title: Marijane Meaker

abstract: Marijane Agnes Meaker was an American writer who, along with Tereska Torres, was credited with launching the lesbian pulp fiction genre, the only accessible novels on that theme in the 1950s. Under the name Vin Packer, she wrote mystery and crime novels, including Spring Fire. As Ann Aldrich, she wrote nonfiction books about lesbians, and as M.E. Kerr, she wrote young-adult fiction. As Mary James, she wrote books for younger children. Meaker won multiple awards including the American Library Association's lifetime award for young-adult literature, the ALA Margaret A. Edwards Award. She was described by The New York Times Book Review as "one of the grand masters of young adult fiction." Meaker's books feature complex characters that have difficult relationships and complicated problems, who rail against conformity. Meaker said of this approach, " I remember being depressed by all the neatly tied-up, happy-ending stories, the abundance of winners, the themes of winning, solving, finding — when around me it didn't seem that easy. So I write with a different feeling when I write for young adults. I guess I write for myself at that age."

text:
# Marijane Meaker

**Marijane Agnes Meaker** (May 27, 1927 – November 21, 2022) was an American writer who, along with Tereska Torres, was credited with launching the lesbian pulp fiction genre, the only accessible novels on that theme in the 1950s.

Under the name **Vin Packer**, she wrote mystery and crime novels, including *Spring Fire*. As **Ann Aldrich**, she wrote nonfiction books about lesbians, and as **M.E. Kerr**, she wrote young-adult fiction. As **Mary James**, she wrote books for younger children.

Meaker won multiple awards including the American Library Association's lifetime award for young-adult literature, the ALA Margaret A. Edwards Award. She was described by *The New York Times Book Review* as "one of the grand masters of young adult fiction."

Meaker's books feature complex characters that have difficult relationships and complicated problems, who rail against conformity. Meaker said of this approach, " I remember being depressed by all the neatly tied-up, happy-ending stories, the abundance of winners, the themes of winning, solving, finding — when around me it didn't seem that easy. So I write with a different feeling when I write for young adults. I guess I write for myself at that age."

## Early life and education

Meaker was born May 27, 1927, in Auburn, New York, to Ellis R. Meaker and the former Ida T. Jonick. Her father was a mayonnaise manufacturer. She spent her childhood in Auburn. She mentioned in an autobiography that Carson McCullers' book *Member of the Wedding* influenced her. In a 2006 interview, Meaker said of McCullers, "I was drawn to all McCullers’s books. She was an underdog-lover as I am. She was also this sensitive, intelligent writer whose words were lovely. I felt she was a champion of everyone who felt out-of-step with the world. I still feel that way." Meaker grew up in a house filled with books and was fascinated by the concept of writing and writers. She was particularly interested in the idea of a pseudonym, that one could invent a new name, and a new personality with each name.

Meaker asked her parents to send her to Stuart Hall School, a boarding school in Staunton, Virginia, when she heard that lesbian activity occurred frequently at boarding schools. Unfortunately, she was kicked out: "I was an unruly, rebellious child – a troublemaker with low marks. I was suspended in my senior year for throwing darts at a dartboard decorated with the pictures of faculty members cut out of an old yearbook. My mother's pleas to the bishop (it was an Episcopal school) got me reinstated long enough to graduate." As a high-school junior she began submitting stories to women's magazines under the name "Eric Rantham McKay" and was soundly rejected.

Meaker later attended Vermont Junior College in 1945 and the University of Missouri from 1946 to 1949, where she was a member of Alpha Delta Pi sorority. She wasn't interested in conforming to the rules of a sorority, though; she preferred to seek friends who were also writers. She made frequent submissions to literary magazines and collected many rejection slips.

Meaker sold her first story to *Ladies' Home Journal* under the name Laura Winston for $750.

## Writing career

### Vin Packer

Upon graduation, she worked as a file clerk with Dutton Publishing, then as a proofreader with Gold Medal Books, and began writing mostly mystery novels as Vin Packer. According to her autobiographical young adult book *ME ME ME ME: Not a Novel* (1984), Meaker began her professional writing career by posing as a literary agent, whose "clients" consisted of her own pen names. As Packer, Meaker wrote 20 books in all, including *The Evil Friendship* from 1958, an account of the Parker–Hulme murder case in New Zealand. Two books by Packer were loosely based on the Emmett Till murder and the aftermath of the investigation: *3-Day Terror* and *Dark Don't Catch Me*. Unlike other popular crime writers in the pulp market, Packer's books were less based on action, and more "psychologically dense" and "insidious". One mystery critic said of Packer's books, "Her probing accounts of the roots of crime are richly detailed snapshots of their times, unconventional, intensely readable, and devoid of heroes, villains, or pat solutions."

As Vin Packer, Meaker wrote the groundbreaking romance novel *Spring Fire*, published in 1952, which along with Tereska Torres' *Women's Barracks* is credited with launching the genre of lesbian "pulp" fiction. *Spring Fire* was a response to the immense success of the 1950 Torres novel, which sold 4.5 million copies. Eager to continue their financial success, editor Dick Carroll asked Meaker to write a book with a lesbian theme. Her original story idea involved a romance between two students of a boarding school, but editor Dick Carroll asked her to change it to sorority sisters because the boarding school setting was too risky. "He said, 'Well, it has to be a sorority, because a boarding school is too young.' He added, 'Make sure that these girls turn away from homosexuality because it is immoral, don't just have them talk about it being a hard life. We have to pass postal inspection.'" Writer Ann Bannon has credited her beginnings as an author of lesbian fiction to discovering the Vin Packer novels in the 1950s. The response to *Spring Fire* was beyond all Meaker's and Gold Medal Books' expectations. Meaker states she got "boxes of mail" from women who were thrilled to see a book that addressed a lesbian relationship; gay audiences weren't considered a market at this time.

Paperback novels were rarely reviewed by mainstream literary reviews, but a Packer novel titled, *Come Destroy Me* was noticed by *The New York Times* crime-fiction reviewer Anthony Boucher. Meaker said, "I decided then and there that I would never write an ordinary story again; that if I was writing for paperback, I would write suspense because I wanted the reviews." Soon after editor Dick Carroll from Gold Medal Books died, Meaker stopped writing as Vin Packer.

### Ann Aldrich

Meaker used the pseudonym Ann Aldrich for a series of five books published as paperback originals, but which were in fact nonfiction works. She read Donald Webster Cory's book *The Homosexual in America*, which was a nonfiction book about gay men. Noticing there was nothing similar for lesbians, Meaker used her own observations of lesbians and the lives of lesbians that included *We Walk Alone* in 1955, *We, Too, Must Love* in 1958, *Carol in a Thousand Cities* in 1960, *We Two Won't Last* in 1963, and *Take A Lesbian To Lunch* in 1972. The Feminist Press re-released *We Walk Alone* and *We, Too, Must Love* in 2007. Meaker said of this series, "The Aldrich books were more like resource books. A lot of the mail I got was from people wanting to know where the bars were in New York, where they could live, where I had lived. You know, they wanted to know how to get to New York and how to get to these bars."

In an interview with the *Lambda Book Report* in 2005, Meaker reflected on the impact of her books as Ann Aldrich, saying, "I honestly never thought about anything except people like me buying the book. I never thought of us having any entitlement or any importance; it just never dawned upon me. If somebody had showed me the \[gay couples in the\] wedding pages of *The New York Times*, which was awaiting us in the future, I wouldn't have believed it. I thought books were important, but these were paperbacks and so I didn't think they would last any longer than the paper that they were printed on." These books proved to be controversial when released. Books by Ann Aldrich were not overly sympathetic toward lesbians as a group, and they caused some consternation when being discussed by the Daughters of Bilitis. Ann Aldrich and the contributors to *The Ladder* took potshots at each other in print; once, a contributor to *The Ladder* accused Aldrich of being Ann Bannon, stating she expressed self-loathing in her writings. In 1970, Gene Damon of *The Ladder* referred to Meaker as "the evil genius" for her excellent writing about unpleasant and unsatisfactory lesbian themes.

### M. E. Kerr

Meaker was persuaded to try young adult fiction at the suggestion of author Louise Fitzhugh (*Harriet the Spy*), and chose to do so after reading Paul Zindel's *The Pigman*. She chose the pen name M. E. Kerr, as a phonetic play on her last name. Although the audience was different from Vin Packer's, Kerr's approach to her stories and characters seemed to vary little. She still addressed topics not usually covered by children's books: racism, AIDS, homosexuality, absent parents, social class differences, and her characters still had problems that had no easy solutions. She said of this direction, "I tend to write about people who struggle, who try to overcome obstacles, who usually do, but sometimes not. People who have all the answers and few problems have never interested me, not to write about, not to befriend." Kerr's books addressed functions and dysfunctions in relationships between parents and children, teachers and students, friends, and she often wrote about first loves.

Kerr's first attempt was extremely successful. *Dinky Hocker Shoots Smack!* was published in 1972 and was about an overweight girl whose mother is so preoccupied with assisting people addicted to drugs that she virtually ignores her own daughter. It was listed by the *School Library Journal'*s 20th century 100 most significant books for children and young adults. The story was inspired by a class Meaker taught by going into high schools and talking to students about writing. One overweight girl wrote stories Meaker characterized as "really grotesque"; when her mother, a local do-gooder, found out Meaker was encouraging her, she complained that Meaker was trying to get her daughter to "write weird." The novel would later be turned into an *ABC Afterschool Special* (as "Dinky Hocker)" in 1979 with Wendie Jo Sperber in the title role.

*Is That You, Miss Blue?*, published in 1975, involves a girl in a Virginia Episcopal boarding school who develops a crush on her religiously devout teacher. Kerr modeled the story on her own experiences in boarding school when she developed a crush on one of her own teachers.

1978's *Gentlehands* is about a young man who becomes involved with a young woman from a much wealthier family. When he tries to get to know his estranged grandfather, he learns that the man was a Nazi who killed Jews at Auschwitz. The premise for the book, stated Kerr, was, "I wanted to provoke the idea of what if you meet a nice guy, a really nice man, and what if you find out that in his past he wasn't such a nice man? How would you feel?"

In 1994's *Deliver Us From Evie*, 16-year-old Parr tells the story of his 18-year-old sister Evie's relationship with another girl and also of his own interest in a girl whose family rejects homosexuality as immoral. Kerr again addressed homosexuality in 1997's *"Hello," I Lied*, about a young man who finds himself pulled in multiple directions.

### Mary James

In the 1990s, Meaker added the pen name Mary James for a series of novels aimed at readers younger than the Kerr readership; it was not until 1994, after the publication of the third Mary James novel, that the covers indicated that the author was also known as M. E. Kerr. Mary James books include *Shoebag*, *The Shuteyes*, *Frankenlouse* and *Shoebag Returns*.

