, November 20, 1977* (2xCD, 2003, Hickory, Japan)

1. "Henry Cow". *Calyx: The Canterbury Website*. Retrieved 7 May 2009.
2. McKay, George (16 January 2003). "Interview with Mike Westbrook" (PDF). *Jazz in Britain*. p. 14. Archived from the original (PDF) on 12 September 2011. Retrieved 7 May 2009.
3. "Henry Cow Chronology". *Calyx: The Canterbury Website*. Retrieved 7 May 2009.
4. Lake, Steve (16 April 1977). "Cow: Moving Left". *Melody Maker*. p. 38. ISSN 0025-9012.
5. Patterson, Archie (31 March 2019). "'Art is not a mirror, it is a hammer.' –John Grierson". Medium. Retrieved 2 June 2019.
6. Piekut 2019, pp. 322–323.
7. "Paul Rutherford". *Times Online*. London. 13 August 2007. Archived from the original on 20 July 2008. Retrieved 7 May 2009.
8. Atkins, Ronald (27 June 1977). "The Orckestra – Regents Park". *The Guardian*. p. 8. Retrieved 17 January 2020  via Newspapers.com.
9. Piekut 2019, p. 323.
10. Ansell, Kenneth (1978). "Henry Cow". *Impetus: New Music*. No. 9. London: Impetus Publications. p. 376. OCLC 1063573174.
11. Piekut 2019, p. 325.
12. Cutler 2006, p. 13.
13. Ramond, Michel; Roussel, Patrice; Vuilleumier, Stephane. "Discography of Fred Frith". *New York Downtown Scene and Other Miscellaneous Discographies*. Archived from the original on 19 June 2019. Retrieved 29 May 2016.
14. "Special feature: Henry Cow's bootlegs". *Sonic Asymmetry*. 28 July 2008. Retrieved 7 May 2009.
15. Cutler, Chris (2019). *Ex Box – Collected Fragments 1971–1978* (CD liner notes). Henry Cow. London: Recommended Records.

## Works cited

## InfoBox

| The Orckestra | |
| --- | --- |
|  | |
| Background information | |
| Origin | London, England |
| Genres | Avant-garde jazz, avant-rock, experimental music |
| Years active | 1977–1978 |
| Labels | Recommended |
| Spinoff of |  |
|  | |
| Past members | Fred Frith
Tim Hodgkinson
Chris Cutler
Lindsay Cooper
Dagmar Krause
Georgie Born
Mike Westbrook
Kate Westbrook
Dave Chambers
Paul Rutherford
Phil Minton
Frankie Armstrong |


title: Jackson Township, Henry County, Iowa

abstract: Jackson Township is a township in Henry County, Iowa, USA.

text:
# Jackson Township, Henry County, Iowa

**Jackson Township** is a township in Henry County, Iowa, USA.

## Demographics

As of the 2019 American Community Survey, Jackson Township had a population of 549 and 244 housing units. Its residents were 98.7% white and 1.3% Asian.

## History

Jackson Township was first settled in 1836 by James Richie. One of the main early industries was fruit farming, and many early residents were Quakers. Boylestown Bridge, one of the three remaining camelback truss bridges in Iowa, is partially located in Jackson Township. The Joseph A. and Lydia A. Edwards House is located in Jackson Township.

## Geography

Jackson Township has an maximum elevation of 597 feet above sea level and a minimum elevation of 182 feet above sea level. The Skunk River runs through Jackson Township.

