title: The Catch (American football)

abstract: The Catch was the game-winning touchdown reception in the 1981 NFC Championship Game played between the Dallas Cowboys and the eventual Super Bowl XVI champion San Francisco 49ers at Candlestick Park on January 10, 1982, as part of the 1981-82 NFL playoffs. With 58 seconds left in the game, the 49ers faced 3rd down and 3 yards to gain on the Cowboys' 6-yard line. San Francisco wide receiver Dwight Clark made a leaping grab in the back of the end zone to complete a 6-yard touchdown pass from quarterback Joe Montana, enabling the 49ers to defeat the Cowboys, 28–27. The Catch is widely regarded as one of the greatest plays in National Football League (NFL) history. It came at the end of a 14-play, 83-yard game-winning drive engineered by Montana. The Catch symbolized the end of the Cowboys' domination in the NFC since the conference's inception in 1970, and the beginning of the 49ers' rise as an NFL dynasty in the 1980s.

text:
# The Catch (American football)

**The Catch** was the game-winning touchdown reception in the **1981 NFC Championship Game** played between the Dallas Cowboys and the eventual Super Bowl XVI champion San Francisco 49ers at Candlestick Park on January 10, 1982, as part of the 1981-82 NFL playoffs. With 58 seconds left in the game, the 49ers faced 3rd down and 3 yards to gain on the Cowboys' 6-yard line. San Francisco wide receiver Dwight Clark made a leaping grab in the back of the end zone to complete a 6-yard touchdown pass from quarterback Joe Montana, enabling the 49ers to defeat the Cowboys, 28–27. *The Catch* is widely regarded as one of the greatest plays in National Football League (NFL) history. It came at the end of a 14-play, 83-yard game-winning drive engineered by Montana. *The Catch* symbolized the end of the Cowboys' domination in the NFC since the conference's inception in 1970, and the beginning of the 49ers' rise as an NFL dynasty in the 1980s.

## Game summary

### First half

After San Francisco forced Dallas to punt on the opening drive, quarterback Joe Montana completed a 17-yard pass to Charle Young and a 24-yarder to Lenvil Elliott before throwing an 8-yard touchdown pass to wide receiver Freddie Solomon. Dallas responded with Danny White's 20-yard pass to Butch Johnson setting up a 44-yard field goal by Rafael Septién. Then 49ers running back Bill Ring lost a fumble on his own 29, leading to White's 26-yard touchdown pass to Tony Hill that put the Cowboys up 10–7.

In the second quarter, San Francisco reached the Cowboys' 27-yard line, only to lose the ball when Everson Walls intercepted a pass from Montana in the end zone. After forcing a Dallas punt, Montana threw a 20-yard touchdown pass to Clark to retake the lead, 14–10. Dallas responded with an 80-yard drive, including a controversial pass interference penalty on 49ers defensive back Ronnie Lott which nullified his interception and gave the Cowboys a 35-yard gain to the San Francisco 12-yard line. Three plays later, running back Tony Dorsett scored a 5-yard rushing touchdown to give Dallas a 17–14 lead. The 49ers had another chance to score before halftime when they recovered a fumbled punt on the Dallas 42. After a 15-yard illegal block penalty on Clark, Montana lost a fumble while being sacked by Harvey Martin. The Cowboys fared no better as White was sacked twice on their next drive, once by Jim Stuckey and once by Lawrence Pillers, and the half ended soon after.

### Second half

In the third quarter, San Francisco had another scoring opportunity when Dwight Hicks returned a punt 12 yards to midfield. The 49ers then drove to the Dallas 16-yard line, but once again they failed to score when Montana threw a pass that bounced out of Elliot's hands and was intercepted by Randy White. However, the Cowboys soon returned the favor with Danny White's interception to linebacker Bobby Leopold, and this time the 49ers converted, regaining the lead at 21–17 with a 2-yard touchdown run by running back Johnny Davis.

One minute into the fourth quarter, Septién kicked a 22-yard field goal that cut the scoring difference down to 1 point at 21–20. Then Walls recovered a fumble from running back Walt Easley at midfield to set up White's 21-yard touchdown pass to tight end Doug Cosbie, giving Dallas a 27–21 advantage. Things got even better for Dallas when Walls recorded his second interception from Montana on the next drive at the Cowboys 27. Dallas managed to pick up a few first downs, but were forced to punt, and White's kick gave San Francisco the ball at their own 11 with 4:54 left in the game and three timeouts.

### 49ers' final drive

Montana started the drive with 89 yards to reach the end zone. The drive began with an incomplete pass to Lenvil Elliot. Elliot then set up a third-and-four with a six-yard run. Montana completed a 6-yard pass to Freddie Solomon to get the first down, then handed off twice to Elliot who gained eleven and seven yards respectively, but dropped a second incomplete pass on second-and-three from their own 41-yard line. An offside penalty against the Cowboys on the next play gave Montana a fresh set of downs to work with, and Montana completed a 5-yard pass to Earl Cooper just before the 2-minute warning. Returning from the stoppage, Solomon gained 14 yards on a wide receiver reverse play to bring the ball over midfield into Cowboys territory at the 35-yard line. Montana completed two quick passes to Clark and Solomon respectively and the 49ers called a timeout with the ball on the Dallas 12. Montana launched his next pass into the end zone, but missed Solomon. On second-and-ten, Elliot ran the ball for six yards, to the Dallas six yard line, setting up a third and four for the 49ers, with a possible first down to be made at the 2-yard line and the ball spotted between the hashmarks as the team called their second timeout.

### The play

The San Francisco 49ers lined up in a split backs formation, with Joe Montana under center. Wide receiver Freddie Solomon was lined up in the right slot, while Dwight Clark was outside of Solomon, wide to the right.

When Montana took the snap, the play, officially named in the 49ers playbook "Change Left Slot – Sprint Right Option", was intended to set up a quick pass to Solomon; earlier in the game, Solomon had scored a touchdown on the same play. Montana was supposed to roll to his right and find Solomon, who would run a short "square out" pattern that he would catch just past the first down marker, and either step out of bounds, giving the 49ers a fresh set of downs, or would turn upfield and score himself. Since Clark was lined up near Solomon, he was supposed to position himself to get in the way of Solomon's defender (known as a "pick" or "rub" play), and then release and head for the end zone on his own pattern, providing Montana with a second option. However, Solomon slipped while running his route, thus ruining the timing of the play, as Clark was no longer in position to impede Solomon's defender. As such, the Cowboys were able to cover Solomon perfectly. Making matters worse, the pass rush of the Cowboys collapsed the 49ers' offensive line. Three of the Cowboys' defenders, defensive ends Ed "Too Tall" Jones and Larry Bethea and linebacker D. D. Lewis, chased a backpedalling Montana toward the sideline, and seemed certain to either send him out of bounds or sack him. After his initial move, Clark's pattern called for him to cut diagonally left across the end zone, stop, and immediately reverse his path, running right along the back boundary of the end zone. Just before being chased out of bounds, and after a pump-fake caused the 6-foot 9-inch (206 cm) "Too Tall" Jones to leave his feet, Montana threw a high pass to the back of the end zone that seemed to be heading out of bounds until Clark, closely covered by Cowboys defender Everson Walls, made a leaping catch with his fingertips, and landed just in-bounds at the back right corner of the end zone to score the touchdown and tie the game with 51 seconds left. Despite the hurried and improvised look of the play on the field, it had mostly run according to plan. Because Solomon, the first option, was covered, Montana was supposed to look to Clark as his second option. Montana threw the ball to a location where only Clark could reach it; if he missed the catch it would have sailed harmlessly out of bounds. Being fairly tall himself, the 6-foot 4-inches (193 cm) Clark was able to use all of his length to jump and grab the ball with the tips of his fingers completing one of the most memorable plays in NFL history.

### Closing out the game

The ensuing extra point by kicker Ray Wersching gave the 49ers a 28–27 lead. The game was not over, however, and the Cowboys quarterback Danny White had 51 seconds following a Wersching squib kick to move the ball 75 yards. On the first play from scrimmage, White hit Drew Pearson for a 31-yard reception, bringing the Cowboys over the midfield line and leaving them only 10 to 15 yards to reach field goal range. Pearson would have scored had defensive back Eric Wright not made a one-handed horse-collar tackle. After calling a timeout, White took the first down snap and was sacked by Lawrence Pillers, fumbling in the process. Jim Stuckey recovered the dropped ball, giving the 49ers offense possession near midfield, and allowing Montana to kneel down twice and run out the clock.

Clark finished the game with 8 catches for 120 yards and 2 touchdowns.

### Reactions

A photograph of the catch by Walter Iooss, Jr., with Clark at the height of his leap and Everson Walls reaching out to try to block the ball, was featured on the cover of *Sports Illustrated* the following week.

Some people claimed that Montana was trying to throw the ball away, leaving time for a fourth down. Clark disputes that assertion, claiming that it was a backup plan that they practiced many times. Montana confirmed that he could not see the end zone through the defenders, but claims that he knew exactly where Clark would be. The 49ers coach, Bill Walsh, assumed that it was a throw-away play and immediately began planning for the fourth down until he heard the cheers from the crowd.

As for the height of the catch, Montana has said that he didn't feel that he threw the ball very high. However, Clark leaped as high as he could only to get his fingertips on the ball. In the *Sports Illustrated* article, Montana explained that he never saw The Catch, since he had just been knocked to the ground by Jones, but "I saw Dwight's feet touch the ground. I heard the crowd scream." Later, in the locker room, he expressed his amazement at how high Clark had jumped.

According to Clark, Jones reacted to the play by stating "You just beat America's Team" to Montana after the pass was caught, to which Montana replied, "Well, you can sit at home with the rest of America and watch the Super Bowl."

Clark, while discussing The Catch in *America's Game: The Super Bowl Champions* documentary about the 1981 49ers, said:

> It's humbling, really. I feel honored people are still talking about it, 25 years later. I am honored to be able to be a part of a play that was kind of the culmination of just this incredible surprise season. It's great to give 49er fans that moment that they can relive over and over and over, and I know they do because when I am in San Francisco and a lot of places, people want to talk about that play and how it crushed the Cowboys and sent them into submission for a decade. I never get tired of talking about it; I never get tired of seeing it, because I sign pictures and send them to people. I see that catch every day. I may sit and think about that moment couple of times a year, and how awesome it was to be a part of that play and to be a part of the 49ers in the '80s.