Meaker gave advice in an interview for any aspiring writer, from her own experience: "I would tell aspiring writers to read. Read, read, read, read ... Read the kind of books you'd like to write. Study your competition, see how they do it. Go away to college, or to work or whatever. See some of the world away from where you live. Try to join or start a writers' group where everyone shares what they're working on."

## Impact and legacy

Meaker, along with Torres, is credited with creating the lesbian pulp fiction subgenre. She is named by literary scholar Yvonne Keller as one of a small group of writers whose work formed the subgenre of "pro-lesbian" pulp fiction; others include Ann Bannon, Sloane Britain, Paula Christian, Joan Ellis, March Hastings, Marjorie Lee, Della Martin, Rea Michaels, Claire Morgan, Randy Salem, Artemis Smith, Valerie Taylor, Torres, and Shirley Verel.

## Personal life and death

In her early life, Meaker admits to dating men because it was expected of her. She said of meeting the expectations of her family and friends despite knowing she was a lesbian: "I dealt with it by playing the game: dating, going steady with a serviceman I really liked, but not 'that way' and in general coping as we all had to do by behaving like everyone else."

Meaker was involved romantically with author Patricia Highsmith for two years. She wrote about this relationship in the 2003 nonfiction memoir, *Highsmith: A Romance of the 1950s,* and discussed it and her own pulp fiction novels in interviews around the time of the book's release. Meaker explained her reasons behind writing about their relationship: "I knew Pat when she was young and not yet so jaded and bigoted. The internet is filled with stories of her meanness, and prejudice, and also of her introversion, of her being a loner. I met that Pat many years after we broke up."

As of 2006, Meaker was living in East Hampton, New York, where she taught writing classes at the Ashawagh Hall Writers' Workshop. Her workshop experiences led to the nonfiction instructional book, *Blood on the Forehead: What I Know About Writing* (1998).

Meaker died of cardiopulmonary arrest at her home in Springs, New York, on November 21, 2022, at the age of 95.

## Awards

The Golden Crown Literary Society awards a Trailblazer Award each year to one author for groundbreaking works in the field of lesbian literature. Meaker won the award in 2013 and joined the likes of Ann Bannon, Sarah Aldridge, Jane Rule, Ellen Hart, and many others as guiding lights of lesbian literature.

The ALA Margaret A. Edwards Award recognizes one writer and a particular body of work for "significant and lasting contribution to young adult literature". Meaker won the annual award in 1993 as M.E. Kerr, citing four books published from 1972 to 1986: *Dinky Hocker Shoots Smack!* (Kerr's debut novel), *Gentlehands*, *Me Me Me Me Me: Not a Novel*, and *Night Kites*(‡). The young-adult librarians called her "a pioneer in realistic fiction for teenagers. Her characters and plots often deal with ordinary teenagers who, faced with extraordinary situations and events, must make tough choices."

Meaker received other lifetime achievement awards from Publishing Triangle in 1998 (Bill Whitehead Award), the New York State Library Association in 1999 (Knickerbocker Award) and the Assembly on Literature in 2000 (Adolescents Award).

*Dinky Hocker Shoots Smack!* (1972) ‡

* Selected one of the *School Library Journal* 20th-century 100 most significant books for children and young adults
* Maxi Award, Media and Methods magazine, 1974
* Best of the Best Books (Young Adult) 1970–1983, American Library Association
* Best Children's Books of 1972, *School Library Journal*
* ALA Notable Children's Books of 1972

*If I Love You, Am I Trapped Forever?*

* Children's Spring Book Festival honor book
* *Washington Post* Book World
* Children's Book of the Year designation, Child Study Association, 1973

*Gentlehands* (1978) ‡

* Christopher Award, 1978
* Book of the Year Award, *School Library Journal*, 1978
* Named one of the Best Books for the Teen Age, New York Public Library, 1980 and 1981

*Little Little*

* Golden Kite Award, Society of Children's Book Writers, 1981

*Me Me Me Me Me: Not a Novel* (1983) ‡

*Him She Loves?*

* Emphasis on Reading Award, 1985

*Fell Back*

*Night Kites* (1986) ‡

* California Young Reader Medal, 1992

*Deliver Us from Evie*

*Slap Your Sides*

* New York Public Library Books for the Teen Age listee, 2002
* Oklahoma Library Association Young Adult Book Award nominee

## Published works

### Short stories

* "Devotedly, Patrick Henry Casebolt" 1951 as Laura Winston in *Ladies' Home Journal*
* "Hot Snow" by Vin Packer in the January 1956 issue of *Justice Magazine*
* "Only the Guilty Run" by Vin Packer in *Some Things Weird and Wicked*, edited by Joan Kahn and published by Pantheon in 1976
* "Jimmy from Another World" by Vin Packer in *Cosmopolitan's Winds of Love*, published by Cosmopolitan Books in 1975
* "Do You Want My Opinion?" 1984 in *Sixteen: Short Stories by Outstanding Writers for Young Adults*
* "The Sweet Perfume of Good-bye" 1988 in *Visions: Nineteen Short Stories by Outstanding Writers for Young Adults*
* "Sunny Days and Sunny Nights" 1989 in *Connections: Short Stories by Outstanding Writers for Young Adults*
* "Son of One Eye" 1989 in *Scope*
* "The Author" 1992 in *Funny You Should Ask: The Delacorte Book of Original Humorous Short Stories*
* "We Might as Well All Be Strangers" 1994 in *Am I Blue? Coming Out from the Silence*
* "The Green Killer" 1995 in *Bad Behavior*
* "Like Father, Like Son" 1995 in *Scope*
* Foreword 1997 in *Hearing Us Out : Voices from the Gay and Lesbian Community* by Roger Sutton
* "I Will Not Think of Maine" 1998 in *Dirty Laundry: Stories About Family Secrets*
* "Guess Who's Back in Town, Dear?" 1999 in *Stay True : Short Stories for Strong Girls*
* "Grace" 2000 in *I Believe in Water: Twelve Brushes With Religion*
* Contributor to *33 Things Every Girl Should Know : Stories, Songs, Poems and Smart Talk by 33 Extraordinary Women*
* "Great Expectations" 2001 in *On the Fringe*
* "Hearing Flower" 2004 in *Face Relations: Eleven Stories about Seeing Beyond Color*

## Further reading

* Gross, Terry. "Interview with Marijane Meaker." Fresh Air, June 19, 2003.
* Parks, Joy. "The Book That Sparked the Fire." Review of the new edition of *Spring Fire*, a 1952 novel by Marijane Meaker, writing as Vin Packer.
* Meeker, Martin. *Contacts Desired: Gay and Lesbian Communications and Community, 1940s–1970s.* Archived 2006-12-11 at the Wayback Machine University of Chicago Press, 2006.
* Meaker, Marijane. Introduction. *Spring Fire*. Written by Vin Packer. Cleis Press, 2004.
* A summary of a joint talk given by Marijane Meaker and Ann Bannon in June 2004
* Breen, Jon L.: The Novels of Vin Packer, in: Murder Off the Rack: Critical Studies of Ten Paperback Masters, ed. by Jon L. Breen and Martin Harry Greenberg, Metuchen, N.J., London 1989, pp. 55–69.
* Day, Frances Ann (2000). Lesbian and Gay Voices: An Annotated Bibliography and Guide to Literature for Children and Young Adults. Greenwood Press. pp. 201–205. ISBN 0-313-31162-5.

## InfoBox

| Marijane Meaker | |
| --- | --- |
| Meaker in 2007 | |
| Born | (1927-05-27)May 27, 1927
Auburn, New York, U.S. |
| Died | November 21, 2022(2022-11-21) (aged 95)
Springs, New York, U.S. |
| Pen name | * Ann Aldrich * M. E. Kerr * Mary James * Vin Packer * Laura Winston |
| Occupation | Writer |
| Genre | Mystery fiction, lesbian pulp fiction, young adult fiction |
| Subject | Resources for lesbians |
| Notable awards | Margaret A. Edwards Award
1993
 |
| Website | |
| www.mekerr.com | |


title: Fish Out of Water (Ash Grunwald album)

abstract: Fish Out of Water is the fourth studio album by Australian blues musician Ash Grunwald. It was released in August 2008, peaking at number 43, becoming Grunwald's first album to peak inside the ARIA Charts top 50. At the ARIA Music Awards of 2009, the album was nominated for Best Blues and Roots Album. At the APRA Awards of 2010 "Breakout" won "Blues & Roots Work of the Year"

text:
# Fish Out of Water (Ash Grunwald album)

***Fish Out of Water*** is the fourth studio album by Australian blues musician Ash Grunwald. It was released in August 2008, peaking at number 43, becoming Grunwald's first album to peak inside the ARIA Charts top 50.

At the ARIA Music Awards of 2009, the album was nominated for Best Blues and Roots Album.

At the APRA Awards of 2010 "Breakout" won "Blues & Roots Work of the Year"

## Background and release

Ash Grunwald attended a label-initiated songwriters day at Michael Gudinski's house in Victoria's Macedon Ranges and was teamed with hip-hop artist, Pip Norman (from TZU) and the duo wrote the album's title track, described by Shane Fowles from The Standard as "an uplifting blues gospel tune", in a day.

Grunwald said "It's a songwriting exercise that Mushroom put on with their songwriters, they do it every couple of years and it's a bit of a tradition out at Gudinski's house. You get there early and they make breakfast for you, everything is taken care of, and I turned up there and Pip and I just started jamming. He made this beat on his laptop and I played my guitar, and that became the song "Fish Out of Water." Grunwald asked Norman to write more with him and sharing credits on five tracks and production co-credit.

## Reception

Shane Fowles from The Standard said "Like a merging of the old and the new, the result \[of the co-producing by Grunwald and Norman\] is a melding of blues bass-lines, ripping riffs and hip-hop influenced backbeats." adding "There are grunge elements on opener 'Can U Find a Way', smooth funk on 'Get What You Want' and some soulful, acoustic numbers that temper the digital assault. Grunwald loses the annoying air of earnestness to show that modern-day blues can do more than tip the hat to the old masters."

Andrew Rudge from The Dwarf said "There is a range of styles in the songs on this album from the chain gang industrial sound of 'Can U Find a Way' to the slow acoustic gospel of 'Give Something Away', sung with a preachers desperation. There is range of emotions in the songs too, from the fast paced fun and funk of 'Mojo' to the dark relationship regrets within 'The Devil Called Me a Liar'."