40°51′N 91°33′W / 40.850°N 91.550°W / 40.850; -91.550


title: Netlabel

abstract: A netlabel is a record label that distributes its music through digital audio formats over the Internet. While similar to traditional record labels in many respects, netlabels typically emphasize free distribution online, often under licenses that encourage works to be shared, and artists often retain copyright. Netlabels may have a considerably lower staff count than traditional record labels, in some instances being only a single individual in control of their music, maintaining sole ownership. Physical LPs, for example, are rarely produced by a netlabel, relying entirely on digital distribution and means of the Internet to provide the product. Having no physical product makes the running costs of a netlabel considerably less than a traditional record label and some netlabels have abandoned any financial model altogether and instead, running the netlabel as a hobby. Some employ guerrilla marketing to promote their work.

text:
# Netlabel

A **netlabel** (also **online label**, **web label**, **digi label**, **MP3 label** or **download label**) is a record label that distributes its music through digital audio formats (such as MP3, Ogg Vorbis, FLAC, or WAV) over the Internet. While similar to traditional record labels in many respects, netlabels typically emphasize free distribution online, often under licenses that encourage works to be shared (e.g., Creative Commons licenses), and artists often retain copyright.

Netlabels may have a considerably lower staff count than traditional record labels, in some instances being only a single individual in control of their music, maintaining sole ownership. Physical LPs, for example, are rarely produced by a netlabel, relying entirely on digital distribution and means of the Internet to provide the product. Having no physical product makes the running costs of a netlabel considerably less than a traditional record label and some netlabels have abandoned any financial model altogether and instead, running the netlabel as a hobby. Some employ guerrilla marketing to promote their work.

## History

Online music groups date back almost as far as the history of personal computers, and share close ties with video games and the demoscene. Early music groups released music in MOD formats, typically as part of a music disk, which often included a MOD player, visual effects, and textual information.

Netlabels began to branch out from the tracker scene when the lossy MP3 file format became popular in the late 1990s. Some are still dedicated to electronic music and related genres, though this is rapidly changing and the quality of downloads are getting higher with the use of FLAC downloads offering CD quality music.

Most of the original netlabels have now ceased operations. Only a few of the originators of the movements are still currently active, and releasing in the same format, like Eerik Inpuj Sound, Upitup Records, 50/50innertainment Records, Kahvi Collective, Bedroom Research, Acroplane and Phonocake.


title: Mercedes Blasco

abstract: Mercedes Blasco, pseudonym of Conceição Vitória Marques, was a popular Portuguese actor in operettas and variety shows. She was also a writer, being the first Portuguese actress to write her memoirs, a teacher, translator and journalist, as well as a volunteer nurse in World War I.

text:
# Mercedes Blasco

**Mercedes Blasco** (4 September 1867 – 12 April 1961), pseudonym of **Conceição Vitória Marques**, was a popular Portuguese actor in operettas and variety shows. She was also a writer, being the first Portuguese actress to write her memoirs, a teacher, translator and journalist, as well as a volunteer nurse in World War I.

## Early life

Mercedes Blasco was born on 4 September 1867 (some sources say 1870) in the mining community of Mina de S. Domingos, located in the Alentejo region of Portugal, from where her mother's family came. When she was a few months old her family moved to Huelva in Spain, where her father was a train driver and where they lived until she was seven, when the family moved to the city of Porto in Portugal. She was brought up from a very early age with the idea that she would have a career in medicine and also mastered several foreign languages, which she would use frequently in her professional life.

## Beginning of theatrical career

Having studied in Porto as a primary school teacher, Blasco began her theatrical career in 1888 at the *Teatro Chalet* in Porto, having run away from home. At that time she used the pseudonym, Judith Mercedes. She then moved to what was then the *Teatro do Príncipe Real* in that city. With her reputation preceding her, she went to Lisbon and played at the *Teatro do Rato*, before returning to Porto. Coming from a conservative background, she chose to use pseudonyms to avoid social stigma. Her daring costumes and provocative roles would give rise to a series of scandals during her career. She returned to Lisbon in 1890 to join the company of the *Teatro da Trindade*. Her first performance there was in a vaudeville called *Mademoiselle Nitouche*. She also performed in operettas at the same theatre. In 1891, also at the *Trindade*, she performed in the play, *Miss Helyett*, considered by many to have been her best performance. At this time she also began to perform songs in French, to great acclaim.