## Broadcasting

The game was broadcast nationally in the United States by CBS. On television, Vin Scully called the play-by-play and Hank Stram did the color commentary. On radio, it was Jack Buck and Pat Summerall doing the play-by-play and color respectively. Local San Francisco radio station KCBS also provided their own broadcast, as they did for all 49ers games, with Don Klein and Wayne Walker providing the play-by-play and color respectively. Local Dallas radio station KRLD also provided their own broadcast, as they did for all Cowboys games, with Verne Lundquist and Brad Sham providing the play-by-play and color respectively. All four broadcasts featured memorable calls by the announcers. Vin Scully described the play on CBS Television:

|  | Montana... looking, looking, throwing in the end zone... Clark caught it! Dwight Clark!... It's a madhouse at Candlestick! |  |
| --- | --- | --- |

Meanwhile, Jack Buck had the call over on CBS Radio:

|  | Montana lines up at the five... and on third down and three he rolls right, looking to throw... looking to throw... and he throws into the end zone... Touchdown! Touchdown! Touchdown, San Francisco, by Dwight Clark! |  |
| --- | --- | --- |

Meanwhile, Don Klein called the play locally for the 49ers on KCBS:

|  | Third and three. He has the ball, Montana rolling out to the right... looking toward the end zone... throwing under pressure... throws his pass... Caught by (Dwight) Clark! Clark's got a touchdown! Dwight Clark has it! It's a touchdown for the 49ers! |  |
| --- | --- | --- |

Finally, Verne Lundquist called the play locally for the Cowboys on KRLD:

|  | Split backs on third down and three from the Cowboy six... 49ers trail... Montana on the roll out to the right side... pulls up... being chased... finally, fires in the end zone... Caught! Touchdown! Dwight Clark catches the ball! Nine and a half yards deep in the end zone! |  |
| --- | --- | --- |

## Aftermath

This game was a watershed in the historic fortunes of both the San Francisco 49ers and the Dallas Cowboys. While the 49ers had begun the 1970s winning three consecutive NFC West titles (1970–1972) and losing two NFC Championship Games (1970-1971 seasons) to the Cowboys, they had spent the remainder of the decade as a losing team. After "The Catch", the 49ers went on to win Super Bowl XVI 26–21 over the Cincinnati Bengals. The 49ers made the playoffs eight out of the next ten seasons and won three more Super Bowls in the 1980s, becoming the NFLs best dynasty of the decade. 49ers quarterback Joe Montana went on to gain a reputation for his last-minute heroics, and was elected to the Pro Football Hall of Fame in 2000, his first year of eligibility.

Meanwhile, the Cowboys, one of the most successful NFC teams in the 1970s with five Super Bowl appearances and two wins, never made it back to the Super Bowl in the 1980s. In the following season, the Cowboys reached their third straight NFC Championship Game, where they were defeated 31–17 by their archrival Washington Redskins. This ended a remarkable period that saw the Cowboys play in 10 of 13 conference championship games, while Danny White, who had become Dallas' starting quarterback in 1980, drew criticism for "not being able to win the big game," despite leading the team to successful winning seasons. The Cowboys managed to make the playoffs in the 1983 and 1985 seasons, only to be knocked out in their first game (Wild Card round in 1983; Divisional round in 1985), then failed to reach the postseason for the rest of the decade. In fact, beginning in 1986, the Cowboys went on to suffer losing seasons for the remainder of the eighties, leading to head coach Tom Landry being fired by new owner Jerry Jones after the 1988 season.

The 1990s, however, saw a renewal of the Cowboys-49ers rivalry fueled by "The Catch" game. The 1992–1994 seasons would see the Cowboys and 49ers face off in three straight NFC Championship games, with the Cowboys winning the first two and the 49ers winning the last one; each victorious team following it up with a Super Bowl title.

### Legacy

New England Patriots and Tampa Bay Buccaneers quarterback Tom Brady, a Bay Area native who ultimately grew up idolizing Montana on his way to his own successful NFL career including seven Super Bowl wins, attended the game as a four-year-old and aspired to become a 49er.

In 2002, the NFL ran a series of advertisements promoting the playoffs, using famous plays as a uniting theme. Actor Don Cheadle demonstrated the height of Clark's catch by standing on a stepladder in the end zone.

Clark and Montana re-enacted The Catch in observance of the 25th anniversary of the play as part of San Francisco alumni day activities at halftime of the Minnesota game November 5, 2006, at Candlestick Park.

On October 21, 2018, the 49ers unveiled a statue outside Levi's Stadium depicting The Catch. The statue features two life-size figures, Montana with his arms in the air celebrating the touchdown and, 23 yards away, Clark leaping to make The Catch. Clark's catch was a popular photo location among Clemson Tigers fans during their 44–16 win over Alabama in the 2019 College Football Playoff National Championship held at Levi's Stadium.

In 2019, in celebration of the NFL's 100th season, NFL Films ranked The Catch second on its list of the 100 Greatest Plays.

This would be the final professional football game that Vin Scully would call the play by play as well as the final game that Pat Summerall did color commentary before moving to play-by-play announcer for the rest of his broadcast career (Summerall had moved from color commentator to play-by-play midway through the 1974 season, working color commentary here as a substitute for Jack Buck's regular radio partner Hank Stram, who was also Scully's main television broadcast partner during the 1981 season).

Throughout the 1980s and into the 1990s, the play was immortalized in advertisements for Kodak film: a television commercial using a snippet of Barbra Streisand's "The Way We Were" as its jingle and featuring The Catch as shown by NFL Films, and a magazine ad featuring a photo still of The Catch, accompanied by the caption, "The 49ers grab a TD and a title."

In the October 16, 2001 episode "My Old Lady" of the American television sitcom/medical drama *Scrubs*, when a dying patient David asks if anyone has ever heard of The Catch, Turk comes in and says, "Niners-Cowboys, Joe Montana to Dwight Clark deep in the end-zone, zero time left. Kid, please, don't insult me." Turk later joins David in watching the game.

In 2005, a commercial for the Gatorade sports drink, known as "The Winning Formula", portrayed an alternate version of The Catch, in which the ball bounced out of Clark's fingertips. Following the Gatorade logo, the real version was shown with Dwight Clark's completion. This is also done with Derek Jeter's "flip play" going wide of home plate and Michael Jordan's famous buzzer-beater against Cleveland going off the rim.

On August 5, 2007, *The Best Damn Sports Show Period* did a special show commemorating the top 50 amazing sports catches of all time. The Catch is listed as #17.

### Subsequent editions

Two subsequent touchdown passes by the 49ers to win home playoff games with the team trailing and facing 3rd and 3 with less than a minute to go have also been named after The Catch:

## Officials

* *Referee*: Jim Tunney (#3)
* *Umpire*: Bob Boylston (#5)
* *Head Linesman*: Ed Marion (#6)
* *Line Judge*: Bob Beeks (#16)
* *Back Judge*: Ray Douglas (#5)
* *Side Judge*: Dean Look (#9)
* *Field Judge*: Ed Merrifield (#20)
* *Alternate Referee*: Gordon McCarter
* *Alternate Umpire*: Dave Moss

## InfoBox

1981 NFC Championship Game
|
|  |
|
|
| Date | January 10, 1982 |
| Stadium | Candlestick Park, San Francisco, California |
| Referee | Jim Tunney |
| TV in the United States | |
| Network | CBS |
| Announcers | Vin Scully and Hank Stram |


title: The Catch (American band)

abstract: The Catch was a rock band from Seattle, Washington. Formed by Carly Nicklaus (U.S.E), Amy Rockwell, Jenny Jimenez on bass guitar and Alissa Newton on drums. The group released their first album Get Cool on Made In Mexico Records in May 2005. Jimenez and Newton later left the group, to be replaced by Shane Berry and Garrett Lunceford of The Divorce. Justin Harcus later replaced Berry.

text:
# The Catch (American band)

**The Catch** was a rock band from Seattle, Washington. Formed by Carly Nicklaus (U.S.E), Amy Rockwell (Dolour, U.S.E), Jenny Jimenez on bass guitar and Alissa Newton on drums. The group released their first album **Get Cool** on Made In Mexico Records in May 2005. Jimenez and Newton later left the group, to be replaced by Shane Berry and Garrett Lunceford of The Divorce. Justin Harcus later replaced Berry.

## Members

* Carly Nicklaus – guitar, lead vocals
* Amy Rockwell – keyboards, backup vocals
* Justin Harcus – bass
* Garrett Lunceford – drums

**Past members**

* Laura Mott – keyboards
* Amanda Findley – Bass
* Jenny Jimenez – bass
* Alissa Newton – drums
* Shane Berry – bass

## Discography

* *Get Cool* (Made In Mexico, 2005)


title: Malleolus (arthropod)

abstract: A malleolus is a fan-shaped chemoreceptor or racquet organ, an array of which are carried in pairs on the ventral or undersides of Solpugidae. They are the counterpart of pectines in scorpions, and modified walking limbs in the uropygids and amblypygids as well as the pedipalps in spiders and other arachnids. Generally, solifuges have 5 pairs of malleoli on the ventral surface of the fourth pair of legs. malleoli are usually larger in males. A malleolus comprises a basal stalk and a triangular fan, with epicuticular protrusions on each anterior face, and granular structures on each stalk, with undulate surfaces at each distal end.

text:
# Malleolus (arthropod)

A **malleolus** (plural: **malleoli**) is a fan-shaped chemoreceptor or **racquet organ**, an array of which are carried in pairs on the ventral or undersides of Solpugidae. They are the counterpart of pectines in scorpions, and modified walking limbs in the uropygids and amblypygids as well as the pedipalps in spiders and other arachnids. Generally, solifuges have 5 pairs of malleoli on the ventral surface of the fourth pair of legs. malleoli are usually larger in males. A malleolus comprises a basal stalk and a triangular fan, with epicuticular protrusions on each anterior face, and granular structures on each stalk, with undulate surfaces at each distal end.

## Literature

* Babu, K. 1965. Anatomy of the central nervous system of arachnids. Zoologische Jahrbücher, Anatomie und Ontogenie 82: 1–154.
* Bernard, H. M. 1896. The comparative morphology of the Galeodidae. Transactions of the Linnean Society. 2d Series. Zoology 6: 305–417.
* Brownell, P. H. and R. D. Farley. 1974. The organization of the malleolar sensory system in the solpugid, Chanbria sp. Tissue & Cell 6: 471–485. CrossRef, PubMed
* Harvey, M. S. 2003. Catalogue of the Smaller Arachnid Orders of the World. CSIRO Publishing, Collingwood Victoria, Australia.
* Koç, H. 2007. The solifuges (Arachnida: Solpugida) fauna of southeast Anatolia: systematic zoogeography and ecology, PhD thesis, Ege University, İzmir, 241 pp. \[in Turkish\]
* Muma, M. H. (1951). "The Arachnid order Solpugida in the United States". *Bulletin of the American Museum of Natural History*. **97**: 35–141.
* Punzo, F. 1998. The Biology of Camel-spiders (Arachnida, Solifugae). Kluwer Academic Publishers, Boston, MA. 301 pp. CrossRef
* Ruhlemann, H. 1908. Uber die Facherorgane, sog. Malleoli oder Raquettes coxales, des vierten Beinpaares der Solpugiden. Zeitschrift fr wissenschaftliche Zoologie 91: 599–639.
* Nazife Yiğit, Melek Erdek, Halil Koç, and Abdullah Melekoğlu. 2011. Morphological Comparison of the Malleoli (Racquet Organs) in *Biton zederbaueri* and *Gluviopsilla discolor* (Daesiidae, Solifugae)


abstract: The Manchester Village Historic District encompasses the village center of the seaside town of Manchester-by-the-Sea, Massachusetts. It is stretched along Massachusetts Route 127, which runs in an arc around the northern part of Manchester Harbor, extending north on School and North Streets at the very center of the village. It is bounded on the western end roughly by Bennett Street and Ashland Avenue, and on the east by Beach Street. The village had its beginnings in the 17th century as a fishing and agrarian center, and its major roads were laid out by the late 18th century. The village was at its height in the first half of the 19th century as a fishing center, and it is from that time that most of its buildings date. Growth in the later 19th century was slower, as sea-related economic activity declined and cabinetmaking grew as a local industry. The district was added to the National Register of Historic Places in 1990. It then included 172 contributing buildings, two contributing structures, four contributing sites and three contributing objects. With non-contributing buildings, the district has a total of 212 buildings, of which 134 are residences, of which 89 were built before 1850. The oldest are 25 Bennett Street, which was possibly built for Aaron Bennett and 3 North Street (c.1714), built for Benjamin Allen, an innholder. The district has 26 surviving Colonial and Georgian houses.

text:
# Manchester Village Historic District (Manchester, Massachusetts)

The **Manchester Village Historic District** encompasses the village center of the seaside town of Manchester-by-the-Sea, Massachusetts (formerly known as Manchester). It is stretched along Massachusetts Route 127, which runs in an arc around the northern part of Manchester Harbor, extending north on School and North Streets at the very center of the village. It is bounded on the western end roughly by Bennett Street and Ashland Avenue, and on the east by Beach Street. The village had its beginnings in the 17th century as a fishing and agrarian center, and its major roads were laid out by the late 18th century. The village was at its height in the first half of the 19th century as a fishing center, and it is from that time that most of its buildings date. Growth in the later 19th century was slower, as sea-related economic activity declined and cabinetmaking grew as a local industry.