## Track listing

Standard edition
| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Can U Find a Way" | Ash Grunwald | 4:07 |
| 2. | "Mojo" | Grunwald, Pip Norman | 3:14 |
| 3. | "Fish Out of Water" | Grunwald, Norman | 3:28 |
| 4. | "Give Something Away" | Grunwald | 3:07 |
| 5. | "The Devil Called Me a Liar" | Grunwald | 4:09 |
| 6. | "Joke On Me" | Grunwald, Norman | 3:11 |
| 7. | "Breakout" | Grunwald | 4:27 |
| 8. | "Working Hard" | Grunwald | 2:32 |
| 9. | "The Bottle" | Grunwald | 3:58 |
| 10. | "Get What You Want" | Grunwald, Mark Pearl, Norman | 3:10 |
| 11. | "Port Campbell" | Grunwald | 5:36 |
| 12. | "Shake" | Grunwald | 4:07 |

## Charts

| Chart (2008) | Peak
position |
| --- | --- |
| Australian Albums (ARIA) | 43 |
|

## Release history

| Region | Date | Format | Edition(s) | Label | Catalogue |
| --- | --- | --- | --- | --- | --- |
| Australia | August 2008 |  | Standard | Delta Groove | DG04 |
| | 22 February 2019 | * CD * Digital Download * Streaming | Reissue | Bloodlines Records | BLOOD36 |

## InfoBox

| Fish Out of Water | |
| --- | --- |
|  | |
| Studio album by Ash Grunwald | |
| Released | August 2008 (2008-08) |
| Studio | The Container, Delta Groove HQ |
| Genre | Blues Music, rock |
| Label | Delta Groove |
| Producer | Countbounce (aka Pip Norman), Ash Grunwald |
| Ash Grunwald chronology | |
| *Live from the Factory*
(2008) ***Fish Out of Water***
(2008) *Live at the Fly by Night*
(2010) | |


title: Fish Out of Water (video game)

abstract: Fish Out of Water is a 2013 action game developed by Australian game developer Halfbrick Studios for iOS and Android.

text:
# Fish Out of Water (video game)

***Fish Out of Water*** is a 2013 action game developed by Australian game developer Halfbrick Studios for iOS and Android.

## Gameplay

The player throws three fish (or rather fish and mammals) from a selection of 6 one at a time. Each fish has a unique optimal way to throw. After three fish are thrown, a panel of 5 crabs judge the player on a scale of 1 to 10. There is a boost bar which allows the player to increase the velocity of the fish being thrown and boosting units floating on the game field, named *boosties* in-game, that will be collected if a swimmer comes close to them. There are also achievements to be completed.

## Availability

The game was removed from the App Store and Google Play as of February 2020. According to Halfbrick, this was due to the game "not \[meeting\] the legal requirement of recent legislation changes," although they did not specify which changes they were referring to. It was revealed on 25 January 2023 that the game would become available to download again later that same year. As of July 2023, *Fish Out of Water* was made available again as part of a Halfbrick+ sign-up service.

## Reception

The iOS version received "average" reviews according to the review aggregation website Metacritic. *Gamezebo* praised the "great presentation" and the quirky personality of the fish and judges, and stated that the iOS version is "easy to pick up" while criticizing the limited replay value and the missions/objectives getting repetitive after a while. *IGN* called the same iOS version as not having "that same finger-licking, addictive goodness found in Halfbrick's previous hits *Jetpack Joyride* or *Fruit Ninja*."

*Common Sense Media* gave the iOS version all five stars, saying, "With a very basic gameplay mechanism, it's a great example of something that's easy to learn but difficult to master." However, *Digital Spy* gave it three stars out of five, saying that it was "still a fun pick up and play game, but after five minutes you have essentially seen everything the game has to offer. Like the game's title, Halfbrick may have stepped out of its natural element with this game, and the result is gasping desperately for air." *National Post* gave it a similar score of six out of ten, saying, "Halfbrick has proven in the past that less can be more, but they seem to have forgotten that without careful planning and a brilliant idea it also risks being less."

## InfoBox

| Fish Out of Water | |
| --- | --- |
|  | |
| Developer(s) | Halfbrick Studios |
| Publisher(s) | Halfbrick Studios |
| Platform(s) | iOS, Android |
| Release | **iOS**  * 10 April 2013 * 26 June 2023 (*Re-release*)  **Android**<br>* 11 July 2014 * July 2023 (*Re-release*) |
| Genre(s) | Action game |
| Mode(s) | Single-player |


title: The Red Strokes

abstract: "The Red Strokes" is a single by country music artist Garth Brooks from his album, In Pieces. While only charting on the country charts in the U.S. (#49) and Canada (#38) as an album cut, it became one of his most popular songs in the United Kingdom, peaking at #13. This song has not been featured on any of Brooks's greatest hits albums in the United States. However, the dramatic ACM award-winning music video, regarded as one of the most memorable in country music history, was included in The Entertainer DVD box set.

text:
# The Red Strokes

"**The Red Strokes**" is a single by country music artist Garth Brooks from his album, *In Pieces*. While only charting on the country charts in the U.S. (#49) and Canada (#38) as an album cut, it became one of his most popular songs in the United Kingdom, peaking at #13. This song has not been featured on any of Brooks's greatest hits albums in the United States. However, the dramatic ACM award-winning music video, regarded as one of the most memorable in country music history, was included in *The Entertainer* DVD box set.

## Music video

The music video was directed by Jon Small, and premiered on CMT on November 19, 1994, as their "Hot Shot Video of the Week". The video opens with an all-white room. As the song starts, Brooks is shown rising out of the floor from a red puddle like its water in an all-white suit and barefoot sitting at a white piano. As the music builds up, the different colors of paint represented, such as red, blue, and green, are splashed across him, and the piano. During the guitar solo, another Brooks is standing over the first Brooks on the piano wearing a black and red outfit. At the end of the song, Brooks goes back to an all-white scene, singing "Steam on a window, salt in a kiss/Two hearts have never pounded like this", with the fade out done as red paint (the only shot digitally inserted) runs down the screen.

The overhead shots and the shots of blue on the hands and green on the feet were done by David Gant, the piano and fiddle player for Brooks's tour band. The piano rising from the puddle was not done with digital enhancement. It's actually the video they shot (piano going down into the paint) playing in reverse. Vince Montefusco, mechanical & explosives special effects expert, designed and built the hydraulic rig. He was also involved with some of the directing of this dangerous stunt. Brooks did all the opening motions backwards and Vince lowered him into the pit. There was a safety medical team standing by in case the hydraulic rig failed to lift him out of the pit.

Montefusco was also responsible for the mud-based red paint used in the video. According to Brooks on his "Video Collection Volume II" VHS, it took two days to shoot the opening scene alone due to the paint itself. 35 gallons of red paint were used during the entire shoot, a majority of it for the opening scene alone. When the piano was lowered the first time, they filled up the pit with straight up paint. Due to the thickness of the paint, the lowering mechanism stuck and stopped out. Brooks noted he was grateful it stopped out because he started having hypothermia due to the paint being cold from having been stored outside the previous night. Brooks later commented on the danger posed by the extremely cold paint, saying, “We actually tried it the first day and what happened was the piano got about halfway down into the paint and totally stopped out because we were using all paint at that time, so it was too thick, so the lowering device wouldn't let the piano go down. Also, the worst thing about it was the paint was freezing cold, they had stored it outside the night before, so it was about 40 or 50 degrees. So, when I hit the paint, the whole just was we were going under and holding our breath for 5 seconds and they were lifting the canopy back up where we could breathe. Well, as I started going down, I started hyperventilating because it was so cold, so I thought that was the last anybody was gonna see of me, and I still think it was the hand of God today that stopped that piano from going down and I was really happy it did. So, the next day when we shot it, the paint was warm, it was thinned out, it was just like diving into a pool, and it was a lot better the second day and i'm real thankful it turned out the way it did.”

After thinking over it overnight and pitching the idea to Small, Montefusco and his team returned and thinned out the paint by adding a 35-gallon mixture of mud and water to the paint, not only giving them more fluid to work with but also warming it up in the process. According to Garth "it was like diving into a pool". For the final line of the bridge, the initial blast of red paint from overhead is done by a fire hose and Vince Montefusco's special effects team. If slowed down enough, the scene itself is revealed to be two different shots in one. Right after the initial blast is done by the hose, when slowed frame by frame, Garth getting dumped on by two buckets (off camera) of red paint is not done in the same shot as the fire hose.

"Red Strokes" won the 1994 Music Video of the Year Award at the ACMs, which, according to Brooks on his "Video Collection Volume II" VHS, was plaqued up and shipped to David Gant for his work on the video and the extra effort he put into it.

The music video was parodied in The Warren Brothers' music video for "Sell a Lot of Beer".

## Release notes

In the United Kingdom, "The Red Strokes" was released as a two-part single. Both parts containing the song as well as other songs from previous albums. Part two was released one week after part 1 and contained an interview with Brooks.

## Track listing

**7" Jukebox single** Liberty S7-18554, 1993

1. "The Red Strokes" – 3:43
2. "Burning Bridges"

**UK CD single** Capitol PM515, 1993
**Part 1**

1. "The Red Strokes"
2. "Ain't Goin' Down (Til the Sun Comes Up)"
3. "The Dance"
4. "That Summer"

**Part 2**

1. "The Red Strokes"
2. "Friend in Low Places"
3. "Every Now and Then"
4. Interview

**UK Cassette single** Liberty TC-CL 704, 1993
**Sides 1 & 2**

1. "The Red Strokes"
2. "Ain't Goin' Down (Til the Sun Comes Up)"

**Dutch CD single** Liberty 7243 8 81127 2 7, 1993

1. "The Red Strokes" – 3:44
2. "Ain't Goin' Down (Til the Sun Comes Up)" – 4:31
3. "The Dance" – 3:41
4. "That Summer" – 4:47

## Chart positions

| Chart (1994–1995) | Peak
position |
| --- | --- |
| Canada Country Tracks (*RPM*) | 38 |
| Europe (Eurochart Hot 100) | 32 |
| Irish Singles Chart | 7 |
| New Zealand Singles Chart | 34 |
| UK Singles Chart | 13 |
| US Hot Country Songs (*Billboard*) | 49 |

## InfoBox

| "The Red Strokes" | |
| --- | --- |
|  | |
| Single by Garth Brooks | |
| from the album  *In Pieces* | |
| B-side | "Burning Bridges" |
| Released | November 15, 1994 |
| Studio | Jack's Tracks (Nashville, Tennessee) |
| Genre | Country |
| Length | 3:44 (album version) |
| Label | Liberty |
| Songwriter(s) | James Garver, Lisa Sanderson, Jenny Yates, Garth Brooks |
| Producer(s) | Allen Reynolds |
| Garth Brooks singles chronology | |
| "Callin' Baton Rouge"
(1994) "**The Red Strokes**"
(1994) "She's Every Woman"
(1995) | |
|  | |
| Part 2 Cover | |
|  | |
|  | |
|  | |
|  | |


title: Fine Prints of the Year

abstract: Fine Prints of the Year was an annual series of books that reported and discussed the etchings, engravings, woodcuts and lithographs published each year between 1923 and 1938 by major artists of the period. All volumes reproduced in monochrome on high quality glossy paper a selection of about 100 limited edition prints published during the preceding year. The series provides an important record of the work of artists in the last years of the etching revival and during the collapse of the market for prints.

text:
# Fine Prints of the Year

***Fine Prints of the Year*** was an annual series of books that reported and discussed the etchings, engravings, woodcuts and lithographs published each year between 1923 and 1938 by major artists of the period. All volumes reproduced in monochrome on high quality glossy paper a selection of about 100 limited edition prints published during the preceding year. The series provides an important record of the work of artists in the last years of the etching revival and during the collapse of the market for prints.