## Scandal

In 1892–93, she moved briefly to the *Teatro Avenida* in Lisbon. Back at the *Trindade* she played in the operetta *Sá de Albergaria*. In this she sang Portuguese fados that she had composed. On one occasion the audience called her back for ten encores. Despite further successes at this theatre she returned to Porto when António de Sousa Bastos became the director of the Trindade and married her professional rival Palmira Bastos. Back in Lisbon in 1897 she caused scandal by bicycling from her home to the theatre, the first woman to use a bicycle in Lisbon. In the same year she went to Brazil with the Sousa Bastos company. In 1897, she joined Pedro Cabral's company, installed at the 4000-seat *Coliseu dos Recreios* in which she had several successes. Among these was *Farroncas do Zé* (1898) in which Blasco played 14 roles, among them the controversial *Princess of Caraman-Chimay*, in which she wore a Parisian maillot or leotard, the first time such a garment had been worn on a Portuguese stage. Many people considered it obscene. She also worked at the *Teatro da Trindade* between 1897 and 1903, also performing at the *Teatro D. Amélia* (now known as the *Teatro São Luiz*). Additionally, she organized a company of her own for a tour of Portuguese provinces.

In 1901, Blasco became pregnant, the father being the journalist Augusto Peixoto, with whom she was living. She performed while being pregnant, wearing clothes designed to disguise the pregnancy. She visited Madrid at the invitation of the *Teatro Romea*, where she performed French and Neapolitan songs, a repertoire that she repeated at the *Teatro Marquez* in Cartagena. The pregnancy added to her reputation for scandal, which was not diminished by her performance in 1902–03 in the show *À Busca do Badalo* (*Searching for the clapper*), the title of which, after seventy-five performances, was pronounced obscene, with the authorities enforcing a name change. She gave birth for a second time in 1905.

## Travels

In 1908 Blasco published a book entitled *Memórias de uma actriz* (*Memories of an actress*). The premature publication of a memoir, while still at the height of her career, was unusual but her notoriety meant that the book sold very well. Around this time Blasco began to undertake more frequent overseas trips. At the beginning of 1908 she went to Rio de Janeiro for the Brazilian National Exposition, where she had considerable success. She then went directly to Paris to begin a long season of touring that took in France, Italy, the United Kingdom, the Netherlands and Belgium. Her fluency in several languages served her well during the tour and she became very popular with members of several royal families, being asked to give command performances.

## World War I

When World War I broke out she was living in Belgium, where she had married a Belgian electrical engineer, Remi Ghekiere. Her two sons, Stelio and Marcelo were with her. During World War I, she enlisted as a nurse with the Red Cross, and treated and helped repatriate Portuguese soldiers in Liège in 1918. She also did some teaching. In her book *Vagabunda Mercedes* she recounted the difficulties she experienced in Brussels during the war because she refused to perform before the German forces. At the end of the war Blasco returned to Lisbon as a widow with few resources. She found it difficult to find work on the stage as her age did not match the daring artistic performances that had made her famous as a young woman. Stelio had died in Brussels and the other son, Marcelo, was already very ill and was to die in June 1922 of tuberculosis. In the last months of her son's life they both lived on a small pension granted by the civil governor of Lisbon and on the meagre royalties from her books.

## Final years

As a means of support, she continued to write, eventually producing more than thirty works, consisting of autobiographies, novels, plays, and translations. In *Vagabunda Mercedes* she inserted a “feminist chapter”, advocating women's cultural and economic emancipation, universal suffrage, and equality between the sexes. She also worked as a journalist, writing for Lisbon newspapers *O Século*, *A Capital*, *A Ilustração*, and *O Diário de Lisboa*. However, the returns from writing were small and she lived a life of some poverty, particularly when compared with how she had lived as an actor. She was forced to live off the charity of some friends, such as the owner of a pastry shop in the Chiado district of Lisbon, who would not charge her for her meals. She began to have mental difficulties, on one occasion leaving home and wandering all over Lisbon until the police found her and took her to a care home from where she was collected by relatives. She died in Lisbon on 12 April 1961 at a friend's house where she had been living for over a year. She is buried in Lisbon's Prazeres Cemetery in the zone reserved for artists. A plaque identifying the plot was inserted in 2017, on the 150th anniversary of her birth.