The district was added to the National Register of Historic Places in 1990. It then included 172 contributing buildings, two contributing structures, four contributing sites and three contributing objects. With non-contributing buildings, the district has a total of 212 buildings, of which 134 are residences, of which 89 were built before 1850.

The oldest are 25 Bennett Street (before 1675), which was possibly built for Aaron Bennett and 3 North Street (c.1714), built for Benjamin Allen, an innholder. The district has 26 surviving Colonial and Georgian houses.

## InfoBox

|  | |
| --- | --- |
| Manchester Village Historic District | |
| U.S. National Register of Historic Places | |
| U.S. Historic district | |
|  | |
| Manchester First Parish Church | |
|  | |
| Location | Manchester, Massachusetts |
| Coordinates | 42°34′28″N 70°46′21″W / 42.57444°N 70.77250°W / 42.57444; -70.77250 |
| Area | 39 acres (16 ha) |
| Architect | Multiple |
| Architectural style | Late Victorian, Georgian, Federal |
| NRHP reference No. | 89002156 |
| Added to NRHP | January 8, 1990 |


title: The Cares of a Family Man

abstract: "The Cares of a Family Man" is a short story by Franz Kafka, originally written in German, between 1914 and 1917 about a creature called Odradek. The creature has drawn the attention of many philosophers and literary critics, who have all attempted to interpret its meaning; thus, there are numerous analyses of the text. In 1919, the story appeared in Ein Landarzt. Kleine Erzählungen, a collection of Kafka's short stories published by Kurt Wolff.

text:
# The Cares of a Family Man

"**The Cares of a Family Man**" (German: "Die Sorge des Hausvaters") is a short story by Franz Kafka, originally written in German, between 1914 and 1917 about a creature called **Odradek**.

The creature has drawn the attention of many philosophers and literary critics, who have all attempted to interpret its meaning; thus, there are numerous analyses of the text.

In 1919, the story appeared in *Ein Landarzt. Kleine Erzählungen* (*A Country Doctor*), a collection of Kafka's short stories published by Kurt Wolff (Munich and Leipzig).

## Etymology

The story, which is in the first-person narrative told entirely by the family man mentioned in the title, begins by discussing the etymological disparities associated with the word Odradek:

> Some say the word Odradek is of Slavonic origin, and try to account for it on that basis. Others again believe it to be of German origin, only influenced by Slavonic. The uncertainty of both interpretations allows one to assume with justice that neither is accurate, especially as neither of them provides an intelligent meaning of the word.

The narrator hopes that by discovering the meaning of the name, they will be able to clarify its purpose and origin, yet conclude that none of these derivations, neither German nor Slavic, can produce a sensible meaning of the word. This indicates that Odradek has no identifiable meaning, and therefore no apparent origin.

## Plot

The story deals with the narrator's attempt to make sense of the only additional character, Odradek, and gives a detailed description of the creature in the second paragraph:

> At first glance it looks like a flat star-shaped spool for thread, and indeed it does seem to have thread wound upon it; to be sure, they are only old, broken-off bits of thread, knotted and tangled together, of the most varied sorts and colours. But it is not only a spool, for a small wooden crossbar sticks out of the middle of the star, and another small rod is joined to that at a right angle.

These details offer the reader the ability to examine and criticize the purpose and necessities of objects for things or people such as Odradek. Odradek is described as an object, yet is also given a “hypothetical humanoid appearance” when the narrator describes the object as being able to stand upright on two points of the star.

In the fourth paragraph the narrator states that Odradek has a lingering presence in his home, often not seen but his presence is noticeable. It is discovered that Odradek can speak, another human capability.

Throughout the story, the narrator provides an extensive analysis of Odradek, attempting to emphasize how the object has taken on a life of its own, displaying life like qualities and traits, as well as his silent relationship with the object.

The narrator's main concern about the creature Odradek is revealed in the final paragraph:

> In vain I ask myself, what will happen to him. Can he die? Everything that dies has once had a sort of aim, a sort of activity, which has worn it out; this is not the case of Odradek. Will he therefore one day tumble down the stairs before the feet of my children and my children's children, trailing a line of thread after him? It's clear he does nobody any harm; but the notion that he might even outlive me is almost painful to me.

The narrator fears that this purposeless object will outlive him. The family man, throughout the story, fears that Odradek will attack his role as the family man, the patriarchal figure in society.

## Interpretations

### Useless object

Odradek appears to represent an object with no clear purpose or apparent use. It appears not unlike an exhausted spool for thread, wound about by "old, broken-off bits of thread, knotted and tangled together, of the most varied sorts and colors". However, the text makes it explicit that there is no apparent use for the object. As such, scholars such as Samuel Rammelmeier have argued that the obscurity and uselessness of the object serves to create a foil for the narrator. He argues that the object's apparent uselessness, when seen in light of the existential dread pervading the last paragraph, can be understood as underlining the narrator's lack of purpose. This is an opinion shared by Heinz Politzer when he states that Kafka's absurdist writing emphasizes the meaninglessness of its subjects' lives. Such an interpretation can be compared to the nihilist tone of Kafka's better-known work, *The Metamorphosis*.

### Critique of capitalism

Willi Goetschel analyzes "The Cares of a Family Man" from several perspectives. From the perspective of Marxist literary criticism the story might be a critique of capitalism in its last stage. Odradek represents commodities, it is "what is left of life once everything is reduced to materialism".

Anya Meksin agrees that this interpretation is possible from a Marxist perspective. Odradek, being made of thread for mending, represents the world of manmade practical objects separated from the human work that produced them, and the relation between the house father and Odradek represents the alienated relation between worker and commodities he has produced. The idea that Odradek will survive the narrator and the anguish this situation causes to him can also be interpreted as the idea of commodities being inherited and transcend the worker who made them, but in such a way that the worker himself would be completely ignored.

### Objectification of memory

According to Goetschel, from a Freudian approach Odradek can be seen as "the psychological return of the repressed". In Freud's theory of repression, an unacknowledged trauma surfaces as unconscious associations and neuroses, which affect thought, memory and dreams. Such an interpretation is supported by Kafka's letters and biography: in approximately 1921, he wrote a letter to Milena Jesenka in which he explains his mental disturbances in a distinctly Freudian light. Furthermore, Kafka's *Letter to His Father* indicates that Kafka had suffered from emotional trauma due to his childhood, which lends biographical weight to this argument.

### Religious interpretation

A religious perspective opens up another interpretation of the text. Goetschel indicates that the star-shaped form of the creature might represent tradition (specifically Jewish tradition), which is passed on from generation to generation and accumulates some more bits of "thread" in each generation.

According to Meksin, Odradek represents a rupture between the world of the family man and some other transcendent realm. It is immortal, and hides in shadows carrying a message from generation to generation, and witnessing it all. Meksin goes on to indicate that the physical description of Odradek with its wooden crossbar sticks joined to that at a right angle can also remind us of crucifixion.

While Rammelmeier argues against clean-cut metaphorical interpretations of the story, he acknowledges that Odradek possesses some supernatural qualities, such as disappearance and reappearance. He states that these supernatural qualities are made all the more prominent by the text's otherwise objective or *sachlich* style. He adds that, due to the text's stylistic dryness, a reader who reads the story through an ideological lens may find evidence for any interpretation they may wish to hold. Nevertheless, the story's last passage and its concern with "my children's children", the object's apparent lack of purpose, the ephemeral qualities of Odradek, the religious symbolism of the transverse rod and the star shape, and the mention of death in the last line of the story provide textual evidence for associations of Odradek to religion, or at least cultural traditions.

### Odradek as complement

Slavoj Žižek emphasizes in his analysis that Odradek "once had some sort of intelligible shape and is now only a broken-down remnant," and as such it should be part of a whole. The relation between the narrator (a family man, a father) and the creature could be this whole: Odradek might be the complement of the narrator, who would also be broken down, with part of him transferred into Odradek. That is why Odradek is something a family man has to care for.


title: The Cambridge Shakespeare

abstract: The Cambridge Shakespeare is a long-running series of critical editions of William Shakespeare's works published by Cambridge University Press. The name encompasses three distinct series: The Cambridge Shakespeare (1863–1866), The New Shakespeare (1921–1969), and The New Cambridge Shakespeare (1984–present).

text:
# The Cambridge Shakespeare

***The Cambridge Shakespeare*** is a long-running series of critical editions of William Shakespeare's works published by Cambridge University Press. The name encompasses three distinct series: *The Cambridge Shakespeare* (1863–1866), *The New Shakespeare* (1921–1969), and *The New Cambridge Shakespeare* (1984–present).

## *The Cambridge Shakespeare* (1863–1866)

*The Cambridge Shakespeare* was edited by William George Clark, William Aldis Wright, and John Glover. It was released in nine volumes between 1863 and 1866. Clark and Wright used the *First Folio* (1623) as their base text and collated it with the second, third, and fourth folios as well as all the known quarto editions. The edition modernized the orthography to 19th-century standards rather than preserve the variable Elizabethan spelling, but generally left the grammar and metre unchanged.

In the edition, each page of a play contains a critical apparatus at the end. Where the folio text differs markedly from the quarto editions the quarto text is included in small type after the main text. Notes on variants, emendations, or pointing out or clarifying passages of particular difficulty or interest are placed at the end of each play.

In what a modern editor called "a bold move for a Victorian edition", Clark and Wright restored various original phrases that had previously been considered profane, where needed to preserve metre or meaning.

In 2009, Cambridge University Press reissued all nine volumes as part of their *Cambridge Library Collection* which aims to preserve access to "books of enduring scholarly value". The reissued editions are:

## *The New Shakespeare* (1921–1969)

*The New Shakespeare* was published between 1921 and 1969. The series was edited by Arthur Quiller-Couch and J. Dover Wilson.

The earlier volumes of the series contain critical introductions by Quiller-Couch (signed "Q") and written in a *belles lettres* style that, according to R. A. Foakes in *The Oxford Handbook to Shakespeare* (2003), have been "largely forgotten". The textual work by Wilson, however, "proved enormously influential."