## History

The first volume of *Fine Prints of the Year* was published in London in 1924 by Halton and Truscott Smith as a review of the prints issued during the year up to October, 1923. The volume reproduced 150 etchings, drypoints, lithographs or woodcuts by major British and American printmakers of the day such as Stanley Anderson, Frank Benson, Edmund Blampied, Frank Brangwyn, Gerald Brockhurst, F.L. Griggs, Childe Hassam, James McBey, Henry Rushbury, Frank Short and William Walcot as well as the work of many artists whose work is less well known. Some copies of volume two, for the year 1924, contained as a frontispiece an unsigned, original etching by Frank Brangwyn. From the third volume *Fine Prints of the Year* was also published in the USA by Minton, Balch and Company of New York.

The first 13 volumes, from 1923 to 1935, contained an introductory essay by Malcolm Salaman, an art critic and Honorary Fellow of the Royal Society of Painter-Etchers and Engravers, now the Royal Society of Painter-Printmakers. From 1936 to 1938 the introduction was provided by Campbell Dodgson, who was Keeper of Prints and Drawings at the British Museum. From 1926 to 1930 each volume contained a short introduction to American prints by Helen Fagg; from 1931 to 1934 the introduction was written by Susan A. Hutchinson.

From the second volume, published in 1924, the series also published a directory of the publishers of prints and a directory of the name and address of the etchers, engravers and lithographers then working in Great Britain, France, the United States of America and elsewhere with the titles, dimensions, publishers and sometimes with the prices of the prints designed or released by each artist during the previous year. This constitutes an important record of the work of many artists which, until the print boom ended in around 1930, were seen as an investment and were the subject of substantial trading and inflated prices. For example, an etching entitled *Mersea, Sunset* by James McBey, whose work was highly sought after in the 1920s, was issued to subscribers in an edition of 76 artist's proofs in 1926 at a price of 10 guineas. A proof of this print from the edition of 76 was sold at auction at Sotheby's in December of the same year for just under 105 guineas, a ten times higher price.

The Wall Street Crash in the USA and the worldwide Great Depression greatly diminished the market for prints, but many artists continued to design plates, though fewer in number, in smaller editions and at lower prices, as the volumes of *Fine Prints of the Year* between 1930 and 1938 show. For example, the artist Edmund Blampied issued 76 etchings between 1920 and 1929, typically in editions of 100 proofs, but in the following decade only published 23 etchings, some in editions of less than 50 proofs.

*Fine Prints of the Year* continued as a record of the work of etchers and engravers until the sixteenth and last annual volume for 1938, just before the start of the Second World War in Europe brought about rationing of paper and presumably put an end to the series. The 16 volumes published in the series reproduced over 1,700 prints and remains an important visual and factual record of the work of etchers and engravers, many of whom were once well known and whose prints commanded high prices.

1. Salaman, M.C., editor (1924). *Fine Prints of the Year 1923. An annual review of Contemporary Etching and Engraving*, Volume 1. London: Halton & Truscott Smith Limited
2. Salaman, M.C., editor (1925). *Fine Prints of the Year 1924. An annual review of Contemporary Etching and Engraving*, Volume 2. London: Halton & Truscott Smith Limited
3. Salaman, M.C., editor (1926). *Fine Prints of the Year 1925. An annual review of Contemporary Etching and Engraving*, Volume 3. London: Halton & Truscott Smith Limited; New York: Minton, Balch & Company
4. Wilder, F.L. & Wilder, E.L. (1928). *Print Prices Current*, volume 9, October 1926-August 1927. London: F.L. & E.L. Wilder.
5. Hall, A. (2010). *Edmund Blampied. An illustrated life*. Pp 272. Jersey: Jersey Heritage. ISBN 978-0-9562079-2-0
6. Dodgson, C., editor (1938). *Fine Prints of the Year 1938. An annual review of Contemporary Etching and Engraving*, Volume 16. London: Halton & Truscott Smith Limited; New York: Minton, Balch & Company

## InfoBox

Fine Prints of the Year. An Annual Review of Contemporary Etching and Engraving
| Author | Malcolm Charles Salaman 1923-1935; Campbell Dodgson 1936-1938 |
| --- | --- |
| Country | Great Britain and U.S.A. |
| Language | English |
| Publisher | London: Halton & Truscott Smith (1923-1938); New York: Minton, Balch & Company (1925-1938) |
| Published | 1923-1938 |
| No. of books | 16 annual volumes |


title: Mark Bowick

abstract: Mark John Bowick is a theoretical physicist in condensed matter theory and high energy physics. He is the deputy director of the Kavli Institute for Theoretical Physics at the University of California, Santa Barbara, and a Visiting Distinguished Professor of Physics in UCSB's Physics Department.

text:
# Mark Bowick

**Mark John Bowick** (born 1957) is a theoretical physicist in condensed matter theory and high energy physics. He is the deputy director of the Kavli Institute for Theoretical Physics at the University of California, Santa Barbara, and a Visiting Distinguished Professor of Physics in UCSB's Physics Department.

## Early life and education

Bowick was born in Rotorua, New Zealand, and earned his bachelor's degree, B.Sc. (Hons.), at the University of Canterbury in Christchurch. In 1983, he received his Ph.D. in theoretical physics from the California Institute of Technology, where he held an Earle C. Anthony Graduate Fellowship.

## Professional career

Bowick then spent three years at Yale University as the research associate of their Sloane Physics Lab's "Particle Theory Group," followed by a two-year postdoctoral position at the Center for Theoretical Physics, at MIT.

He was awarded first prize in the 1986 Gravity Research Foundation Essay Competition. In 1987, he joined the faculty of the physics department at Syracuse University, where he was granted an Outstanding Junior Investigator award, from the United States Department of Energy, for the years 1987 to 1994. At Syracuse, Bowick served as assistant and associate professor from 1987 to 1998, was promoted to full professor of physics in 1998, and went on to become director of the Soft Matter Program from 2011 to 2016.

In August 2016, the Kavli Institute for Theoretical Physics, at the University of California, Santa Barbara, invited Bowick to join as deputy director and visiting distinguished professor of physics.

## Research

Bowick's research interests include symmetry breaking, the interplay of order and geometry, topological defects, building blocks for supramolecular self-assembly, membrane statistical mechanics, shaped structures, and common themes in condensed matter and particle physics.

Since 2002, his career has been split between high-energy physics and condensed matter physics, with ongoing research support by the National Science Foundation.

## Honors and awards

Syracuse honored Bowick with two commendations: the Chancellor's Citation for Exceptional Academic Achievement in 2006, and the William Wasserstrom Prize for Excellence in Graduate Teaching and Advising in 2009. He was also named the Joel Dorman Steele Professor of Physics in 2013.

## Personal life

Bowick is married to theoretical physicist M. Cristina Marchetti. They have two adult children.

In 2016, while director of Syracuse University's Soft Matter Program, Bowick commissioned composer Andrew Waggoner to write music for their Active And Smart Matter Conference: A New Frontier for Science & Engineering. The world premiere of this eclectic composition, entitled *Hexacorda Mollia*, was performed by the JACK Quartet on June 22, 2016.

## Selected publications

## InfoBox

| Mark Bowick | |
| --- | --- |
| Bowick in 2018 | |
| Born | Mark John Bowick
1957
Rotorua, New Zealand |
| Citizenship | U.S. and New Zealand |
| Education | University of Canterbury (BSc)
Caltech (MSc, PhD) |
| Known for | Condensed Matter Theory and High Energy Theoretical Physics |
| Awards | Gravity Research Foundation Essay Competition (1986)
APS Fellow (2004)
AAAS Fellow (2022) |
| **Scientific career** | |
| Institutions | University of California, Santa Barbara
Syracuse University
MIT
Yale University |
| Thesis | *Radiative Mass Structure in Unified Models and Fermions in the Desert* (1983) |
| Doctoral advisor | Pierre Ramond |
|  | |
| Website | www.kitp.ucsb.edu/bowick |


title: Marius Diță

abstract: Marius Diță is a Romanian former professional footballer who played as a defender and midfielder. In his career Diță played in the Liga I for FC Argeș Pitești, but mainly in the Liga II and Liga III for teams such as FC Bihor Oradea, Dacia Mioveni, Gloria Bistrița, Universitatea Cluj or Atletic Bradu, among others.

text:
# Marius Diță

**Marius Diță** (born 15 August 1975) is a Romanian former professional footballer who played as a defender and midfielder. In his career Diță played in the Liga I for FC Argeș Pitești, but mainly in the Liga II and Liga III for teams such as FC Bihor Oradea, Dacia Mioveni, Gloria Bistrița, Universitatea Cluj or Atletic Bradu, among others.

## InfoBox

Marius Diță
| Personal information | | | |
| --- | --- | --- | --- |
| Date of birth | (1975-08-15) 15 August 1975 | | |
| Place of birth | Miroși, Romania | | |
| Height | 1.72 m (5 ft 8 in) | | |
| Position(s) | Right defender / Right midfielder | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 1995–1999 | Dacia Pitești | 130 | (12) |
| 2000 | Argeș Pitești | 3 | (0) |
| 2000–2001 | Politehnica Timișoara | 31 | (1) |
| 2002–2003 | FC Oradea | 22 | (0) |
| 2003–2004 | Dacia Mioveni | 15 | (0) |
| 2004 | Gloria Bistrița | 7 | (0) |
| 2005 | Oltul Slatina |  |  |
| 2005–2006 | Universitatea Cluj |  |  |
| 2006–2007 | Juventus București |  |  |
| 2010 | Girom Albota |  |  |
| 2011–2015 | Atletic Bradu |  |  |
| Total |  | **208+** | **(13+)** |
| \*Club domestic league appearances and goals, correct as of 2 October 2018 | | | |


title: First Ladies of Disco

abstract: First Ladies of Disco is an American girl supergroup originally composed of Martha Wash, Linda Clifford, and Evelyn "Champagne" King. The group was formed in 2015 by James Washington, Wash's manager. Their group name was inspired by James Arena's book First Ladies of Disco: 32 Stars Discuss the Era and Their Singing Careers (2013), which includes interviews from the individual members of the group. In March 2015, the First Ladies of Disco released their debut single "Show Some Love" on Wash's record label Purple Rose Records. A remix of the single peaked at number six on Billboard's Dance chart. In 2017, the group embarked on their first tour called "First Ladies of Disco Show". In December 2017, King left the group and was replaced with former Chic vocalist Norma Jean Wright in February 2018. In March 2019, the group released their second single "Don't Stop Me Now".

text:
# First Ladies of Disco

**First Ladies of Disco** is an American girl supergroup originally composed of Martha Wash, Linda Clifford, and Evelyn "Champagne" King. The group was formed in 2015 by James Washington, Wash's manager. Their group name was inspired by James Arena's book *First Ladies of Disco: 32 Stars Discuss the Era and Their Singing Careers* (2013), which includes interviews from the individual members of the group. In March 2015, the First Ladies of Disco released their debut single "Show Some Love" on Wash's record label Purple Rose Records. A remix of the single peaked at number six on *Billboard's* Dance chart.