## InfoBox

| Mercedes Blasco | |
| --- | --- |
|  | |
| Born | Conceição Vitória Marques
(1867-09-04)4 September 1867
Mina de S. Domingos, Portugal |
| Died | 12 April 1961(1961-04-12) (aged 93)
Lisbon |
| Resting place | Prazeres cemetery, Lisbon |
| Occupation(s) | actor and writer |
| Known for | Lisbon theatre performances, autobiographies |
| Spouse | Remi Ghekiere |
| Children | two sons (father, Augusto Peixoto) |


title: New Dragon Gate Inn

abstract: New Dragon Gate Inn is a 1992 Hong Kong wuxia film directed by Raymond Lee and produced by Tsui Hark, starring Brigitte Lin, Tony Leung Ka-fai, Maggie Cheung, and Donnie Yen. It was released as Dragon Inn in North America. The film is a remake of Dragon Gate Inn (1967). New Dragon Gate Inn was shot as a standard wuxia action thriller, with fast-paced action including martial arts, sword fighting and black comedy set in ancient China.

text:
# New Dragon Gate Inn

***New Dragon Gate Inn*** is a 1992 Hong Kong *wuxia* film directed by Raymond Lee and produced by Tsui Hark, starring Brigitte Lin, Tony Leung Ka-fai, Maggie Cheung, and Donnie Yen. It was released as ***Dragon Inn*** in North America.

The film is a remake of *Dragon Gate Inn* (1967). *New Dragon Gate Inn* was shot as a standard *wuxia* action thriller, with fast-paced action including martial arts, sword fighting and black comedy set in ancient China.

## Plot

This is a period film set during the Ming Dynasty in the desert region of China.

Tsao Siu-yan is a power-crazed eunuch who rules China as if he were the Emperor and not a mere official. He is the head of the Emperor's ruthless security agency known as the Eastern Depot (東廠 *Dong Chang*) and has built up significant forces including an elite unit of mounted archers and horsemen who receive intensive training and superior equipment.

When elements of his administration plot against him and his despotic rule, Tsao comes down ruthlessly. One such plotter is defence minister Yang Yu-xuan, who is executed along with most of his family. Tsao does spare two of the children and instead sentences them to exile in order to lure Yang's subordinate general, Chow Wai-on, into a trap.

Escorted by a couple of rather poorly Eastern Depot soldiers, the children are sent out into the desert. Rebels, led by Chow's lover, swordswoman Yau Mo-yan, arrive and free them, but are attacked by Eastern Depot troops. Tsao calls off the attack when he realises that Chow is not among the fighters, and instead orders his troops to pursue them to find out where they will be meeting with Chow. The rebels and the children then proceed to the Dragon Gate Pass through which they will cross the border.

They reach the Dragon Gate Inn, which is a meeting place run by brigands. The innkeeper, the lively Jade, runs a sideline in which she seduces and murders her guests. Jade also keeps whatever money the customer has, then drops them down a chute to the kitchen and have them served as the meat in buns. The cutting up is done by her cook Dao, an expert at deboning meat.

Mo-yan and her followers arrive at the inn. She is disguised as a man, but Jade is not fooled, claiming that only a woman would pass her without so much as a glance. That night she confronts Mo-yan and the pair engage in a lively acrobatic fight with both women trying to remain clothed, while stripping the other.

Rebel leader Chow arrives and is re-united with Mo-yan. They plan to cross the border with the children but the bad weather delays their departure. Furthermore, Jade takes a liking to Chow and resolves to get him for herself and is also attracted by the reward offered for his capture. Things are made even more complicated when Eastern Depot officials led by Cha arrive at the inn posing as merchants. The scene is set for a vicious battle of bodies and wits between both sides, with Jade trying to keep the peace and getting every advantage, monetary or otherwise, that she can get out of it. Meanwhile, the bulk of the Eastern Depot forces, led by eunuch Tsao himself, are on their way to the inn.