In the 1921 edition of *The Tempest*, Wilson included a facsimile of the manuscript for *Sir Thomas More* and a full discussion of the copy for the texts, which afterward became required reading in the field. Shakespeare's hand in the manuscript for *Sir Thomas More* was discovered by Edward Maunde Thompson in *Shakespeare's Handwriting: A Study* (1916)—and treated in detail in what is still the definitive study: *Shakespeare's Hand in the Play of Sir Thomas More* (1923) by Alfred W. Pollard, W. W. Greg, R. W. Chambers and Wilson—but *The New Shakespeare* was the first series of editions to bring this discovery to bear on editing Shakespeare. The series was also the first to apply Pollard's recognition of the primacy of the quartos to textual work.

The last volume of the series was *Henry VIII*, edited by J. C. Maxwell in 1969.

## *The New Cambridge Shakespeare* (1984–present)

*The New Cambridge Shakespeare* began in 1984, and several editions were published each year, so that today, all of Shakespeare's plays and poems are available in the series. The series was designed to replace *The New Shakespeare* series.

The New Cambridge editions feature lengthy introductions and copious annotation. They are distinctive in appearance, being taller in shape than most of their competitors. The earliest editions featured cyan covers with an illustration by C. Walter Hodges of the relevant play in performance on an Elizabethan stage. In the 1990s, these covers were replaced with a new uniform blue design featuring a multicoloured sketch of Shakespeare's face based on a drawing by David Hockney. In the 2000s, the series was reissued again with each play receiving a specific photographic image (in colour).

The earliest editions in the series feature drawings by C. Walter Hodges that reconstruct the appearance of the plays when first produced in the Elizabethan theatre; this practice continued until Hodges' death in 2004.

Notable editions published in the series include the first ever edition of the disputed play *Edward III* to be published as Shakespeare's as part of a series; and a controversial edition of *Pericles, Prince of Tyre* that rejects the conventional thesis that the play was poorly printed and the result of collaborative authorship.

The series also uniquely produces fully edited modern-spelling editions of quarto texts when they differ significantly from the standard received text of the play. These include editions of the first quarto of *Hamlet*, the first quarto of *Henry V*, quarto *King Lear*, the *Richard III*, the quarto of *Othello*, the first quarto of *Romeo and Juliet*, and *The Taming of a Shrew*, an alternate version of *The Taming of the Shrew*.

The general editors of the series are Philip Brockbank (1984–1990) and Brian Gibbons (1990–present), with individual editors, or pairs of, assigned to cover separate plays and poetry.


title: The Best of Me (novel)

abstract: The Best of Me is an American romance novel, written by Nicholas Sparks.

text:
# The Best of Me (novel)

***The Best of Me*** is an American romance novel, written by Nicholas Sparks.

## Plot

In the novel, Dawson Cole returns to his hometown for the first time after twenty years to fulfill the last wishes of his dear friend and surrogate father, Tuck Hostetler. When he arrives, Dawson is surprised to find that Tuck arranged for Dawson's high school girlfriend, Amanda, to join him in fulfilling these last wishes. In fact, it soon becomes apparent that Tuck’s intention was to have Dawson and Amanda rekindle their old romance, however Amanda is married. As for Dawson, his family are a group of notorious criminals, who pose a danger that could not only alter Tuck's plans but Dawson's future irrevocably.

Dawson Cole works on an oil rig off the coast of Louisiana. One day an explosion on the rig nearly took Dawson's life, but a stranger in the water showed Dawson where to go, saving his life. Months later, Dawson learns of the death of his good friend, Tuck Hostetler. Dawson rushes home to fulfil Tuck’s final wishes, even though he has not been home in 20 years.

Dawson was born into a notorious criminal family; who are allowed to get away with many petty crimes, out of the fear the town feels toward this family. Dawson is not like his family, but no one really believes that a Cole could be honest or law abiding. For this reason, Dawson lived an isolated life in his hometown. As a child, Dawson tries to stay within the boundaries of the law and is repeatedly beaten and abused by most of his family, more specifically his father Tommy Cole and two older cousins, Abee and Crazy Ted. When he was sixteen years old, Dawson left his father's home and began living in the garage of a local mechanic, Tuck Hostetler. Tuck, who had recently lost his wife, allowed Dawson to stay, forging a relationship that would last the rest of Tuck's life.

Late in his teens, Dawson became lab partners with Amanda Collier, the daughter of a prominent family. They soon fell in love and began dating for about a year and a half, despite the tension this caused between Amanda and her parents. When high school graduation came and Amanda had to make a choice between college and Dawson, Dawson forced her to choose school. Shortly thereafter, Dawson accidentally drove a truck into and killed a local doctor, David Bonner. Dawson pled guilty to the charges, even though it had been an accident. Dawson served four years in prison and spent his parole living with Tuck. During his parole, Dawson's father and cousin Ted arrived at Tuck's garage one day to collect money from Dawson, but Dawson beat them both with a crowbar and warned them never to return. When he was finally free from his parole, Dawson left town and never looked back.

During Dawson's absence from his hometown, dire situations began to occur at the Coles' residence. Crazy Ted was arrested for assaulting a man at a bar and served nine years behind bars. Dawson's father Tommy died from an overdose of alcohol poisoning, and the authorities began to keep a closer eye on the Coles.

When Dawson arrives at Tuck's, he is surprised to find Amanda there. Amanda had struck up a friendship with Tuck in the last few years of his life, and for this reason, was called by Tuck's lawyer upon his death. Amanda and Dawson talk for a while, even having dinner together in Tuck's house, before parting. When Amanda goes home to her mother's, her mother lectures her about her relationship with Dawson and how it looks, especially since Amanda is a married woman. Amanda's mother, however, is unaware that Amanda has become disillusioned in her marriage because of her husband's alcoholism in the wake of the death of their daughter, Bea.

The following day, Amanda and Dawson visit Tuck's lawyer and learn that they are to scatter his ashes at a cabin he owned with his wife. This means another full day together. Amanda and Dawson have lunch together and discuss their plans. When Amanda goes home, Dawson remains at Tuck's to repair a car Tuck was working on before he died. As Dawson works, he is unaware that his cousin, Crazy Ted, is stalking him with plans to kill him for the beating he had received from Dawson years ago. As Crazy Ted sneaks up to Tuck's, Dawson sees the same man he saw the day of the oil rig explosion and chases him through the woods. This causes Dawson to find Crazy Ted's truck and learn of his danger. Dawson confronts Crazy Ted, beating him and returning him to the family compound. In retaliation for his failed attempt to kill Dawson, Crazy Ted recruits the help of his older brother Abee, who was planning his own revenge against Dr. Bonner's son Alan for dating his girlfriend Candy, a pretty young bartender.

The following day, Dawson and Amanda go to the cabin, where they learn the love story of Tuck and his wife, by reading a letter written by Tuck. The letter inspires Dawson and Amanda, as Tuck clearly hoped, and they spend the night alone together. The following day, Amanda makes the agonizing decision to return to her family. Dawson prepares to leave town, but returns to Tuck's when he recalls that he left a letter Tuck had written to him there. As Dawson enters town, he again sees the strange man who saved him after the oil rig explosion. Dawson follows this man to a bar where he discovers the young doctor he killed has led him to save his son, now grown, from a beating Dawson's cousins Abee and Crazy Ted Cole are giving him. Dawson saves the young man, but is killed when Crazy Ted shoots him in the head. At the same time, Amanda's son has been in an accident and needs a heart transplant. The next day, Amanda is informed of Dawson's death and she mourns for her loss.

Two years have passed since Dawson's tragic death. Amanda and Frank have repaired their damaged marriage, though it was no longer romantic or casual as it was years prior. Dawson's cousins, Abee and Crazy Ted have been arrested and put in jail for murdering Dawson. Amanda's son is happy and healthy with his new heart and questions Amanda on the anniversary of his accident if it is possible to trace the donor and thank his family. Amanda, who knows that her son has received Dawson's heart since she investigated this on hearing about Dawson's death, tells him that the donation was made anonymous for a reason. She hugs him close and tells him she loves him, which is meant for both her son and for Dawson, whose heart is beating inside.

## Publication history

According to Little Brown book group, the book has been translated into "more than 40 languages." It was published on 11 October 2011 by Grand Central Publishing.

## Awards and nominations

*The Best of Me* was ranked #2 in the Top 10 overall from *Publishers Weekly*.

## Reception

According to Denise Garofalo, 'it transforms into a predictable yet depressing tale that is rushed and transparent and that suffers from cliche and a somewhat anticlimactic ending'. Laura Santana stated, "It fulfills every desire they have to swoon and be shocked."

## Adaptation

## InfoBox

The Best of Me
| First edition | |
| --- | --- |
| Author | Nicholas Sparks |
| Language | English |
| Genre | Romance |
| Set in | Oriental, North Carolina |
| Publisher | Grand Central Publishing |
| Publication date | October 2011 |
| Publication place | United States |
| Media type | Print |
| Pages | 304 |
| ISBN | 9781455502547 |


title: Luv 4 Luv

abstract: "Luv 4 Luv" is a song by American singer Robin S., released on 19 July 1993 by Champion, Big Beat and ZYX as the second single from the singer's debut album, Show Me Love (1993). The song was written by Allen George and Fred McFarlane, and was Robin S.'s second number one on the US dance chart, where it spent one week at the top. On other US charts, the song peaked at number 53 on the Billboard Hot 100 and number 54 on the Cash Box Top 100. Overseas, "Luv 4 Luv" reached number 11 on the UK Singles Chart and number 24 in Ireland. A black-and-white music video was produced to promote the single, featuring Robin S. performing at a self-service laundry. "Luv 4 Luv" was re-released in the UK in 2003 but only lasted one week on the chart, peaking at number 78.

text:
# Luv 4 Luv

"**Luv 4 Luv**" (sometimes also spelled as "**Love for Love**") is a song by American singer Robin S., released on 19 July 1993 by Champion, Big Beat and ZYX as the second single from the singer's debut album, *Show Me Love* (1993). The song was written by Allen George and Fred McFarlane, and was Robin S.'s second number one on the US dance chart, where it spent one week at the top. On other US charts, the song peaked at number 53 on the *Billboard* Hot 100 and number 54 on the *Cash Box* Top 100. Overseas, "Luv 4 Luv" reached number 11 on the UK Singles Chart and number 24 in Ireland. A black-and-white music video was produced to promote the single, featuring Robin S. performing at a self-service laundry. "Luv 4 Luv" was re-released in the UK in 2003 but only lasted one week on the chart, peaking at number 78.

## Critical reception

Larry Flick from *Billboard* wrote, "The up-and-coming Ms S. is out to prove that "Show Me Love" was no fluke with this aggressive dance ditty from her sturdy debut album," adding, "Although the production is a little too familiar for its own good at times, the song itself is quite cool, and Robin cuts loose like a well-seasoned diva. Her star power is helping the track win the hearts of club pundits." Rod Edwards from the *Gavin Report* felt it has the potential to be even bigger than "Show Me Love", remarking that "a boomin' kick drum and carefully arranged synthesizers provide a "house"-influenced track, and Robin's emotion-filled vocals spice up the rhythm." Holly Barringer from *Melody Maker* complimented it as "acceptable; enjoyable, even."