In 2017, the group embarked on their first tour called "First Ladies of Disco Show". In December 2017, King left the group and was replaced with former Chic vocalist Norma Jean Wright in February 2018. In March 2019, the group released their second single "Don't Stop Me Now".

## Discography

### Singles

| Title | Year | Peak chart positions | | Album |
| --- | --- | --- | --- | --- |
| | | US
Dance
 | US
Electronic
 | |
| "Show Some Love" | 2015 | 6 | 45 | Non-album single |
| "Don't Stop Me Now" | 2019 | 9 | | 42 |

## Tours

* First Ladies of Disco Show (2017-2019)

## InfoBox

| First Ladies of Disco | |
| --- | --- |
| Origin | New York City, New York, U.S. |
| Genres |  |
| Years active | 2015-present |
| Labels | Purple Rose |
|  | |
| Members | Martha Wash
Linda Clifford
Norma Jean Wright |
|  | |
| Past members | Evelyn "Champagne" King |
|  | |
| Website | firstladiesofdiscoshow.com |


title: Marion Bay, South Australia

abstract: Marion Bay is a small township in the Australian state of South Australia at the southern tip of the Yorke Peninsula.

text:
# Marion Bay, South Australia

**Marion Bay** is a small township in the Australian state of South Australia at the southern tip of the Yorke Peninsula.

## Description

It is surrounded by beaches and is the gateway to the Dhilba Guuranda–Innes National Park. The close proximity of the beach and cliffs have popularized Marion Bay as a fishing destination, with Brown Beach in the nearby Innes National Park being particularly famous among recreational fisherman as a picturesque fishing destination.

## Water supply

In 2008, a desalination plant was commissioned to meet the water demands of the summer tourist season. A 60 kL/d sea water reverse osmosis plant now supplies the local caravan park, residents and businesses. The plant was commissioned in response to declining bore water quality and associated problems of corrosion. The plant was designed and constructed by Osmoflo.

## Governance

Marion Bay is located within the federal Division of Grey, the state electoral district of Narungga and the local government area known as the Yorke Peninsula Council.

Marion Bay features in Tricia Stringer's 2020 novel *The family inheritance*.

## Notes and references

## InfoBox

| Marion Bay
South Australia | |
| --- | --- |
| Jetty at Marion Bay | |
| Marion Bay | |
| Coordinates | 35°14′31″S 136°58′41″E / 35.241867°S 136.978179°E / -35.241867; 136.978179 |
| Population | 210 (SAL 2021) |
| Established | 1872 |
| Postcode(s) | 5575 |
| Location | 151 km (94 mi) SW of Adelaide |
| LGA(s) | Yorke Peninsula Council |
| Region | Yorke and Mid North |
| County | Fergusson |
| State electorate(s) | Narungga |
| Federal division(s) | Grey |
| **Mean max temp** **Mean min temp** **Annual rainfall**  20.3 °C
69 °F 13.0 °C
55 °F 432.8 mm
17 in | |
| **Localities around Marion Bay:**  *Spencer Gulf* White Hut Warooka  *Spencer Gulf*
Inneston Marion Bay Foul Bay  Inneston *Investigator Strait* *Investigator Strait* | |
| Footnotes | Location
Adjoining localities |


title: Osterbruch

abstract: Osterbruch is a municipality in the district of Cuxhaven, in Lower Saxony, Germany.

text:
# Osterbruch

**Osterbruch** is a municipality in the district of Cuxhaven, in Lower Saxony, Germany.

## History

Osterbruch belongs to the Land of Hadeln, first an exclave of the younger Duchy of Saxony and after its de facto dynastic partition in 1296 of the Duchy of Saxe-Lauenburg, established de jure in 1260. In 1728 Emperor Charles VI enfeoffed the George II Augustus and his House of Hanover in personal union with the reverted fief of Saxe-Lauenburg. By a redeployment of Hanoverian territories in 1731 the Hanoverian Duchies of Bremen and Verden were conveyed the administration of the neighboured *Land of Hadeln*. The Kingdom of Hanover incorporated the *Land of Hadeln* in a real union and its territory, including Osterbruch, became part of the new Stade Region, established in 1823.

## InfoBox

| Osterbruch | |
| --- | --- |
| Municipality | |
| Aerial view in 2011 | |
|  | |
| Location of Osterbruch within Cuxhaven district | |
| Osterbruch Osterbruch | |
| Coordinates: 53°46′38″N 08°56′26″E / 53.77722°N 8.94056°E / 53.77722; 8.94056 | |
| Country | Germany |
| State | Lower Saxony |
| District | Cuxhaven |
| Municipal assoc. | Land Hadeln |
| Government | |
| Mayor | Peter von Spreckelsen (SPD) |
| Area | |
| Total | 10.21 km2 (3.94 sq mi) |
| Elevation | 2 m (7 ft) |
| Population (2022-12-31) | |
| Total | 474 |
| Density | 46/km2 (120/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| Postal codes | 21762 |
| Dialling codes | 04751 |
| Vehicle registration | CUX |
| Website | www.Osterbruch.de |


title: Magdalena Decilio

abstract: Magdalena Decilio is a team handball player from Argentina. She defends Argentina, such as at the 2011 World Women's Handball Championship in Brazil and the 2013 World Women's Handball Championship in Serbia.

text:
# Magdalena Decilio

**Magdalena Decilio** (born 23 March 1983) is a team handball player from Argentina. She defends Argentina, such as at the 2011 World Women's Handball Championship in Brazil and the 2013 World Women's Handball Championship in Serbia.

## InfoBox

| Magdalena Decilio | | | |
| --- | --- | --- | --- |
| Personal information | | | |
| Born | (1983-03-23) 23 March 1983 | | |
| Nationality | Argentinian | | |
| Height | 1.73 m (5 ft 8 in) | | |
| Playing position | Pivot | | |
| Club information | | | |
| Current club | Estudiantes | | |
| National team | | | |
| Years | **Team** | **Apps** | **(Gls)** |
|  | Argentina | 89 | (110) |
| Medal record      Pan American Games  2003 Santo Domingo Team  2011 Guadalajara Team  2007 Rio de Janeiro Team | | | |


title: Ider, Alabama

abstract: Ider is a town in DeKalb County, Alabama, United States. At the 2020 census, the population was 735. It incorporated in October 1973.

text:
# Ider, Alabama

**Ider** is a town in DeKalb County, Alabama, United States. At the 2020 census, the population was 735. It incorporated in October 1973.

## Geography

Ider is located at 34°42′14″N 85°40′26″W / 34.70389°N 85.67389°W / 34.70389; -85.67389 (34.703941, -85.673983). The town is situated atop Sand Mountain, a few miles west of the Alabama-Georgia state line. Alabama State Route 75 and Alabama State Route 117 intersect in Ider.

According to the U.S. Census Bureau, the town has a total area of 5.4 square miles (14 km2), all land.

### Major highways

## Demographics

Historical population
| Census | Pop. | Note |  |
| --- | --- | --- | --- |
| 1970 | 379 |  |  |
| 1980 | 698 |  | 84.2% |
| 1990 | 671 |  | −3.9% |
| 2000 | 664 |  | −1.0% |
| 2010 | 723 |  | 8.9% |
| 2020 | 735 |  | 1.7% |
| U.S. Decennial Census
2013 Estimate | | | |

As of the 2010 census Ider had a population of 723. The racial and ethnic composition of the population was 93.2% non-Hispanic white, 0.6% black or African American, 4.0% Native American, 0.1% some other race, 2.1% from two or more races and 0.1% Hispanic or Latino or any race.

As of the census of 2000, there were 664 people, 282 households, and 192 families residing in the town. The population density was 122.2 people per square mile (47.2 people/km2). There were 310 housing units at an average density of 57.1 per square mile (22.0/km2). The racial makeup of the town was 96.39% White, 0.00% Black, 1.20% Native American, 0.45% from other races, and 1.96% from two or more races. 0.60% of the population were Hispanic or Latino of any race.

There were 282 households, out of which 28.7% had children under the age of 18 living with them, 56.4% were married couples living together, 7.4% had a female householder with no husband present, and 31.9% were non-families. 29.4% of all households were made up of individuals, and 13.1% had someone living alone who was 65 years of age or older. The average household size was 2.35 and the average family size was 2.91.

In the town, the population was spread out, with 23.5% under the age of 18, 6.5% from 18 to 24, 29.5% from 25 to 44, 24.4% from 45 to 64, and 16.1% who were 65 years of age or older. The median age was 39 years. For every 100 females, there were 96.4 males. For every 100 females age 18 and over, there were 94.6 males.

The median income for a household in the town was $27,563, and the median income for a family was $36,146. Males had a median income of $30,139 versus $21,875 for females. The per capita income for the town was $15,040. About 13.6% of families and 19.7% of the population were below the poverty line, including 18.5% of those under age 18 and 18.6% of those age 65 or over.

## Climate

| Climate data for Ider, Ala. | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Month | Jan | Feb | Mar | Apr | May | Jun | Jul | Aug | Sep | Oct | Nov | Dec | Year |
| Mean daily maximum °F (°C) | 48
(9) | 53
(12) | 61
(16) | 70
(21) | 77
(25) | 84
(29) | 88
(31) | 87
(31) | 82
(28) | 72
(22) | 61
(16) | 51
(11) | 70
(21) |
| Mean daily minimum °F (°C) | 26
(−3) | 28
(−2) | 35
(2) | 42
(6) | 52
(11) | 60
(16) | 65
(18) | 64
(18) | 57
(14) | 44
(7) | 36
(2) | 29
(−2) | 45
(7) |
| Average precipitation inches (mm) | 6.06
(154) | 5.62
(143) | 6.57
(167) | 4.73
(120) | 4.70
(119) | 4.33
(110) | 5.18
(132) | 3.49
(89) | 4.27
(108) | 3.29
(84) | 5.00
(127) | 5.12
(130) | 58.36
(1,483) |
| Source: Weather.com | | | | | | | | | | | | | |

## Education

### School

**Ider High School,** which is a member of the DeKalb County School System. For the 2024-2025 and 2025-2026 school years, Ider will be classified as a 1A school. The current Principal is Tyler Brooks.