Chow believes that, like most dens of thieves, the inn has a secret passage through which his comrades can escape. Jade agrees to show them the passage if Chow will sleep with her. He agrees if they marry first. Jade, a practical woman, is rather surprised at having to marry for a one-night stand but proceeds anyway, with Cha acting as host for the wedding. The heart-broken Mo-yan drowns her sorrows in drink.

The growing tension inside the inn breaks out into open battle when Cha and his men realise that the rebels want to use the secret passage to escape. The fight that follows results in the deaths of all the Eastern Depot soldiers at the inn and most of the rebels and brigand hosts. Mo-yan herself is seriously injured.

Tsao and his army arrives and lays siege to the inn. Inside there is only a handful of survivors: Jade, Chow, Mo-yan, Dao the cook, and the children. They escape through the passage, but a loose ribbon gives them away and Tsao himself sets off in pursuit.

A vicious one-on-three battle amidst a desert storm as Tsao fights Jade, Chow and Mo-yan. Weakened by her wounds, Mo-yan perishes in quicksand. Just as Tsao is about to finish off Jade and Chow, Dao suddenly appears and takes him on with his carving knife. He carves away at Tsao, leaving the warlord with a skeletal arm and leg. Chow then moves in for the kill and Tsao is finished.

Chow and the children make their way to the border. Realising how much Chow means to her, Jade, accompaied by Dao, decides to follow him after burning down the infamous inn.

## Cast

## Themes

This was one of a number of films in which Brigitte Lin is a woman passing off as a man. Others included *Peking Opera Blues* and *Swordsman II*.

## DVD releases

On 17 July 2000, the film was released on DVD by Hong Kong Legends in Europe in Region 2.

Four and a half years later, the Fantasy Swordplay Collection DVD was released on 14 February 2005 in a three-disc set. The set included two other films: *The Swordsman* and *Moon Warriors*.

One year later, The Donnie Yen Collection DVD was released on 29 May 2006 in a four-disc set. The set included two other films: *Once Upon a Time in China II*, and a two-disc platinum edition of *Iron Monkey*.

## InfoBox

| New Dragon Gate Inn | |
| --- | --- |
| Film poster | |
|  | |
| Traditional Chinese | 新龍門客棧 |
| Simplified Chinese | 新龙门客栈 |
|
| Hanyu Pinyin | Xīn Lóng Mén Kè Zhàn |
| Jyutping | San1 Lung4 Mun4 Haak3 Zaan6 |
|  | |
|  | |
| Directed by | Raymond Lee |
| Written by | Tsui Hark
Charcoal Tan
Hiu Wing |
| Produced by | Tsui Hark |
| Starring | Brigitte Lin
Tony Leung Ka-fai
Maggie Cheung
Donnie Yen |
| Cinematography | Arthur Wong
Tom Lau |
| Edited by | Poon Hung |
| Music by | Philip Chan
Chow Gam-wing |
| Production
companies | Film Workshop
Seasonal Film Corporation |
| Distributed by | Golden Harvest |
| Release date | * 27 August 1992 (1992-08-27) |
| Running time | 103 minutes |
| Country | Hong Kong |
| Language | Cantonese |


title: Popovtsi, Gabrovo Province

abstract: Popovtsi is a village in Gabrovo Municipality, in Gabrovo Province, in northern central Bulgaria.

text:
# Popovtsi, Gabrovo Province

**Popovtsi** is a village in Gabrovo Municipality, in Gabrovo Province, in northern central Bulgaria.

## InfoBox

| Popovtsi | |
| --- | --- |
| Village | |
| Popovtsi | |
| Coordinates: 42°56′N 25°24′E / 42.933°N 25.400°E / 42.933; 25.400 | |
| Country | Bulgaria |
| Province | Gabrovo Province |
| Municipality | Gabrovo |
| Time zone | UTC+2 (EET) |
| Summer (DST) | UTC+3 (EEST) |


title: Uranothauma

abstract:
Uranothauma is a genus of butterflies in the family Lycaenidae. Its species are found in the Afrotropical realm. Small to medium-sized blues. The hindwings have a thin tail at the hind corner. The uppersides of the males are bluish, the females brown with darker spots. The undersides are brownish-white with brownish-orange transverse stripes and dark brown rings.
Most of the species live in high-altitude (montane) forests.
The larvae live mostly on the genera Acacia and Albizia, but can also occur on plants in the family Euphorbiaceae.

