title: West Goshen Historic District

abstract: The West Goshen Historic District is a historic district in the village of West Goshen in the town of Goshen, Connecticut, United States. It encompasses a well-preserved early 19th-century industrial village, with twenty historically significant properties in the village, most of which lie on Connecticut Route 4 between Beach Street and Thompson Road. The district was listed on the National Register of Historic Places in 1987.

text:
# West Goshen Historic District

The **West Goshen Historic District** is a historic district in the village of **West Goshen** in the town of Goshen, Connecticut, United States. It encompasses a well-preserved early 19th-century industrial village, with twenty historically significant properties in the village, most of which lie on Connecticut Route 4 between Beach Street and Thompson Road. The district was listed on the National Register of Historic Places in 1987.

## Description and history

The village of West Goshen, located west of the village center of Goshen on the Sharon Turnpike (Connecticut Route 4), was isolated and not developed until that road was built about 1770. The area was recognized for the potential of its water power earlier, with a gristmill and sawmill standing on the banks of local waterways in the 1740s. More development took place with the construction of a woolen mill in 1810, intended to process the output of Goshen's large sheep population. This prompted the construction of worker housing for the mill employees, and a small village quickly arose. The West Goshen Store, built in 1814, is one of the products of this period of growth. The village declined around the time of the American Civil War, as water power began to be phased out for industrial works.

The historic district is about 29 acres (12 ha) in size, extending along Route 4 between Beach Street and Thompson Road. It is roughly bisected by a branch of the Marshepaug River, where its mill resources (none of which have survived in more than archaeological form) survive. Most of this area's buildings are residential and were built in the early decades of the 19th century, with Federal or Greek Revival style. There are some buildings that are older and some that date to the 1880s. Non-residential buildings include the former West Goshen Store (330 Rt. 4) and a former carding mill at 331 Rt. 4, built in 1818.

## InfoBox

|  | |
| --- | --- |
| West Goshen Historic District | |
| U.S. National Register of Historic Places | |
| U.S. Historic district | |
|  | |
| Postcard depicting a schoolhouse in West Goshen (1911 postmark) | |
|  | |
| Location | Roughly bounded by CT 4, Beach, Mill and Milton Sts., and Thompson Rd., Goshen, Connecticut |
| Coordinates | 41°49′32″N 73°15′16″W / 41.82556°N 73.25444°W / 41.82556; -73.25444 |
| Area | 29 acres (12 ha) |
| Built | 1790 |
| Architectural style | Greek Revival, Federal, Vernacular Federal |
| NRHP reference No. | 87000982 |
| Added to NRHP | October 23, 1987 |


title: Nueva Palmira

abstract: Nueva Palmira is a city in Colonia Department in south-western Uruguay.

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# Nueva Palmira

**Nueva Palmira** is a city in Colonia Department in south-western Uruguay.

## Geography

It is located on the east bank of Uruguay River, about 86 kilometres (53 mi) northwest of the departmental capital Colonia del Sacramento.

## History

A "Pueblo" (village) named "Higueritas" was founded here on 26 October 1831 by Felipe Santiago Torres Leiva. Its status was elevated to "Villa" (town) by the Act of Ley Nº 7.257 on 17 August 1920 and then to "Ciudad" (city) by the Act of Ley Nº 11961 on 1 July 1953. The city got its name from the ancient city of Palmyra in Syria (Aramaic for City of Date Trees).

## Population

In 2011 Nueva Palmira had a population of 9,857.

| Year | Population |
| --- | --- |
| 1908 | 4,191 |
| 1963 | 6,307 |
| 1975 | 7,146 |
| 1985 | 7,151 |
| 1996 | 8,339 |
| 2004 | 9,230 |
| 2011 | 9,857 |

Source: *Instituto Nacional de Estadística de Uruguay*

## Features

Nueva Palmira is considered the second most important commercial port in Uruguay after the Port of Montevideo and offers docking facility for yachts. There are several beaches along its shore, like Playa Higuerita, Playa Eolo, Playa Corbacho and Playa Los Vascos, while the northern end of the city, along the shore, is a resort called Balneario Brisas del Uruguay.

## Main streets and squares

The main streets are General J.G. Artigas and fellipe Fontana, both running SE to NW, converge at the southeastern end of town and join with Ruta 21 towards Carmelo. The other main street, Chile, runs SW to NE and extends to Ruta 21 towards Dolores and Mercedes of Soriano Department.

The main squares of the city are Plaza de los 33 Patriotas, which takes up two blocks and extends to the *Muelle Viejo* (Old Dock) at the waterfront, and Plaza Artigas, featuring a monument to José Gervasio Artigas and the main church of the city. There is also Plaza de Deportes which offers open doors sports facilities. The city has also a zoological garden in its northern part.

## Places of worship

## Government

The city mayor as of July 2010 is Andrés Passarino.