### Library

**Ider Public Library** \- Located at 10808 AL HWY 75 The Ider Homemakers Club came up with the idea of creating a community library around 1994. The Ider City Council liked the idea and they facilitated the successful applications for county and state grants for funding the creation and operation of the new community facility. The regulations stated that someone with a degree in Library Science had to set up the library. Mrs. Virginia York had such a degree and volunteered many hours to organizing the library. Mrs. Virginia Adams was the first librarian. (Source of information: Louise S. Berry, Flat Rock, AL 2009)

## Culture and tourism

### Festivals

Ider annually holds a festival known as Mule Day. This festival is held on Labor Day each year. Mule Day activities include horse and mule pulls, an antique tractor and car show, food, arts and crafts, gospel singing, and children's games. Canceled as of 2017

### Parades

Ider hosts three annual parades.

* The Mule Day Parade takes place in September on Labor Day and coincides with the Mule Day festivities. Various community and Ider School organizations participate in the parade. Canceled as of 2017
* The Homecoming Parade usually takes place during the month of October. This parade kicks off celebrations centered on Ider High School's Homecoming football game.
* The Christmas Parade takes place every year in December. The Ider High School Band is part of the parade.

### Attractions

## Notable person

## InfoBox

| Ider, Alabama | |
| --- | --- |
| Town | |
| Town Hall in Ider | |
| Location of Ider in DeKalb County, Alabama. | |
| Coordinates: 34°42′14″N 85°40′26″W / 34.70389°N 85.67389°W / 34.70389; -85.67389 | |
| Country | United States |
| State | Alabama |
| County | DeKalb |
| Area | |
| Total | 5.43 sq mi (14.06 km2) |
| Land | 5.43 sq mi (14.06 km2) |
| Water | 0.00 sq mi (0.00 km2) |
| Elevation | 1,562 ft (476 m) |
| Population (2020) | |
| Total | 735 |
| Density | 135.38/sq mi (52.28/km2) |
| Time zone | UTC-6 (Central (CST)) |
| Summer (DST) | UTC-5 (CDT) |
| ZIP code | 35981 |
| Area code | 256 |
| FIPS code | 01-37312 |
| GNIS feature ID | 2405880 |


title: Turffontein Racecourse

abstract: Turffontein Racecourse is a race track in South Africa for Thoroughbred horse racing founded in 1887 at Turffontein, Gauteng by the Johannesburg Turf Club. The facility has both an inner and outer grass track. The racecourse is host to the Group One South African Derby and November's Summer Cup. Turffontein is widely acknowledged as a true test of stamina for races contested around the bend due to the climb from the 1200 metre mark to the final turn.

text:
# Turffontein Racecourse

**Turffontein Racecourse** is a race track in South Africa for Thoroughbred horse racing founded in 1887 at Turffontein, Gauteng by the Johannesburg Turf Club. The facility has both an inner and outer grass track.

The racecourse is host to the Group One South African Derby and November's Summer Cup.

Turffontein is widely acknowledged as a true test of stamina for races contested around the bend due to the climb from the 1200 metre mark to the final turn.

## InfoBox

Turffontein Racecourse
|  | |
| --- | --- |
| Location | Johannesburg, South Africa |
| Coordinates | 26°14′17″S 28°2′49″E / 26.23806°S 28.04694°E / -26.23806; 28.04694 |


title: Thomas Gould Jr. House

abstract: The Thomas Gould Jr. House is a historic house located at 402 Lynn Drive in Ventura, California. Architect Henry Mather Greene designed the American Craftsman style California bungalow, which was built in 1924. The house is considered one of the best examples of Henry Greene's independent work; most of his other designs were created alongside his brother Charles as Greene & Greene. The two-story house has a wood frame and redwood siding and window casings. The gable roof features truncated ends and a small gable on the front side which resembles a dormer. The house's interior decorations include ceiling moldings, a leaded glass china cabinet, and a carved mirror, the latter being the only piece of furniture designed by Greene himself. The historic residence was listed on the National Register of Historic Places in 2005.

text:
# Thomas Gould Jr. House

The **Thomas Gould Jr. House** is a historic house located at 402 Lynn Drive in Ventura, California. Architect Henry Mather Greene designed the American Craftsman style California bungalow, which was built in 1924. The house is considered one of the best examples of Henry Greene's independent work; most of his other designs were created alongside his brother Charles as Greene & Greene. The two-story house has a wood frame and redwood siding and window casings. The gable roof features truncated ends and a small gable on the front side which resembles a dormer. The house's interior decorations include ceiling moldings, a leaded glass china cabinet, and a carved mirror, the latter being the only piece of furniture designed by Greene himself.

The historic residence was listed on the National Register of Historic Places in 2005.

## InfoBox

|  | |
| --- | --- |
| Thomas Gould Jr. House | |
| U.S. National Register of Historic Places | |
|  | |
|  | |
|  | |
| Location | 402 Lynn Drive<br>Ventura, California |
| Coordinates | 34°16′48″N 119°15′00″W / 34.28000°N 119.25000°W / 34.28000; -119.25000 |
| Built | 1924 |
| Architect | Greene, Henry Mather |
| Architectural style | American Craftsman |
| NRHP reference No. | 05001426 |
| Added to NRHP | December 23, 2005 |


title: Fun 9

abstract: .mw-parser-output.tracklist{border-spacing:0}.mw-parser-output.tracklist tr{background-color:var(--background-color-base,#fff)}.mw-parser-output.tracklist tr:nth-child(2n-1){background-color:var(--background-color-neutral-subtle,#f8f9fa)}.mw-parser-output.tracklist caption{text-align:left;font-weight:bold}.mw-parser-output.tracklist td,.mw-parser-output.tracklist th[scope="row"]{vertical-align:top}.mw-parser-output.tracklist th[scope="col"]{text-align:left;background-color:var(--background-color-neutral,#eaecf0)}.mw-parser-output.tracklist th.tracklist-length-header,.mw-parser-output.tracklist th.tracklist-number-header,.mw-parser-output.tracklist th[scope="row"],.mw-parser-output.tracklist-length,.mw-parser-output.tracklist-total-length td{padding-right:10px;text-align:right}.mw-parser-output.tracklist th[scope="row"]{font-weight:normal}.mw-parser-output.tracklist-number-header{width:2em;padding-left:10px}.mw-parser-output.tracklist-length-header{width:4em}.mw-parser-output.tracklist tr.tracklist-total-length{background-color:transparent}.mw-parser-output.tracklist.tracklist-total-length th{padding:0;font-weight:bold}.mw-parser-output.tracklist-total-length th>span{float:right;padding:0 10px;background-color:var(--background-color-neutral,#eaecf0)}.mw-parser-output.tracklist-total-length td{background-color:var(--background-color-neutral,#eaecf0);font-weight:bold;padding:0 10px 0 0} Fun 9 is the fourth studio album by Japanese musician Takako Minekawa. It was released on July 7, 1999 by Polystar. The album was released on November 16, 1999 in the United States by Emperor Norton Records. The album's title is pronounced "fun-kyū", the latter half of the title referring to the Japanese equivalent of the numeral 9, and is intended to sound similar to the word "funk".

text:
# Fun 9

***Fun 9*** is the fourth studio album by Japanese musician Takako Minekawa. It was released on July 7, 1999 by Polystar. The album was released on November 16, 1999 in the United States by Emperor Norton Records.

The album's title is pronounced "fun-kyū", the latter half of the title referring to the Japanese equivalent of the numeral 9, and is intended to sound similar to the word "funk".

## Critical reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |
| *Alternative Press* | 4/5 |
| *The Baltimore Sun* |  |
| *Pitchfork* | 8.3/10 |

Heather Phares of AllMusic wrote that Minekawa had produced a "more eclectic and polished" record while retaining her "playful musical vision", "\[fashioning\] a wide array of lush, lighthearted songs into an album that is as self-assured as it is fun".

*Drowned in Sound* writer Samuel Rosean cited *Fun 9* as a key Shibuya-kei release in a 2018 retrospective article. *Tokyo Weekender*'s Ed Cunningham recommended *Fun 9* to fans of Cornelius' album *Fantasma* (1997).

## Track listing

| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Gently Waves" | Takako Minekawa | 1:50 |
| 2. | "Plash" |  | 4:11 |
| 3. | "Flow in a Tide" (フィーチャリング) | * Minekawa * Michiko Endo | 3:42 |
| 4. | "Fantastic Voyage" | * Minekawa * DJ Me DJ You | 4:56 |
| 5. | "Tiger" | * Minekawa * DJ Me DJ You | 4:46 |
| 6. | "Shh Song" | Minekawa | 1:52 |
| 7. | "Spin Spider Spin" | * Minekawa * Oyamada | 2:56 |
| 8. | "Flash" | * Minekawa * Oyamada | 1:21 |
| 9. | "Fun 9 (French)" | Minekawa | 0:09 |
| 10. | "Soft Graffiti" | * Minekawa * Endo | 4:58 |
| 11. | "Fancy Work Funk" | * Minekawa * DJ Me DJ You | 5:36 |
| Total length: | | | 36:17 |

US edition bonus track
| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 12. | "Etoufée" | * Minekawa * Oyamada | 2:53 |
| Total length: | | | 39:10 |

## Personnel

Credits are adapted from the album's liner notes.

**Musicians**

* Takako Minekawa – vocals, acoustic guitar, guitar, turntables, arrangement
* Craig Borrell – analog synthesizer, MTI Auto-Orchestra synthesizer, trumpet, turntables, vocals, backing vocals
* Michiko Endo – additional vocals on "Flow in a Tide", acoustic guitar on "Soft Graffiti"
* Ross Harris – analog synthesizer, bass, Boss SP-303 sampler, drum machine, guitar, turntables
* Toyoaki Misha – sound manipulation
* Keigo Oyamada – acoustic guitar, bass, drums, guitar, Stylophone keyboard, turntables
* Takahiro Unno – French horn on "Spin Spider Spin"

**Production**

* Takako Minekawa – production
* DJ Me DJ You – production
* Tadashi Matsuda – mixing, recording
* Michifumi Onodera – mixing
* Keigo Oyamada – production
* Tohru Takayama – mixing

## InfoBox

| Fun 9 | |
| --- | --- |
|  | |
| Studio album by Takako Minekawa | |
| Released | July 7, 1999 (1999-07-07) |
| Studio | Burning Trailer |
| Genre |  |
| Length | 36:17 |
| Label | Polystar |
| Producer |  |
| Takako Minekawa chronology | |
| *Ximer... C.C.C. Remix*
(1998) ***Fun 9***
(1999) *Maxi On*
(2000) | |
|  | |
| Alternative cover | |
|  | |
| Emperor Norton issue | |
|  | |
|  | |


title: Turi Munthe

abstract: Turi Munthe FRSA is an Anglo-French journalist and entrepreneur. He is the founder of Demotix, which became the largest network of photojournalists in the world, as well as Parlia, an encyclopaedia of opinion.

text:
# Turi Munthe

**Turi Munthe** FRSA (born 1976) is an Anglo-French journalist and entrepreneur. He is the founder of Demotix, which became the largest network of photojournalists in the world, as well as Parlia, an encyclopaedia of opinion.