text:
# Uranothauma

***Uranothauma*** is a genus of butterflies in the family Lycaenidae. Its species are found in the Afrotropical realm.

Small to medium-sized (wingspan 27-40 millimetres) blues. The hindwings have a thin tail at the hind corner. The uppersides of the males are bluish, the females brown with darker spots. The undersides are brownish-white with brownish-orange transverse stripes and dark brown rings. Most of the species live in high-altitude (montane) forests. The larvae live mostly on the genera *Acacia* and *Albizia* (mimosa family), but can also occur on plants in the family Euphorbiaceae.

## Species

Content in this edit is translated from the existing Norwegian Wikipedia article at no:Uranothauma; see its history for attribution.

## InfoBox

| *Uranothauma* | |
| --- | --- |
|  | |
| *Uranothauma crawshayi* | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Lycaenidae |
| Subfamily: | Polyommatinae |
| Tribe: | Polyommatini |
| Genus: | *Uranothauma*<br>Butler, 1895 |
|


title: Muqaddar Ka Faisla

abstract: Muqaddar Ka Faisla is a 1987 Hindi action film directed by Prakash Mehra and produced by Yash Johar. It stars Raaj Kumar, Raakhee, Raj Babbar, Meenakshi Sheshadri, Tina Munim in pivotal roles. Bappi Lahiri has composed the music for the film.

text:
# Muqaddar Ka Faisla

***Muqaddar Ka Faisla*** (transl.Decision of fate) is a 1987 Hindi action film directed by Prakash Mehra and produced by Yash Johar. It stars Raaj Kumar, Raakhee, Raj Babbar, Meenakshi Sheshadri, Tina Munim in pivotal roles. Bappi Lahiri has composed the music for the film.

## Plot

An honest Hindu pandit (priest) is framed for embezzlement and rape, and not only dismissed from employment, but also arrested and imprisoned, leaving behind his family in destitution. On his return from prison, he is unable to locate his family, and plans to avenge his humiliation. But the challenge is that how can a former pandit, ex-convict, penniless, homeless, and without any resources, avenge himself against the cunning and manipulative people who framed him?

## Cast

## Music

Lyrics: Anjaan

| Song | Singer |
| --- | --- |
| "Hum Jo Kaam Karte Hain" | Kishore Kumar |
| "Koi Baat Kare Hai Barson Ki" | Kishore Kumar |
| "Aaj Humko Aadmi Ki Pehchan Ho Gayi, Zindagi Se Mulaqat Bhi Aasan Ho Gayi" | Kishore Kumar, Mohammed Aziz |
| "Teen Lok Ke Nath Kanhaiya Ji Ne Janam Liyo Re" | Kishore Kumar, Asha Bhosle |
| "Hum Na Hum Rahe" | Asha Bhosle |
| "Hay Yeh Paisa" | Asha Bhosle |
|

## InfoBox

| Muqaddar Ka Faisla | |
| --- | --- |
|  | |
| Directed by | Prakash Mehra |
| Screenplay by | Prakash Mehra
Laxmikant Sharma |
| Produced by | Yash Johar |
| Starring | Raaj Kumar
Raakhee
Raj Babbar
Meenakshi Sheshadri
Tina Munim |
| Cinematography | N. Satyen |
| Edited by | Jayant Adhikari
Shyam Gupte |
| Music by | Bappi Lahiri |
| Production
company | Dharma Productions |
| Release date | * 31 July 1987 (1987-07-31) |
| Country | India |
| Language | Hindi |


abstract: This is a list of the National Register of Historic Places listings in Nicholas County, Kentucky. This is intended to be a complete list of the properties and districts on the National Register of Historic Places in Nicholas County, Kentucky, United States. The locations of National Register properties and districts for which the latitude and longitude coordinates are included below, may be seen in a map. There are 12 properties and districts listed on the National Register in the county. Another property was once listed but has been removed.           This National Park Service list is complete through NPS recent listings posted October 4, 2024.

text:
# National Register of Historic Places listings in Nicholas County, Kentucky

This is a list of the **National Register of Historic Places listings in Nicholas County, Kentucky**.