Brad Beatnik from *Music Week'*s *RM* Dance Update stated, "Expect this slice of pure garage heaven to be huge". Another *RM* editor, James Hamilton, described it as a "typically wailed garage strider". Wendi Cermak from *The Network Forty* wrote, "Keeping with the same formula \[...\] the Maven of House is back with another strong rhythmic mover. Although it could be argued that this single is very similar to "Show Me Love", "Luv 4 Luv" has so many subtle differences that it's not hard to tell the two apart." James T. Jones IV from *USA Today* praised her "gutsy, gospel-trained voice" that "digs deep" into the groove. James Hunter from *Vibe* felt that it "brings personality and addictive soul to techno's faceless pulse. Plus, Robin S. have a friendly voice that can fire right up."

## Chart performance

"Luv 4 Luv" charted on the European, North American and African continent in 1993 and 1994. In Europe, the single was a top-10 hit in Flemish Belgium (7), Italy (9), the Netherlands (4), and Spain (7). In Austria, Finland, France, Germany, Iceland, Switzerland, and the UK, it was a top-20 hit. In the latter, the song peaked at number eleven in its second week on the UK Singles Chart on 1 August 1993. Having debuted at number twelve, "Luv 4 Luv" spent a total of six weeks within the UK Top 40. It fared even more successful on the *Music Week* Dance Singles chart and the *Record Mirror* Club Chart, peaking at numbers two and five, respectively. Additionally, it was a top-30 hit in Ireland and Sweden, as well as on the Eurochart Hot 100, where it entered at number 57 on 7 August, after charting in the UK. The single peaked on the chart at number 28 fifteen weeks later, on 13 November. In the same period, it also reached number one on the European Dance Radio chart by *Music & Media*. In Northern America, it was a number-one hit on the US *Billboard* Dance Club Songs chart, spending one week at the top and a total of eleven weeks on the chart. On the *Billboard* Hot 100 and *Cash Box* Top 100, it peaked at numbers 53 and 54. In Canada, it was also a hit on the *RPM* Dance/Urban chart, reaching number three, behind Ace of Base's "All That She Wants" and Zhané's "Hey Mr. D.J.". In Africa, "Luv 4 Luv" charted in Zimbabwe, peaking at number three.

## Track listings

## Personnel

* Producer – Allen George, Fred McFarlane
* Co-producer – StoneBridge
* Mix – StoneBridge, P. Dennis Mitchell, Junior Vasquez
* Engineer – P. Dennis Mitchell, Dave Sussman, Nat Foster, Robert Kiss
* Keyboards – Fred McFarlane, Joe Moskowitz, Matt Thomas, Stonebridge, Robert Kiss
* Guitar – Paul Jackson Jr., Dana Reed, Mike Cantwell
* Backing vocals – Dana Reed, Debbie Cole, Dennis Taylor, Kim Miller, Luci Martin, Robin Stone, Vivian Sessoms

## Charts

## InfoBox

| "Luv 4 Luv" | |
| --- | --- |
|  | |
| Single by Robin S. | |
| from the album  *Show Me Love* | |
| Released | July 19, 1993 (1993-07-19) |
| Genre | House |
| Length | * 4:13 (Stones radio edit) * 7:43 (StoneBridge club mix) |
| Label |  |
| Songwriter(s) |  |
| Producer(s) | * Allan George * Fred McFarlane |
| Robin S. singles chronology | |
| "Show Me Love"
(1993) "**Luv 4 Luv**"
(1993) "What I Do Best"
(1993) | |
|  | |
| Music video | |
| "Luv 4 Luv" on YouTube | |
|  | |


title: Theodore Wesley Koch

abstract: Theodore Wesley Koch was the Director of Northwestern University's library (1919–1941), and the Director of the University of Michigan Library (1905–1915). He also held positions at the Cornell University Library and the Library of Congress.

text:
# Theodore Wesley Koch

**Theodore Wesley Koch** (August 4, 1871 – March 23, 1941) was the Director of Northwestern University's library (1919–1941), and the Director of the University of Michigan Library (1905–1915). He also held positions at the Cornell University Library and the Library of Congress.

## Biography

Koch was born in Philadelphia in 1871, the son of William Jefferson Koch (pronounced by the family as "coke") a descendant of German immigrants ("Pennsylvania Dutch"). Koch receive a BA from the University of Pennsylvania, followed by a second BA and an MA from Harvard University (1893 and 1894 respectively) in Romance Languages. He went on to study in Paris, before returning to Cornell University, where he was responsible for producing a detailed, annotated catalogue of Cornell's extensive collection of Dante's works.

Koch was the Director of the Library of Northwestern University (1919–1941), during which time he planned and raised the funds for the Deering Library at Northwestern. His bust is carved into a pillar next to the entrance to the stacks.

During World War I, while on the staff of the Library of Congress, Koch played an instrumental role in ensuring that scientific publications from Germany and other combatants continued to be available to American researchers. He also organized programs to provide books to American soldiers in the trenches, and after the end of the war was very active in organizing American support for the rebuilding of European libraries that had been destroyed during the war.

He was a translator of Italian poetry and essays; scholar of Dante; widely published on issues of libraries and public education from the 1910s to the late 1930s.

In 1940 he received the Cross of the Legion of Honor from the French Government, for his lifelong work in translating, promoting, and enhancing the appreciation of French literature in the United States. He translated a series of books on French bibliophiles.

He died in 1941, a few months short of his scheduled retirement.

## InfoBox

| Theodore Wesley Koch | |
| --- | --- |
|  | |
|  | |
| Born | August 4, 1871 |
| Died | March 23, 1941  (aged 69) |
| Occupation | Librarian |
| Employer |  |


title: Oklahoma Cyclone

abstract: Oklahoma Cyclone is a 1930 American pre-Code Western film directed by John P. McCarthy that is a forerunner of the singing cowboy genre. It stars Bob Steele in his second talking picture playing the title role and singing. The film was released by Tiffany Pictures. The film was remade as Song of the Gringo.

text:
# Oklahoma Cyclone

***Oklahoma Cyclone*** is a 1930 American pre-Code Western film directed by John P. McCarthy that is a forerunner of the singing cowboy genre. It stars Bob Steele in his second talking picture playing the title role and singing. The film was released by Tiffany Pictures. The film was remade as *Song of the Gringo*.

## Plot

A cowboy pretends to be an outlaw in order to become a member of the gang that killed his sheriff father.

## Cast

## Production

John P. McCarthy was the director of *Oklahoma Cyclone*, and he and Ford Beebe were the film's writers. Trem Carr was the producer for Trem Carr Productions.

Al St. John sang "The Lavender Cowboy" (Music by Ewen Hail, lyrics by Harold Hersey) in the film.

## InfoBox

| Oklahoma Cyclone | |
| --- | --- |
| Theatrical release poster | |
| Directed by | John P. McCarthy |
| Written by | John P. McCarthy (story) |
| Produced by | Trem Carr (producer) |
| Starring | See below |
| Cinematography | M.A. Anderson<br>Hap Depew |
| Edited by | Fred Allen |
| Distributed by | Tiffany Pictures |
| Release date | * August 8, 1930 (1930-08-08) |
| Running time | 66 minutes |
| Country | United States |
| Language | English |


title: Michael Wilde

abstract: Michael Wilde is a businessman who became Chairman of Southampton Football Club for two periods after the club's relegation from the Premiership, resigning on 2 April 2009, the day after the club's holding company, Southampton Leisure Holdings Plc, went into administration.

text:
# Michael Wilde

**Michael Wilde** (born 1952) is a businessman who became Chairman of Southampton Football Club for two periods after the club's relegation from the Premiership, resigning on 2 April 2009, the day after the club's holding company, Southampton Leisure Holdings Plc, went into administration.

## Education and early career

He was born on the Wirral, Cheshire in 1952. Wilde attended Wirral Grammar School before going to the University of Westminster in 1973 where he obtained a first degree in Urban Estate Management before going on to do his master's degree in Town and Regional Planning at Sheffield University. He later went on to work in estate agency, planning consultancy and in local government with Sheffield City Council, before going to Singapore in 1978. He is a Fellow of the Royal Institution of Chartered Surveyors and became a member of the Royal Town Planning Institute in 1981. He has authored many papers on housing issues and was a senior lecturer in real estate economics and town planning at the National University of Singapore from 1978 to 1983. During his time in Singapore he also acted as an advisor to the government's Housing Development Board and Urban Redevelopment Authority becoming a member of both the Singapore Institute of Planners and the Singapore Institute of Surveyors and Valuers.

## Southampton F.C.

He moved to Hampshire in 1985 upon his return from Singapore and became a major sponsor of a number of Southampton players including Kevin Davies, Dan Petrescu and Graeme Le Saux before acquiring a 10% stake in the club from existing Director Paul Thompson, the former West Bromwich Albion Chairman in February 2006. He went on to purchase further shares over the following months soon becoming the club's largest individual shareholder.

His first period as chairman was from 30 June 2006 to February 2007, gaining his position following pressure on Rupert Lowe to resign, the club's previouschairman of ten years. Shortly after his arrival as chairman, the club's director of football, Sir Clive Woodward left by mutual agreement as the club went about trying to restructure its finances. A number of new players were brought into a depleted squad including Rudi Skacel, Kelvin Davis, Jermaine Wright, Bradley Wright-Phillips, and Iñigo Idiakez, but despite the Saints being in a play-off position in the championship under manager, George Burley, Wilde resigned, reportedly due to a lack of promised investment from outside investors.

During his tenure Wilde also signed Academy player Gareth Bale to his first professional contract, who quickly became a first team regular. Bale was eventually sold to Tottenham Hotspur in a package potentially worth £10m to the club. Bale has since (2013) been transferred to Real Madrid for a world record fee of 100 million EUROS.

Following a long period of boardroom upheaval in the club after Wilde's initial departure, and after narrowly avoiding relegation to League One, Wilde and his earlier rival, Rupert Lowe, finally demanded an EGM to remove chairman Leon Crouch and on 15 May 2008, Crouch and three other directors resigned from the board. Wilde resumed his position as chairman of the football club whilst Lowe became chairman of the holding company, Southampton Leisure Holdings Plc.

Upon becoming chairman again, Jan Poortvliet, who represented the Netherlands in the Final of the 1978 FIFA World Cup in Argentina, was appointed head coach to work with what was a very young squad for the 2008/9 season. Whilst showing promise the team struggled to remain consistent in the Championship, and when the club were deducted 10 points as a result of its holding company going into administration, relegation to League One became inevitable.

Wilde has been based in Jersey since February 2006 and in March 2007 he became the main sponsor of the Jersey Football Association (JFA) and played a significant part in bringing the Jersey F.A. International Small Nations Tournament to the island in November 2008.

## Other business career

Whilst in Singapore, Wilde founded Contact Communication Services in 1983, a telecommunications company specialising in high-speed data communications and offering low-cost telex relay services throughout South-East Asia. The company quickly expanded through the establishment of operational offices in Hong Kong, East and West Malaysia, Thailand, Indonesia and Australia. Wilde eventually exited the company through a sale to European Telecommunication giants, the Great Northern Telegraph Company of Copenhagen in 1988.