## Education

Munthe studied Arabic and History at Oxford, Hebrew at the Hebrew University of Jerusalem, and dropped out of a PhD at NYU in Anthropology of Religion to start a (failed) biofuels business in Ghana.

## Work

Munthe began his career with IBTauris, while writing for the British and US press on Middle East politics. He published *The Saddam Hussein Reader*, before covering the 2nd Gulf War as a freelance journalist. He then launched The Beirut Review, a cultural magazine published with the Daily Star under Rami Khouri, before returning to London as Head of the Middle East Programme at the Royal United Services Institute.

In late 2007, he founded Demotix with Jonathan Tepper. Demotix built a network of 75,000 contributors around the world and exited to Corbis Corporation in 2012. Munthe joined Marcus Brauchli and Sasa Vucinic’s North Base Media as a Venture Partner in 2015, before founding Parlia in 2019. In 2015, he co-curated the Global Art Forum with Sultan al-Qassemi and Shumon Basar.

Munthe has lectured on new media all over the world, and has made regular news appearances. He sits on the boards of openDemocracy, The New Humanitarian and The Signals Network, and has been a trustee of Index on Censorship and The Bureau for Investigative Journalism. He sits on the board of GEDI Gruppo Editoriale, the largest newspaper conglomerate in Italy.

## InfoBox

| Turi Munthe | |
| --- | --- |
| Born | 1976<br>Rome, Italy |
| Nationality | British, French |
| Occupation(s) | Journalist, Entrepreneur |


title: Turn (dance and gymnastics)

abstract: In dance and gymnastics, a turn is a rotation of the body about the vertical axis. It is usually a complete rotation of the body, although quarter (90°) and half (180°) turns are possible for some types of turns. Multiple, consecutive turns are typically named according to the number of 360° rotations. There are many types of turns, which are differentiated by a number of factors. The performer may be supported by one or both legs or be airborne during a turn. When supported by one leg, that leg is known as the supporting leg and the other as the free, raised, or working leg. During airborne turns, the first leg to leave the floor is the leading leg. Trunk, arm and head positions can vary, and in turns with one supporting leg, the free leg may be straight or bent. Turns can begin in various ways as well. For example, ballet turns may begin by rising to relevé or by stepping directly onto relevé. Some turns can be executed in either of two directions. In ballet, a turn in the direction of the raised leg is said to be en dehors whereas a turn in the opposite direction is en dedans. In ballroom dancing, a natural turn is a clockwise revolution of dance partners around each other, and its mirrored counterpart is the counter-clockwise reverse turn. In some dance genres and dance notation systems, a turn in which the performer rotates without traveling is known as a pivot. Pivots may be performed on one or on both feet; the latter is sometimes called a twist turn.

text:
# Turn (dance and gymnastics)

In dance and gymnastics, a **turn** is a rotation of the body about the vertical axis. It is usually a complete rotation of the body, although quarter (90°) and half (180°) turns are possible for some types of turns. Multiple, consecutive turns are typically named according to the number of 360° rotations (e.g., *double* or *triple* turn).

There are many types of turns, which are differentiated by a number of factors. The performer may be supported by one or both legs or be airborne during a turn. When supported by one leg, that leg is known as the *supporting* leg and the other as the *free*, *raised*, or *working* leg. During airborne turns, the first leg to leave the floor is the *leading* leg. Trunk, arm and head positions can vary, and in turns with one supporting leg, the free leg may be straight or bent. Turns can begin in various ways as well. For example, ballet turns may begin by rising to *relevé* (supported on the ball of the foot) or by stepping directly onto relevé.

Some turns can be executed in either of two directions. In ballet, a turn in the direction of the raised leg is said to be *en dehors* whereas a turn in the opposite direction is *en dedans*. In ballroom dancing, a *natural turn* is a clockwise revolution of dance partners around each other, and its mirrored counterpart is the counter-clockwise *reverse turn*.

In some dance genres and dance notation systems (e.g., Labanotation), a turn in which the performer rotates without traveling is known as a pivot. Pivots may be performed on one or on both feet; the latter is sometimes called a *twist turn*.

## Technique

Spotting is a technique that is often used when executing turns, in which a performer executes a periodic, rapid rotation of the head that serves to fix the performer's gaze on a single spot, thus giving the impression that the head is always facing forward. Spotting prevents dizziness by allowing the head to remain stable during most of the turn. This helps the performer maintain balance and, when executing traveling turns such as tours chaînés and piques, it helps the performer control the direction of travel.

## Types of turns

### Attitude

An attitude turn is performed with the working leg held in attitude position. In ballet, the performer may be assisted by a partner so that the turn can be performed slowly.

### Axel

An axel is a turn in which the performer leaps into the air and, while airborne, tucks both legs underneath and rotates. It is usually executed while traveling across the floor. It is commonly performed in jazz dance and is often immediately preceded by a chaînés in a deep plié (bend of the knees).

### Barrel roll

A **barrel roll turn**, or simply *barrel roll*, is a turn that involves casting the arms up and leaping into the air and rotating 360 degrees while airborne. While airborne, the performer's back may be arched and the head may be cast back. It starts and ends with the performer facing forward. Barrel roll turns are commonly used in tap, jazz, and contemporary dance.

### Chaînés

**Chaînés** (French, meaning "chain") is a type of two-step turn that is executed repeatedly while the performer travels along a line or curved (often circular or elliptical) path. It is performed quickly on alternating feet and results in a complete rotation for every two steps taken. It is commonly used in ballet, modern, and ballroom dancing.

In the first half-turn, one foot is stepped out to the dancer's side in the direction of travel and placed in releve or en pointe; the dancer then rotates 180° on the placed foot while lifting the other foot so that it crosses over the placed foot. As this happens, the arms are brought together away from the chest and spotting technique is employed so that the dancer's head faces the direction of travel as much as possible. The second half-turn is executed with the feet together. Upon completion of the second half-turn, the first foot is stepped out again to begin another turn.

In ballet, chaînés turns are usually performed at a very fast tempo, with each turn lasting one half or one quarter of a music beat. They can be performed outwards (en dehors), or inwards (en dedans).

### Fouetté

A **fouetté** turn (or *fouetté en tournant*) begins with the performer standing on one flat foot in plié (with knee bent). The working leg is extended and whipped around (*fouetté* is French for "whipped") to the side and then, once extended to maximum turnout, bent and pulled in to a passe or retiré position. The foot beats behind the knee and then to the front of the knee of the supporting leg before extending back out to the front. At the same time, the supporting foot transitions to relevé (heel raised), in ballet often rising to en pointe (on toe tips). These movements create the angular momentum needed for one turn, which is executed by rotating in place on the supporting foot.

In classical ballet, particular significance is attached to the successful completion of 32 consecutive fouettés, a feat first performed publicly by Italian ballerina Pierina Legnani in 1893 and since incorporated into the grand pas of *Swan Lake* and other 20th-century ballets. Jeanne Devereaux, an American prima ballerina in the first half of the 20th century, held the world record of 16 triple fouettés (48 total).

### Illusion

An **illusion turn** (or simply *illusion*) is performed by keeping the working leg aligned with the torso while, simultaneously, a 360 degree spin is executed while the torso pivots down and then back up at the hip. An illusion can be performed by turning toward or away from the working leg; the latter is known as a *reverse illusion*. Illusions are commonly performed in jazz dance and rhythmic gymnastics.

### Piqué

A piqué turn is begun by stepping directly onto the ball of a relevé (or en pointe) foot, followed by a complete rotation while supported by the relevé (or en pointe) foot before returning to plié position. The working leg is often held in retiré position, but may be held in a variety of other positions, either with or without turnout.

### Pirouette

A **pirouette** (literally "whirl" or "spin") is a type of dance turn on one foot. It is performed with turnout (legs rotated outward at hips) in ballet, and typically without turnout in gymnastics and many other genres of dance, such as jazz and modern. It is often executed by starting with one or both legs in plié (knees bent) and then rising onto demi pointe (heels raised) as the turn commences, or in the case of ballet dancers, en pointe (on toe tips). Pirouettes may be executed singly or in multiple rotations; the latter is commonly performed in the adagio part of a grand pas de deux.

There are many variations of pirouettes. A pirouette can be executed beginning from fifth or fourth position in ballet, whereas artistic gymnasts usually start from fourth position. In ballet, the working leg can be held in retiré position or in attitude, arabesque, or second position. The performer may return to the starting position, finish in arabesque or attitude, or proceed otherwise. A pirouette is most often performed en dehors but can also be performed en dedans.


title: Turn (The Ex album)

abstract: Turn is a double album by Dutch anarchist post-punk band The Ex. After 20 years of working with Luc, their former bass guitarist, Turn is the only Ex album to feature double bass player Rosemarie giving the band a sound akin their prior work with cellist Tom Cora. In tandem with The Ex's drummer Katrin, Rosemarie also contributed significant female vocal harmonies to the album. The album received critical acclaim and has been singled out by many publications as the band's best album yet.

text:
# Turn (The Ex album)

***Turn*** is a double album by Dutch anarchist post-punk band The Ex. After 20 years of working with Luc, their former bass guitarist, *Turn* is the only Ex album to feature double bass player Rosemarie giving the band a sound akin their prior work with cellist Tom Cora. In tandem with The Ex's drummer Katrin, Rosemarie also contributed significant female vocal harmonies to the album.

The album received critical acclaim and has been singled out by many publications as the band's best album yet.

## Background & Recording

*Turn* displays the influence of African rhythms and melodies on the band's music. On "Theme From Konono" The Ex's guitars imitate amplified thumb pianos in tribute to the Congolese percussion group Konono Nº 1 who had toured Europe with The Ex. "Getatchew" pays tribute to Ethiopian Saxophone legend Getatchew Mekuria with whom The Ex would later record an album. *Turn* also features The Ex playing the Eritrean revolutionary song "Huriyet" set to a traditional Tigrinya beat.