This is intended to be a complete list of the properties and districts on the National Register of Historic Places in Nicholas County, Kentucky, United States. The locations of National Register properties and districts for which the latitude and longitude coordinates are included below, may be seen in a map.

There are 12 properties and districts listed on the National Register in the county. Another property was once listed but has been removed.

*This National Park Service list is complete through NPS recent listings posted October 4, 2024.*

## Current listings

|  | Name on the Register | Image | Date listed | Location | City or town | Description |
| --- | --- | --- | --- | --- | --- | --- |
| 1 | Carlisle Armory |  | March 24, 2000
(#00000280) | 378 Main St.
38°18′41″N 84°01′33″W / 38.311389°N 84.025833°W / 38.311389; -84.025833 (Carlisle Armory) | Carlisle |  |
| 2 | Carlisle Historic District |  | October 26, 1989
(#89001599) | Roughly 2nd, Broadway, North, Archdeacon, Trueman, Chestnut, Walnut, Market, Elm, W. Main, and School Dr.
38°18′52″N 84°01′44″W / 38.314444°N 84.028889°W / 38.314444; -84.028889 (Carlisle Historic District) | Carlisle |  |
| 3 | Carlisle Louisville and Nashville Passenger Depot |  | May 18, 1979
(#79001028) | Market and Locust Sts.
38°18′41″N 84°01′43″W / 38.311389°N 84.028611°W / 38.311389; -84.028611 (Carlisle Louisville and Nashville Passenger Depot) | Carlisle |  |
| 4 | Dinsmore House |  | October 11, 1989
(#89001602) | 210 S. Elm St.
38°18′41″N 84°01′56″W / 38.311389°N 84.032222°W / 38.311389; -84.032222 (Dinsmore House) | Carlisle |  |
| 5 | Thomas A. Dorsey Farmhouse |  | September 28, 1989
(#89001603) | 416 High St.
38°18′37″N 84°01′22″W / 38.310278°N 84.022778°W / 38.310278; -84.022778 (Thomas A. Dorsey Farmhouse) | Carlisle |  |
| 6 | James Ellis Stone Tavern |  | March 16, 1976
(#76000932) | U.S. Route 68
38°23′44″N 84°01′05″W / 38.395556°N 84.018056°W / 38.395556; -84.018056 (James Ellis Stone Tavern) | Ellisville |  |
| 7 | Forest Retreat Farm and Tavern |  | October 2, 1973
(#73000825) | Northwest of Carlisle at the junction of U.S. Route 68 and Kentucky Route 32
38°20′16″N 84°03′32″W / 38.33775°N 84.05902°W / 38.33775; -84.05902 (Forest Retreat Farm and Tavern) | Carlisle | Now a hotel. Stonemason and Kentucky Governor Thomas Metcalfe helped build this in 1795, later became Kentucky Governor, later retired to here and is buried here. Also buried here is Determine, 1954 Kentucky Derby winner. |
| 8 | Thomas Kennedy House |  | September 28, 1989
(#89001601) | Eastern Ave. at E. Main St.
38°18′43″N 84°01′11″W / 38.311944°N 84.019722°W / 38.311944; -84.019722 (Thomas Kennedy House) | Carlisle |  |
| 9 | William Mathers House |  | October 12, 1989
(#89001600) | Kentucky Route 36
38°18′43″N 84°02′36″W / 38.311944°N 84.043333°W / 38.311944; -84.043333 (William Mathers House) | Carlisle |  |
| 10 | Erasmus Riggs House |  | June 23, 1983
(#83002839) | Off Kentucky Route 13
38°15′55″N 84°03′14″W / 38.265278°N 84.053889°W / 38.265278; -84.053889 (Erasmus Riggs House) | Carlisle |  |
| 11 | Stone Barn on Brushy Creek |  | June 23, 1983
(#83002840) | U.S. Route 68
38°19′51″N 84°04′04″W / 38.330833°N 84.067778°W / 38.330833; -84.067778 (Stone Barn on Brushy Creek) | Carlisle |  |
| 12 | John Henry Thompson House |  | June 23, 1983
(#83002841) | Off Kentucky Routes 32/36
38°20′56″N 84°08′44″W / 38.348889°N 84.145556°W / 38.348889; -84.145556 (John Henry Thompson House) | Millersburg |  |