Upon returning to the UK, Wilde founded Merlion Housing Association in 1990, a specialist provider of privately funded affordable housing. He created and developed a shared equity model for the provision of Housing Association Grant free affordable housing and has been instrumental in this form of tenure becoming a key tool of affordable housing policy in the United Kingdom. The association has provided homes to nearly 2,000 individuals and families in housing need since its incorporation and was the only privately funded Housing Association to receive funds under the government's £200 million Starter Homes Initiative in 2001 aimed at providing key worker homes for, amongst others, teachers, nurses and the police.

Following the success of Merlion, Wilde went on to form a house building company, Infinity Homes Ltd, in partnership with its chief executive, Alistair Baker and in 2006 the company won the prestigious "Best Small Housebuilder" Gold Award in the Daily Telegraph sponsored What House? Awards, often referred to as the Oscars of the house building industry. Wilde acted as Non-Executive Chairman of the company until it ceased trading in 2008 due to the economic downturn. The holding company of Infinity Homes Ltd was, as a result, wound up in June 2011. Merlion Housing Association, however, continues to provide affordable housing to low income families, working closely with many Local Authorities throughout the United Kingdom

Wilde also co-founded Wildcard Films Ltd in April 2009 and was its chairman until February 2011. He was executive producer of the company's critically acclaimed short film "*Roar*", starring Russell Tovey, Tom Burke and Jodie Whittaker, which has won awards at several major international festivals, including the Grand Jury Prize for Best Screenplay at the Rhode Island International Film Festival, and Winner for Best Cinematography at the Aspen Shortsfest.

Although retaining strong links to the North-West, Wilde acquired Cardington House, a landmark property in Saint Aubin, Jersey in 2006 and after an extensive refurbishment programme opened it as a luxury boutique hotel. He is also joint founder of online retailer The Tight Spot Limited.

In early 2014, Wilde was linked to a possible takeover of Tranmere Rovers Football Club but later withdrew following a period of due diligence.


title: Still the King (album)

abstract: Still the King: Celebrating the Music of Bob Wills and His Texas Playboys is a tribute album by American country group Asleep at the Wheel in memory of Bob Wills and the Texas Playboys. It was released in March 2015 under Proper Records.

text:
# Still the King (album)

Professional ratings
| Aggregate scores | |
| --- | --- |
| Source | Rating |
| Metacritic | 82/100 |
| Review scores | |
| Source | Rating |
| AllMusic |  |

***Still the King: Celebrating the Music of Bob Wills and His Texas Playboys*** is a tribute album by American country group Asleep at the Wheel in memory of Bob Wills and the Texas Playboys. It was released in March 2015 under Proper Records.

## Track listing

| No. | Title | Guest Performer | Length |
| --- | --- | --- | --- |
| 1. | "Texas Playboys Theme" | Leon Rausch | 1:13 |
| 2. | "I Hear Ya Talkin'" | Amos Lee | 3:28 |
| 3. | "The Girl I Left Behind Me" | The Avett Brothers | 2:31 |
| 4. | "Trouble in Mind" | Lyle Lovett | 4:07 |
| 5. | "Keeper of My Heart" | Merle Haggard and Emily Gimble | 3:32 |
| 6. | "I Can't Give You Anything but Love" | Kat Edmonson and Ray Benson | 3:18 |
| 7. | "Tiger Rag" | Old Crow Medicine Show | 2:55 |
| 8. | "What's the Matter With the Mill" | Pokey LaFarge | 3:06 |
| 9. | "Navajo Trail" | Willie Nelson and The Quebe Sisters | 3:05 |
| 10. | "Silver Dew on the Blue Grass Tonight" | Del McCoury Band | 3:27 |
| 11. | "Faded Love" | The Time Jumpers | 4:20 |
| 12. | "South of the Border (Down Mexico Way)" | George Strait | 4:13 |
| 13. | "I Had Someone Else Before I Had You" | Elizabeth Cook | 2:45 |
| 14. | "My Window Faces the South" | Brad Paisley | 2:32 |
| 15. | "Time Changes Everything" | Buddy Miller | 3:37 |
| 16. | "A Good Man Is Hard to Find" | Carrie Rodriguez and Emily Gimble | 2:36 |
| 17. | "Ding Dong Daddy from Dumas" | Robert Earl Keen and Ray Benson | 3:25 |
| 18. | "Brain Cloudy Blues" | Jamey Johnson and Ray Benson | 4:20 |
| 19. | "Bubbles in My Beer" | Devil Makes Three | 2:38 |
| 20. | "It's All Your Fault" | Katie Shore | 2:54 |
| 21. | "Twin Guitar Special" | Tommy Emmanuel, Brent Mason and Billy Briggs | 4:04 |
| 22. | "Bob Wills Is Still the King" | Shooter Jennings, Randy Rogers and Reckless Kelly | 2:23 |

## Commercial performance

The album debuted on the Top Country Albums chart at No. 14 and No. 187 on the Billboard 200, selling 3,900 for the week in the US. It rose to No. 11 on the Top Country Albums chart in its third week, selling 8,600 in three weeks. The album has sold 24,600 copies in the US as of August 2015.

## Charts

| Chart (2015) | Peak
position |
| --- | --- |
| US *Billboard* 200 | 187 |
| US Top Country Albums (*Billboard*) | 11 |
| US Independent Albums (*Billboard*) | 14 |

## InfoBox

| Still the King: Celebrating the Music of Bob Wills and His Texas Playboys | |
| --- | --- |
|  | |
| Compilation album by Asleep at the Wheel | |
| Released | March 3, 2015 (2015-03-03) |
| Genre | Western Swing, Country |
| Length | 1:10:29 |
| Label | Proper |
| Producer | Ray Benson
Sam Seifert |
| Asleep at the Wheel chronology | |
| *It's a Good Day*
(2010) ***Still the King: Celebrating the Music of Bob Wills and His Texas Playboys***
(2015) | |


title: The Sun and the Moon Complete

abstract: The Sun and the Moon Complete is a remix album by New York-based rock band The Bravery. Disc 1 features the original album released in 2007 and Disc 2 features the same songs as the 2007 album in the same order, re-imagined and re-worked by the band.

text:
# The Sun and the Moon Complete

***The Sun and the Moon Complete*** is a remix album by New York-based rock band The Bravery. Disc 1 features the original album released in 2007 and Disc 2 features the same songs as the 2007 album in the same order, re-imagined and re-worked by the band.

## Release

There were four promotional songs from Disc 2 (The Moon) released as internet only singles through iTunes every Tuesday leading up to the full release of the album on March 18. The order of their release is as follows:

* Feb 19 - "Believe" (Moon Version)
* Feb 26 - "This Is Not The End" (Moon Version)
* March 4 - "Bad Sun" (Moon Version)
* March 11 - "The Ocean" (Moon Version)
* March 18 - "The Sun And Moon Complete" Album Release

## Disc 1 (The Sun)

1. "Intro"  0:28
2. "Believe"  3:46
3. "This Is Not the End"  3:59
4. "Every Word Is a Knife in My Ear"  3:35
5. "Bad Sun"  4:02
6. "Time Won't Let Me Go"  4:11
7. "Tragedy Bound"  2:22
8. "Fistful of Sand"  3:10
9. "Angelina"  3:11
10. "Split Me Wide Open"  3:38
11. "Above and Below"  3:30
12. "The Ocean"  3:40

## Disc 2 (The Moon)

1. "Intro (Samples Chopin's Nocturne in E-flat major, Op. 9, No. 2)"  0:18
2. "Believe"  3:19
3. "This Is Not the End"  4:02
4. "Every Word Is a Knife in My Ear"  2:36
5. "Bad Sun"  4:24
6. "Time Won't Let Me Go"  3:51
7. "Tragedy Bound"  2:26
8. "Fistful of Sand"  2:59
9. "Angelina"  3:19
10. "Split Me Wide Open"  3:33
11. "Above and Below"  3:11
12. "The Ocean"  4:03

### Singles

## InfoBox

| The Sun and the Moon Complete | |
| --- | --- |
|  | |
| Remix album by The Bravery | |
| Released | March 18, 2008 |
| Recorded | 2007/ 2008 |
| Genre | Indie rock, electronica, alternative dance |
| Length | 77:34 (both discs total) |
| Label | Island Records
Polydor Records |
| Producer | Brendan O'Brien |
| The Bravery chronology | |
| *The Sun and the Moon*
(2007) ***The Sun and the Moon Complete***
(2008) *Stir the Blood*
(2009) | |


title: Varichaetadrilus

abstract:
Varichaetadrilus is a genus of annelids belonging to the family Naididae. The species of this genus are found in Eurasia and Northern America. Species:
  - Varichaetadrilus bizkaiensis Rodriguez & Giani, 1984
  - Varichaetadrilus fulleri Brinkhurst & Kathman, 1983

text:
# Varichaetadrilus

***Varichaetadrilus*** is a genus of annelids belonging to the family Naididae.

The species of this genus are found in Eurasia and Northern America.

Species:

## InfoBox

| *Varichaetadrilus* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Annelida |
| *Clade*: | Pleistoannelida |
| *Clade*: | Sedentaria |
| Class: | Clitellata |
| Order: | Tubificida |
| Family: | Naididae |
| Genus: | *Varichaetadrilus*<br>Brinkhurst & Kathman, 1983 |
|


title: Four-toed jerboa

abstract: The four-toed jerboa is a rodent of the family Dipodidae and genus Scarturus that has four digits. Four-toed jerboas are native to Egypt and Libya. They live in coastal salt marshes and dry deserts.

text:
# Four-toed jerboa

The **four-toed jerboa** (***Scarturus tetradactylus***) is a rodent of the family Dipodidae and genus *Scarturus* that has four digits. Four-toed jerboas are native to Egypt and Libya. They live in coastal salt marshes and dry deserts.

## Physical appearance

Similar to the other jerboas in the genera *Allactaga* and *Scarturus*, the four-toed jerboa are small hopping rodents with large ears and a long tail, with a black band near the white, feathery tip. The tail assists and serves as support when the jerboa is standing upright. They have long hind feet and short forelegs. The pelt of the four-toed jerboa is velvety in texture and the upper-parts are speckled black and orange, the rump orange, and the sides gray. The four-toed jerboa hind-limbs have one digit less than other jerboas in the subfamily Allactaginae, but one more hind digit than other jerboas. The extra digit is smaller in size and nonfunctional compared to the other three digits.

## Nutrition

Emerging at night, the four-toed jerboa eats grass, leaves, and soft seeds. The low crown molars and soft palates help the four-toed jerboa chew plant material and seeds.

The four-toed jerboa is a host of the acanthocephalan intestinal parasite *Moniliformis aegyptiacus*.

## Conservation status

The four-toed jerboa was listed as on the IUCN Red List of Threatened Species. They are at very high risk of extinction due to habitat loss and restricted range.