*Turn* was recorded by Steve Albini at Electrical Audio, Chicago, and mixed by Mikel Le Roy and The Ex at Studio Le Roy, Amsterdam, Netherlands.

## Critical reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| Cokemachineglow | 76% |
| *Mondo Sonoro* | 7/10 |
| *NOW* |  |
| *Ox-Fanzine* | 9/10 |
| *Pitchfork Media* | 8.8/10 |
| *PopMatters* |  |
| Robert Christgau |  |
| Sputnikmusic | 4/5 |
| Tom Hull | A− |

Peter Margasak of the *Chicago Reader* wrote in 2006 that *Turn* might be the Ex's best album yet, writing that "the addition of upright bassist Rozemarie Heggen, whose classical technique allowed them to explore dissonant textures without sacrificing rhythmic power, seemed to give the band a new focus and energy." Joe Tangari of *Pitchfork* wrote that their "ambitious double-disc set" finds them "elevat\[ing\] their craft to near perfection over the course of two wild, unpredictable, and unforgettable discs \[...\] you'd never guess any of these people are over 40." According to him, despite being "25 years into their career, \[this album\] may be their best." Daniel Fetherston of *Allmusic* wrote that the album "proves that they are still capable of making edgy, urgent, and relevant music \[...\] in their world, it's still 1982, and bands like The Pop Group, Wire, and Gang of 4 are their peers. While many younger bands at the time of this album's release were updating that past era's sound, TURN bolsters the argument that those who did it first are, in fact, those that do it best."

In its November 2009 issue, Spanish magazine *Rockdelux* named it the 67th best album of the 2000s. In 2012, Tom Breihan of Stereogum named it the 19th best album recorded by Albini.

## Track listing

### Disc one

1. "Listen To The Painters" - 4:13
2. "Prism Song" - 5:51
3. "Dog Tree" - 6:28
4. "Getatchew" - 5:05
5. "The Pie" - 8:46
6. "3:45 AM" - 5:26
7. "IP Man" - 8:27

### Disc two

1. "Theme From Konono" - 8:24
2. "Huriyet" - 5:11
3. "Sister" - 6:24
4. "Confusion Errorist" - 4:49
5. "The Idunno Law" - 5:11
6. "Henry K" - 4:59
7. "In The Event" - 7:42

## Personnel

* Katrin (drums, vocals)
* Terrie (guitar)
* Andy (guitar)
* Rozemarie (acoustic bass, vocals)
* G.W. Sok (vocals)

## InfoBox

| Turn | |
| --- | --- |
|  | |
| Studio album by The Ex | |
| Released | 14 September 2004 |
| Recorded | 16–18 September 2003 at Electrical Audio, Chicago
22 November 2003 and 20 February 2004 at Studio Le Roy, Amsterdam |
| Genre | Post-punk, art punk, noise rock, experimental rock |
| Length | Disc one: 44:16
Disc two: 42:40 |
| Label | Touch and Go Records |
| Producer | Steve Albini (Chicago sessions)
Mikel Le Roy (Amsterdam sessions) |
| The Ex chronology | |
| *In the Fishtank 9*
(2001) ***Turn***
(2004) *Singles. Period. The Vinyl Years 1980–1990*
(2005) | |


title: Turkmenization

abstract: Turkmenization is the set of domestic policies the Niyazov administration used in Turkmenistan from 1991 to December 2006 to force ethnic minorities to adopt Turkmen culture. Those who resisted the state-sponsored cultural transformation were often deported. Antoine Blua of Radio Free Europe defined Turkmenization as the "policy of the Turkmen government targeting the education, employment, and religion of all of the country's non-Turkmen ethnic groups."

text:
# Turkmenization

**Turkmenization** is the set of domestic policies the Niyazov administration used in Turkmenistan from 1991 to December 2006 to force ethnic minorities to adopt Turkmen culture. Those who resisted the state-sponsored cultural transformation were often deported.

Antoine Blua of *Radio Free Europe* defined Turkmenization as the "policy of the Turkmen government targeting the education, employment, and religion of all of the country's non-Turkmen ethnic groups."

## Homogenization policy

Shukrat Babajanov and Khurmat Babadjanov of *Radio Free Europe/Radio Liberty'*s Uzbek Service say that since Turkmenistan gained independence, the Niyazov administration has fired most non-ethnic Turkmen civil servants. Officials must prove they have three generations of Turkmen heritage before they are hired. All Russian language schools were closed except for one which catered to elites, and the government began to squeeze Russian from public discourse, including roadside advertisements, while mandating spoken the National language -Turkmen. Informal social control is used to ensure citizens speak Turkmen and wear traditional Turkmen clothing. Uzbek women who try to marry Turkmen men are exiled to Uzbekistan with their children. Babajanov and Babadjanov say these policies have led to the emigration of Russians, Kazakhs, and Uzbeks.

In a few instances Uzbek children in Turkmen schools have been instructed to wear Turkmen clothing or be expelled from school.

## Marriage discrimination

Ziyoda Ruzimova, an ethnic Uzbek woman who lived in Turkmenistan, married an ethnic Turkmen in 1994 and had four children. In order to attend public school in Turkmenistan parents must register their child's birth with the government. Ruzimova did not register her marriage or her children's births at the time. When she tried to get a marriage license in February 2006, she says the government of Turkmenistan brought her and her children to the Shovat border post and turned her family over to Uzbek border guards. Ruzimova says her family had no money but the border guards gave her 1,000 soum (USD $0.85). "Then they called a taxi to take us \[to my grandmother's home\]." At the border the Uzbek guards kept her family on a grate where they slept. "For the children, they provided a piece of fabric; the children got a mattress, but I slept on the cement."

Mahmud Tangriberganov, head of the Gozovot village council, expressed opposition to Turkmenistan's policies, saying, "These are our relatives; these are Uzbeks. And they say that because you are Uzbek, you must leave. Why didn't \[the authorities\] register their marriages, the births of their children? They could have asked them to pay fines and that way they could have kept the families together, but they didn't do that."

## Ethnic discrimination

The region around the Turkmenistan-Uzbekistan border is known as Khorezm to Uzbeks and Dashoguz to Turkmen. Copies of Niyazov's *Ruhnama* and the Turkmen flag are located at the entrance of every mosque and Russian Orthodox church. Believers must touch the *Ruhnama* prior to entering the building. In 2006 the government replaced ethnic Uzbek imam-hatybs with ethnic Turkmens in Dashoguz. Uzbeks comprise over 50% of the population of Dashoguz. Norwegian human rights activist Igor Rotar said, "Historically, in the Soviet times for example, most imam-hatybs in this region were \[Uzbeks\]. But now most of \[them\] are Turkmen. This is a problem because local Uzbeks complained that Turkmen imams have no good education and prefer that imam-hatybs \[are\] Uzbeks." In the Kunya-Urgench district in Dashoguz Uzbek imam-hatybs were not allowed to work at Islamic cemeteries and holy sites. All sermons are required to begin with a praise of Niyazov. Ethnic Russians were dismissed from workplaces, while those holding dual Russian-Turkmen citizenship were given three months to renounce their Russian citizenship in 2003 or face the confiscation of their property and forced departure from the country. Foreign-educated Turkmen citizens—including those with Soviet-era degrees from institutions elsewhere in the Soviet Union—were dismissed from their jobs in 2004.


title: Tuscaloosa (film)

abstract: Tuscaloosa is a 2019 American drama film directed by Philip Harder, and starring Devon Bostick and Natalia Dyer. It is based on the 1994 novel of the same name by W. Glasgow Phillips.

text:
# Tuscaloosa (film)

***Tuscaloosa*** is a 2019 American drama film directed by Philip Harder (in his feature film directorial debut), and starring Devon Bostick and Natalia Dyer. It is based on the 1994 novel of the same name by W. Glasgow Phillips.

## Plot

Billy Mitchell, a recent college graduate, falls in love with Virginia, a patient at his father's mental institution just after the civil rights movement, in Tuscaloosa, Alabama. Mitchell and his best friend Nigel, who is black, fight against the racist cops and other authorities. Mitchell is torn between helping his slightly crazy girlfriend escape, maintaining a friendship with his childhood friend, and making his successful father proud of him.

## Cast

## Production

The film was shot entirely in the state of Minnesota, with a number of scenes taking place at Carleton College and some at and around director Philip Harder's home. Harder first read the novel in the late 1990s and was immediately interested in directing a film adaptation. He approached Pixel Farm, a Minneapolis-based visual effects company that Harder had worked with regularly on music videos and commercials, to create the movie. Production was set to begin around the late 2000s, with a $3.4 million budget and Thora Birch in talks to star. The financial crisis of 2007–2008 set back production and Harder was unable to get the funding necessary for the film.

Patrick Riley, one of the film's producers, was a neighbor of Harder. After getting to know him, he decided to help fund the movie. Most of the film was shot in two weeks in the fall of 2017.

## Reception

The film has a 58% rating on Rotten Tomatoes based on 12 critic reviews. Brian Shaer of *Film Threat* gave it an eight out of ten. It has an average score of 3.3/5 on Letterboxd.

## InfoBox

| Tuscaloosa | |
| --- | --- |
| Teaser poster | |
| Directed by | Philip Harder |
| Written by | Philip Harder |
| Based on | *Tuscaloosa*
by W. Glasgow Phillips |
| Produced by | Scott Franklin
Patrick Riley |
| Starring |  |
| Cinematography | Theo Stanley |
| Edited by | Clayton Condit |
| Music by | Matt Hutchinson
Joshua Mosley |
| Production
company | Garlin Pictures |
| Distributed by | Cinedigm |
| Release dates | * October 5, 2019 (2019-10-05) (Nashville) * March 13, 2020 (2020-03-13) (United States) |
| Country | United States |
| Language | English |


title: Tyldesley Diary

abstract: The Tyldesley diary was a diary kept by Thomas Tyldesley of Fox Hall, Lancashire (1657–1715), a Catholic recusant and Jacobite sympathiser, between 1712 and 1714.

text:
# Tyldesley Diary

The **Tyldesley diary** was a diary kept by Thomas Tyldesley of Fox Hall, Lancashire (1657–1715), a Catholic recusant and Jacobite sympathiser, between 1712 and 1714.

## The diary

The diary is a valuable historical source for the light it sheds on the daily lives and routines of the Lancastrian gentry of the age and, in particular, during the period immediately before the Jacobite rising of 1715Lancashire being one of the heartlands of such support for the cause of the Old Pretender as still existed at that time.

## Damage to the manuscript

In 2007, it was discovered that the manuscript of the diary, owned by Peter J. Tyldesley, had been seriously damaged while in the custody of the British Library to which it had been entrusted for safekeeping.