## Former listing

|  | Name on the Register | Image | Date listed | Date removed | Location | City or town | Description |
| --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Henry Thompson Stone House |  | June 23, 1975
(#75000816) | July 10, 1980 | 2.5 miles north of Millersburg on Arthur Pike
 | Millersburg |  |


title: Kiss & Tell (1997 film)

abstract: Kiss & Tell, titled Kiss and Tell on its theatrical release poster, is a 1997 American film directed by Jordan Alan. It was made largely through improvisation.

text:
# Kiss & Tell (1997 film)

***Kiss & Tell***, titled ***Kiss and Tell*** on its theatrical release poster, is a 1997 American film directed by Jordan Alan. It was made largely through improvisation.

## Plot

Justine Bateman plays Molly, a performance artist who is found dead. Police detectives interview her friends (played by Heather Graham and others) to learn who killed her and why.

## Cast

## Production

*Kiss & Tell* was made largely through improvisation over the course of a year, on and off, on 16mm film.

## Reception

The film received mixed reviews. Merle Bertrand of *Film Threat* called the film "a mess", "confusing" and "not funny". According to the *Hollywood Reporter* the film was instead "a candidate for eventual cult status". Kevin Thomas of the *Los Angeles Times* gave a mixed review, stating that Alan "demonstrates his capability in handling a large cast that is by and large improvising" but that the movie "looks and sounds better than it is".

## InfoBox

| Kiss & Tell | |
| --- | --- |
| Theatrical release poster | |
| Directed by | Jordan Alan |
| Produced by | Adam Fast
Andrew Golov |
| Starring | Justine Bateman
Heather Graham |
| Cinematography | Ron Travisano
David Wittkower |
| Edited by | Ed Marx |
| Production
company | Terminal Bliss Pictures |
| Release date | * 1997 (1997) |
| Running time | 96 minutes |
| Country | United States |
| Language | English |


title: The Orchid House (TV serial)

abstract: The Orchid House is a four-part television serial that first aired on British television's Channel 4 from 21 February to 14 March 1991, directed by Horace Ové and produced by Malcolm Craddock. Its cast featured Diana Quick, Madge Sinclair, Nigel Terry, Elizabeth Hurley, Kate Buffery and Frances Barber, and was based on Phyllis Shand Allfrey's only novel of the same name. The film was shot in its entirety in Allfrey's homeland, the island of Dominica, over a period of 10 weeks. Onyekachi Wambu writes about The Orchid House: "Its focus on the declining power of the white plantocracy on the island of Dominica between the war years, handled through the prism of an intimate family drama, has great depth while remaining accessible."

text:
# The Orchid House (TV serial)

***The Orchid House*** is a four-part television serial that first aired on British television's Channel 4 from 21 February to 14 March 1991, directed by Horace Ové and produced by Malcolm Craddock. Its cast featured Diana Quick, Madge Sinclair, Nigel Terry, Elizabeth Hurley, Kate Buffery and Frances Barber, and was based on Phyllis Shand Allfrey's only novel of the same name (first published in 1953).

The film was shot in its entirety in Allfrey's homeland, the island of Dominica, over a period of 10 weeks.

Onyekachi Wambu writes about *The Orchid House*: "Its focus on the declining power of the white plantocracy on the island of Dominica between the war years, handled through the prism of an intimate family drama, has great depth while remaining accessible."