## InfoBox

| Four-toed jerboa | |
| --- | --- |
|  | |
| Conservation status | |
|
Data Deficient  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Mammalia |
| Order: | Rodentia |
| Family: | Dipodidae |
| Genus: | *Scarturus*
Gloger, 1841 |
| Species: | ***S. tetradactylus*** |
| Binomial name | |
| ***Scarturus tetradactylus***
(Lichtenstein, 1823) | |
|
|  | |
| Geographic range | |


title: Mask of la Roche-Cotard

abstract: The Mask of la Roche-Cotard, also known as the "Mousterian Protofigurine", is an artifact dated to around 75,000 years ago, in the Mousterian period. It was found in 1975 in the entrance of a cave named La Roche-Cotard, territory of the commune of Langeais (Indre-et-Loire), on the banks of the river Loire. The artifact, possibly created by Neanderthal humans, is a piece of flat flint that has been shaped in a way that seems to resemble the upper part of a face. A piece of bone pushed through a hole in the stone has been interpreted as a representation of eyes. Paul Bahn has suggested this "mask" is "highly inconvenient", as "It makes a nonsense of the view that clueless Neanderthals could only copy their cultural superiors the Cro-Magnons". Though this may represent an example of artistic expression in Neanderthal humans, some archaeologists question whether the artifact represents a face, and some suggest that it may be practical rather than artistic. In 2023 the oldest known Neanderthal engravings were found in La Roche-Cotard cave which have been dated to more than 57,000 years ago.

text:
# Mask of la Roche-Cotard

The **Mask of la Roche-Cotard**, also known as the "Mousterian Protofigurine", is an artifact dated to around 75,000 years ago, in the Mousterian period. It was found in 1975 in the entrance of a cave named La Roche-Cotard, territory of the commune of Langeais (Indre-et-Loire), on the banks of the river Loire.

The artifact, possibly created by Neanderthal humans, is a piece of flat flint that has been shaped in a way that seems to resemble the upper part of a face. A piece of bone pushed through a hole in the stone has been interpreted as a representation of eyes. Paul Bahn has suggested this "mask" is "highly inconvenient", as "It makes a nonsense of the view that clueless Neanderthals could only copy their cultural superiors the Cro-Magnons". Though this may represent an example of artistic expression in Neanderthal humans, some archaeologists question whether the artifact represents a face, and some suggest that it may be practical rather than artistic.

In 2023 the oldest known Neanderthal engravings were found in La Roche-Cotard cave which have been dated to more than 57,000 years ago.

## Further reading

* M. Lorblanchet, *La naissance de l'Art. Genèse de l'art préhistorique*, Errances, 1999
* Marquet J.-C., M. Lorblanchet, Le "Masque" moustérien de La Roche-Cotard, Langeais (Indre-et-Loire). *Paléo*, 2000, n° 12, p. 325-338.
* Laurence Nicoud: L'art néandertalien: réalité et énigme. *Archéologia* (Paris): 407:6, January 2004
* The Mousterian Protofigurine from La Roche-Cotard (France)

47°20′12″N 0°25′34″E / 47.33667°N 0.42611°E / 47.33667; 0.42611


title: Mask of Warka

abstract: The Mask of Warka, also known as the Lady of Uruk, dating from 3100 BC, is one of the earliest known representations of the human face. The carved marble female face is probably a depiction of Inanna. It is approximately 20 cm tall, and was probably incorporated into a larger wooden cult image, though it is only a presumption that a deity is represented. It is without parallels in the period. It is in the National Museum of Iraq, having been recovered undamaged after being looted during the United States invasion of Iraq in 2003. It could depict a temple goddess. Shells may have served as the whites of the eyes, and a lapis lazuli, a blue semi-precious gemstone, may have formed the pupils.

text:
# Mask of Warka

The **Mask of Warka** (named after the modern village of Warka located close to the ancient city of Uruk), also known as the **Lady of Uruk**, dating from 3100 BC, is one of the earliest known representations of the human face. The carved marble female face is probably a depiction of Inanna. It is approximately 20 cm (8 inches) tall, and was probably incorporated into a larger wooden cult image, though it is only a presumption that a deity is represented. It is without parallels in the period. It is in the National Museum of Iraq, having been recovered undamaged after being looted during the United States invasion of Iraq in 2003.

It could depict a temple goddess. Shells may have served as the whites of the eyes, and a lapis lazuli, a blue semi-precious gemstone, may have formed the pupils.

## Description

The Mask of Warka is unique in that it is the first accurate depiction of the human face. Previous attempts, like the Tell Brak Head, were not anatomically accurate, and featured exaggerated noses and ears. At 21.2 centimetres (8.3 in) tall, the mask was most likely originally part of a whole, life sized statue, probably made of wood, with the exposed areas of "skin" (arms, hands, feet, and most obviously the head) being the only ones made of the much rarer white marble. The back of the head would have been covered with bitumen and then colored metal — most likely either gold leaf or copper. This combination would have then extended over the forehead in waves. This hairpiece would have been attached to the Mask with metal studs, which could possibly have been engraved. The hollowed out eyes and eyebrows bear traces of an ancient inlay, perhaps shell and lapis lazuli. Perforations at the ears indicate that the image once wore jewelry. Parts of the eyebrows and hair were also emphasized with colored inlays.

The back of the head is flat, with drill holes for attachment.

## Discovery

The Mask of Warka was discovered on 22 February 1939 by the expedition of the German Archaeological Institute, led by Dr A. Nöldeke, in the city of Uruk south of modern Baghdad. The Mask was found in the Eanna (or Ianna) district of the city — so named for the goddess Inanna to whom the temples are dedicated.

## Theft and recovery

When the United States invaded Iraq in 2003, the National Museum of Iraq (where the Mask of Warka was stored) was looted. The Mask is thought to have been taken between April 10 and 12 of that year, along with forty other pieces, including the Warka Vase and Bassetki Statue.

The effort to recover these artifacts was spearheaded by Marine Reserve Colonel Matthew Bogdanos, who started an investigation with his team on April 21. However, it was the 812th Military Police Company (Combat Support) USAR, out of Orangeburg, New York, that recovered the Mask just before October. According to Bogdanos, "An informant, an individual, an Iraqi, walked into the museum with a tip that he knew where antiquities were being held or hidden, without identifying the mask. Acting on that information, members of the investigation who were still in Baghdad went to that location, conducted a reconnaissance, and then conducted a raid. The results of the raid were ultimately good, but Bogdanos explains that hopes were not initially high. “Initially they didn't find the Mask, but they found the owner of the farm-- it's a farm in northern Baghdad-- and after interviewing the farmer, he admitted that he did in fact have an antiquity, in this case the Mask, buried in the back of his farm. The investigators went behind the farm and uncovered the Mask exactly where he had placed it, and it is intact and undamaged."

* Frankfort, Henri, *The Art and Architecture of the Ancient Orient*, Pelican History of Art, 4th ed 1970, Penguin (now Yale History of Art), ISBN 0140561072

## InfoBox

| Mask of Warka | |
| --- | --- |
| Mask of Warka, National Museum of Iraq | |
| Created | 3200–3000 BC |
| Present location | National Museum of Iraq, Iraq |
| UrukUruk | |


title: Four-Sided Pyramid

abstract: Four-Sided Pyramid is a conceptual modular "structure", by Sol LeWitt, in the National Gallery of Art Sculpture Garden. The artist created a plan and Four-Sided Pyramid was constructed by others, in 1999.

text:
# Four-Sided Pyramid

***Four-Sided Pyramid*** is a conceptual modular "structure", by Sol LeWitt, in the National Gallery of Art Sculpture Garden.

The artist created a plan and *Four-Sided Pyramid* was constructed by others, in 1999.

## InfoBox

| Four-Sided Pyramid | |
| --- | --- |
|  | |
| Artist | Sol LeWitt |
| Year | 1965 |
| Medium | concrete blocks and mortar |
| Dimensions | 4.58 m × 10.07 m × 9.71 m (15 ft 38 in × 33 ft 12 in × 31 ft 10+14 in) |
| Location | National Gallery of Art Sculpture Garden, Washington, D.C. |
| Coordinates | 38°53′27″N 77°01′21″W / 38.89089900°N 77.02242200°W / 38.89089900; -77.02242200 |
| Owner | National Gallery of Art |


title: Four-State Tornado Swarm

abstract: The Four-State Tornado Swarm was a destructive outbreak of tornadoes in New England on August 15, 1787. At least five separate tornadoes caused major damage in the states of Connecticut, Rhode Island, Massachusetts, and New Hampshire. Two people were killed by a tornado in Wethersfield, Connecticut, and many were injured throughout New England. This event is considered to be the first true tornado outbreak on record.

text:
# Four-State Tornado Swarm

The **Four-State Tornado Swarm** was a destructive outbreak of tornadoes in New England on August 15, 1787. At least five separate tornadoes caused major damage in the states of Connecticut, Rhode Island, Massachusetts, and New Hampshire. Two people were killed by a tornado in Wethersfield, Connecticut, and many were injured throughout New England. This event is considered to be the first true tornado outbreak on record.

## Synopsis

The first storm damage occurred in Litchfield, Connecticut, where a strong northwest wind and hail stones weighing more than 1 ounce (28 g) damaged crops and broke windows. Four men were struck by lightning, but survived.

The first tornado touched down near New Britain, Connecticut, between 1 p.m. and 2 p.m., moving east-northeast. A barn roof was blown 2 miles (3.2 km) away. The tornado then passed through Newington on its way to Wethersfield. The tornado there was described as "\[whirling\] with amazing velocity and a most tremendous roar." It passed through a mostly-uninhabited part of the town; if the path were more than 0.5 miles (0.8 km) further north or south, the tornado "would have been fatal to a large number of families." The tornado traveled slightly north of east, and struck just one home. The inhabitants fled the house upon the sight of the tornado: two young boys, a laborer, and a mother and baby were overtaken by the tornado in a nearby field. The two boys were found amid some rubble, one dead and one was "feared mortally wounded." The mother was killed as well, but the baby who was in her arms survived with only minor injuries. The laborer was thrown over a fence but only slightly injured. Their house was unroofed, and several outbuildings were "leveled with the ground". Clothes from the house were found three miles away, and trees and boards were carried 0.5 miles (0.8 km) or more.

The tornado continued east-northeast from Wethersfield, leveling almost all trees in its path, until it reached Glastonbury. There it damaged several homes and barns, including an unroofing of a large brick home, but only injured two people slightly. The damage continued into at least Bolton and Coventry, where more damage was done, but any specific damage done or human casualties are unknown.

The second tornado was spotted west of East Windsor. It moved northeast away from the center of town, but did damage to a home and a barn. Trees 2.5 feet (0.76 m) in diameter were twisted down, and even sod and stones "of a considerable size" were torn up. No injuries were reported, however.

The third tornado of the outbreak was a long-tracked tornado, first spotted in Killingly, Connecticut. It moved northeast into Rhode Island to near Glocester. Orchards were destroyed there, and a house and barn were "torn to pieces" while the family took shelter in the cellar. Several other homes were unroofed, and a woman was carried some distance, but only suffered minor injuries. The tornado continued northeast into Massachusetts as far as Mendon, 20 miles (32 km) from where it touched down.

The fourth known tornado was first spotted near Northborough, Massachusetts. The tornado caused more severe damage along the border between Marlborough and Southborough. In Marlborough, a barn was thrown from its foundation. A house's roof was destroyed, with pieces scattered 0.75 miles (1.2 km) away. In Southborough and Framingham, many structures were damaged. A house in Framingham was destroyed while two women were inside, but they suffered only bruises. The tornado dissipated east of Framingham. Many crops were destroyed by winds and floods.

Observers reported seeing pieces of buildings, furniture, and trees thrown about in the air. Severe tree damage was reported all along the tornado's path. Along the tornado's route, the damage was not more than 40 rods (660 ft; 200 m) wide, and in some places was much narrower, though the damage was greatest in these areas.

The final tornado of the day occurred much further north in the town of Rochester, New Hampshire. A house was lifted from its foundation with eight people inside, but only two were injured. Pieces of the house were found 3 miles (4.8 km) distant. A barn was "taken and entirely carried off" by the tornado, and was not found. Trees, fences, and crops were leveled along the tornado's path, which was around 20 rods (330 ft; 100 m) wide. Considerable damage also occurred in Dunbarton, New Hampshire and Concord, New Hampshire, but it is not known if this was not directly connected to the tornado.

## List of known tornadoes

| List of confirmed tornadoes — August 15, 1787 | | | | | |
| --- | --- | --- | --- | --- | --- |
| F# | Location | County | Time (UTC) | Path length | Damage |
| **Connecticut** | | | | | | |
| **F?** | **New Britain to Coventry** | Hartford, Tolland | 1330 | 5 miles (8.0 km) | **2 deaths** \- 10 additional injured. Affected New Britain, Newington, Wethersfield, Glastonbury, Bolton, and Coventry. |
| **F?** | **Killingly to Mendon, MA** | Windham, Providence (RI), Worcester (MA) | 1700 | 20 miles (32 km) | One person was injured. Affected the towns of Killingly, Glocester, Rhode Island, and Mendon, Massachusetts. |
| **F?** | **NE of East Windsor** | Hartford | unknown | 5 miles (8.0 km) | East Windsor was affected. |
| **Massachusetts** | | | | | | |
| **F?** | **Northborough to Framingham** | Worcester, Middlesex | unknown | 8 miles (13 km) | Two people were injured. Affected the towns of Northborough, Southborough, and Framingham. |
| **New Hampshire** | | | | | | |
| **F?** | **Rochester area** | Strafford | unknown | unknown | Two people were injured. Rochester was affected by this tornado. |
| Sources: Grazulis, pg. 553; Ludlam pgs. 12-16 | | | | | | |

## Historical perspective

This day was the most extensive tornado event on record at the time, and was the most severe tornado outbreak in early New England history, on par only with the September 1821 New England tornado outbreak. Very few buildings were struck by the tornadoes (though the tornadoes passed close to many highly populated towns) which accounts for the low death toll. However, the destructive potential was high, as indicated by the incredible tree damage in places.

A document was published in the *Connecticut Courant* (now the *Hartford Courant*) a few days later, detailing the appearance of "a black column from the earth to the cloud" near Wethersfield. This was the most complete description of a tornado on record until the 1830s.

### Book references

* Grazulis, Thomas P (July 1993). *Significant Tornadoes 1680–1991*. St. Johnsbury, VT: The Tornado Project of Environmental Films. ISBN 1-879362-03-1.
* Ludlum, David McWilliams (1970). *Early American Tornadoes 1586–1870*. Boston, MA: American Meteorological Society. ISBN 0-933876-32-7.
* Perley, Sidney (1891). *Historic Storms of New England* (PDF). Salem, Massachusetts: The Salem Press Publishing and Printing Company. p. 135. Retrieved June 25, 2009. 1787 tornado.

## InfoBox

Four-State Tornado Swarm
|  | |
| --- | --- |
|  | |
|  | |
| Type | Tornado outbreak |
| Duration | August 15, 1787 |
|  | |
|  | |
|  | |
| Tornadoes
confirmed | ≥5 |
| Max. rating1 | Unrated tornado |
| Duration of
tornado outbreak2 | 3.5+ hours |
|  | |
|  | |
|  | |
| Fatalities | 2 fatalities, ≥15 injuries |
| Damage | Unknown |
| Areas affected | New England |
| 1*Most severe tornado damage; see Fujita scale*
2*Time from first tornado to last tornado* | |


abstract: The Massachusetts Development Finance Agency (MassDevelopment) was created in 1998 under Chapter 23G of the Massachusetts General Laws, which merged the Massachusetts Government Land Bank with the Massachusetts Industrial Finance Agency. Both a lender and developer, MassDevelopment works with businesses, nonprofits, financial institutions, and communities to stimulate economic growth across the Commonwealth. Through these collaborations the agency helps create jobs, increase the number of housing units, revitalize urban environments, and address factors limiting economic growth including transportation, energy, and infrastructure deficiencies. MassDevelopment's first president and CEO was Michael P. Hogan, from 1993 to 2003, followed by Robert L. Culver from 2004 to 2011, Marty Jones from 2011 to 2017, and Lauren A. Liss, from 2017 through 2020. Since January 2021 the agency has been led by Dan Rivera, who is under appointment until 2026. MassDevelopment is headquartered in Boston, with regional offices in Devens, Fall River, Lawrence, Springfield, and Worcester.

text:
# Massachusetts Development Finance Agency

The **Massachusetts Development Finance Agency** (MassDevelopment) was created in 1998 under Chapter 23G of the Massachusetts General Laws, which merged the Massachusetts Government Land Bank with the Massachusetts Industrial Finance Agency. Both a lender and developer, MassDevelopment works with businesses, nonprofits, financial institutions, and communities to stimulate economic growth across the Commonwealth. Through these collaborations the agency helps create jobs, increase the number of housing units, revitalize urban environments, and address factors limiting economic growth including transportation, energy, and infrastructure deficiencies. MassDevelopment's first president and CEO was Michael P. Hogan, from 1993 to 2003, followed by Robert L. Culver from 2004 to 2011, Marty Jones from 2011 to 2017, and Lauren A. Liss, from 2017 through 2020. Since January 2021 the agency has been led by Dan Rivera, who is under appointment until 2026. MassDevelopment is headquartered in Boston, with regional offices in Devens, Fall River, Lawrence, Springfield, and Worcester.

## History

MassDevelopment formed in 1998 from a merger of the Government Land Bank and Massachusetts Industrial Finance Agency. The Massachusetts Health and Educational Facilities Authority was merged into MassDevelopment in 2010, strengthening the depth of offerings for tax-exempt bond financing of capital projects.

In 2018, MassDevelopment celebrated its 20-year anniversary.

## Recent projects and investments

During FY2018, MassDevelopment financed or managed 384 projects generating investment of more than $4.1 billion in the Massachusetts economy. These projects are estimated to create or support about 10,994 jobs and build or rehabilitate 830 housing units. Projects vary in nature and size from real estate and equipment financings to the ongoing redevelopments of Devens, Village Hill Northampton, Springfield's 1550 Main, and the expansion of the Myles Standish Industrial Park in Taunton.

Recent financing projects include tax-exempt bonds on behalf of affordable housing projects in Boston's Dorchester and Roxbury neighborhoods, Somerville, and Springfield; the construction of a new 1,210-bed residence hall at University of Massachusetts Dartmouth; the expansion of Valley Steel Stamp's manufacturing headquarters in Greenfield; and a loan to Atomic Coffee Roasters to help the small business buy equipment for its new coffee-roasting and cold brew production facility in Danvers.

## Programs and initiatives

In addition to its finance and real estate services, MassDevelopment administers several economic development programs on behalf of the Commonwealth, including the Advanced Manufacturing Futures Program; the Brownfields Redevelopment Fund; the Collaborative Workspace Program; Commonwealth Places, in partnership with Patronicity; the Emerging Technology Fund; and the Site Readiness Program. Additionally, together with the Massachusetts Cultural Council, MassDevelopment jointly administers the state's Cultural Facilities Fund.

MassDevelopment is also a member of the Massachusetts Military Asset and Security Strategy Task Force, which was created in 2012 to protect and expand missions, jobs, and economic investments at and surrounding Massachusetts’ military installations.

In 2014, MassDevelopment launched the Transformative Development Initiative (TDI), a place-based development program for Gateway Cities designed to enhance local public-private engagement and community identity; stimulate an improved quality of life for local residents; and spur increased investment and economic activity. To date, MassDevelopment has established 14 TDI Districts in 13 Gateway Cities: Brockton, Chelsea, Fitchburg, Haverhill, Holyoke, Lawrence, Lynn, New Bedford, Peabody, Pittsfield, Revere, Springfield, and Worcester.


title: Masahiko Urano

abstract: Masahiko Urano is a Japanese professional shogi player ranked 8-dan.

text:
# Masahiko Urano

**Masahiko Urano** (浦野 真彦, *Urano Masahiko*, March 14, 1964) is a Japanese professional shogi player ranked 8-dan.

## Early life and apprenticeship

Urano was born in Osaka Prefecture on March 14, 1964. In October 1977, he was accepted into entered the Japan Shogi Association's apprentice school at the rank of 6-kyū under the tutelage of shogi professional Sutekichi Nakai. He was promoted to 1-dan in 1990 and obtained full professional status and the rank of 4-dan in October 1983.

## Shogi professional

Urano won his 400th game as a professional in February 2005.

In March 2017, Urano voluntarily declared himself as a *free class* player, thus leaving the Meijin tournament league. During the 75th Meijin Class C2 League season (April 2016March 2017), Urano lost all ten of his games and received a demotion point as a result. This was a continuation of a series of poor results in Meijin Class League play73rd Meijin Class C1 (1 win and 9 losses) and 74th Meijin Class C1 (2 wins and 8 losses)and rather than risk automatic demotion to free class play, Urano decided to do so of his own accord.

### Promotion history

The promotion history for Urano is as follows:

* 6-kyū: 1977
* 1-dan: 1980
* 4-dan: October 19, 1983
* 5-dan: April 1, 1987
* 6-dan: April 1, 1989
* 7-dan: April 1, 1996
* 8-dan: September 14, 2012

### Awards and honors

In 2008, Urano received the Japan Shogi Association's "25 Years Service Award" for being an active professional for twenty-five years.

## Published works

Urano has authored several books and DVDs on shogi strategy and tsume shogi; some of these are as follows.

* *Komatta Toki ni Yaku ni Tatsu Shōgi Kakugen Mame Jiten* 困ったときに役に立つ将棋格言豆事典 \[*Handy Dictionary of Shogi Proverbs*\] (in Japanese). Tokyo, Japan: Mynavi Books. 2009. ISBN 978-4-8399-0189-9.
* *Shodan ni Naru Tame no Shōgi Benkyōhō* 初段になるための将棋勉強法 \[*How to Study Shogi to Become a 1-dan*\] (in Japanese). Tokyo, Japan: Byakuya Shobō. 2011. ISBN 978-4-8619-1699-1.
* *Tsumi Tesuji DVD Bukku* 詰手筋DVDブック \[*Tsumi Tetsuji DVD Book*\] (in Japanese). Tokyo, Japan: Rook Books. 2018. ISBN 978-4-9089-3701-9.

## InfoBox

| Masahiko Urano | |
| --- | --- |
| Native name | 浦野真彦 |
| Born | (1964-03-14) March 14, 1964 |
| Hometown | Osaka Prefecture |
| Nationality | Japanese |
| Career | |
| Achieved professional status | October 19, 1983(1983-10-19) (aged 19) |
| Badge Number | 162 |
| Rank | 8-dan |
| Teacher | Sutekichi Nakai (8-dan) |
| Meijin class | Free |
| Ryūō class | 6 |
| Websites | |
| JSA profile page | |