## Notable people

## InfoBox

| Nueva Palmira | |
| --- | --- |
| City | |
|  | |
| Nueva Palmira | |
| Coordinates: 33°53′0″S 58°25′0″W / 33.88333°S 58.41667°W / -33.88333; -58.41667 | |
| Country | Uruguay |
| Department | Colonia |
| Founded | 1831 |
| Founded by | Felipe Santiago Torres Leiva |
| Population (2011 Census) | |
| Total | 9,857 |
| Time zone | UTC -3 |
| Postal code | 70101 |
| Dial plan | +598 4544 (+4 digits) |


title: Nowa Wieś Przywidzka

abstract: Nowa Wieś Przywidzka is a village in the administrative district of Gmina Przywidz, within Gdańsk County, Pomeranian Voivodeship, in northern Poland. It lies approximately 6 kilometres (4 mi) north-west of Przywidz, 24 km (15 mi) west of Pruszcz Gdański, and 28 km (17 mi) south-west of the regional capital Gdańsk. For details of the history of the region, see History of Pomerania.

text:
# Nowa Wieś Przywidzka

**Nowa Wieś Przywidzka** \[ˈnɔva ˈvjɛɕ pʂɨˈvit͡ska\] is a village in the administrative district of Gmina Przywidz, within Gdańsk County, Pomeranian Voivodeship, in northern Poland. It lies approximately 6 kilometres (4 mi) north-west of Przywidz, 24 km (15 mi) west of Pruszcz Gdański, and 28 km (17 mi) south-west of the regional capital Gdańsk.

For details of the history of the region, see History of Pomerania.

## InfoBox

| Nowa Wieś Przywidzka | |
| --- | --- |
| Village | |
| Nowa Wieś Przywidzka | |
| Coordinates: 54°13′59″N 18°16′8″E / 54.23306°N 18.26889°E / 54.23306; 18.26889 | |
| Country | Poland |
| Voivodeship | Pomeranian |
| County | Gdańsk |
| Gmina | Przywidz |
| Population | 183 |


title: Stephanie Hemphill

abstract: Stephanie Hemphill is an American author of books for young adults. She has lived in Los Angeles and Chicago.

text:
# Stephanie Hemphill

**Stephanie Hemphill** is an American author of books for young adults. She has lived in Los Angeles and Chicago.

## Biography

Hemphill grew up in Chicago and began writing at an early age, as part of the Young Authors afterschool program. Hemphill published poetry for adults first, but had always wanted to write for children. Eventually, she took a class at the University of California Los Angeles (UCLA) about writing children's poetry and the class inspired her to write her first novel.

## Work

Hemphill's first novel, *Things Left Unsaid: A Novel in Poems* (2005), is realistic fiction about a friendship between two girls which alternates between toxic and healthy. The characterization of the main characters was considered excellent and the pacing of the story praised by *School Library Journal*. The way that Hemphill writes *Things Left Unsaid*, according to Sara K. Day, allows the reader to become a confidante of the narrator, as if the reader is a friend, too. *Things Left Unsaid* won the Myra Cohn Livingston Award in 2006.

Hemphill won a 2008 Printz Honor for her book, *Your Own, Sylvia*, a novel in verse about the poet, Sylvia Plath. In working on *Your Own, Sylvia*, Hemphill shared that this novel faced many challenges, one of which was surviving the "censoring gauntlet of the Plath estate," but that she enjoyed writing about her because she loved Plath as an artist. Hemphill also felt a kinship to Plath during the time of her writing, since her marriage was ending and she was in the grips of being both overworked and depressed. She also worked in a manner similar to Plath, writing poetry every day, journaling and also writing to her mother, as Plath often did. The *Chicago Tribune* reviewed *Your Own, Syliva*, writing about the novel that "rarely is there such a striking and successful blend of literary form and subject." *Your Own, Sylvia* also won the Myra Cohn Livingston Award in 2008.

Hemphill's 2010 novel, *Wicked Girls*, is a free-verse historical novel of the Salem witch trials. *Wicked Girls* was a 2010 *L.A. Times* Book Prize Finalist. *The Horn Book Magazine* has singled out her novels in verse to highlight, calling the poetry in her 2012 work, *Sisters of Glass*, "elegant." In 2013 she wrote, *Hideous Love*, which is also written in free-verse is about the writer Mary Shelley. *Hideous Love* was considered by to be faithful to the history of Shelley's life, especially in imagining the difficulties of living under the principals of free love and "the compromises culture required of a woman of genius during the time period."

While Hemphill's novels received much praise from various sources others have been more critical. Reviewers for *The Lion and the Unicorn* called the verse in *Your Own, Sylvia* "doggerel."


title: York River (Ontario)

abstract: The York River is a river in Renfrew County, Hastings County and Haliburton County in Ontario, Canada. The river is in the Saint Lawrence River drainage basin, and flows from the southern extension of Algonquin Provincial Park to the Madawaska River. The river alternates between fast flowing portions in steep sided gorges to slower movement through post-glacial sand flats. In these are changes in the river course has created ox-bows and abandoned ox-bows that are now ponds and wetlands.

text:
# York River (Ontario)

The **York River** is a river in Renfrew County, Hastings County and Haliburton County in Ontario, Canada. The river is in the Saint Lawrence River drainage basin, and flows from the southern extension of Algonquin Provincial Park to the Madawaska River.

The river alternates between fast flowing portions in steep sided gorges to slower movement through post-glacial sand flats. In these are changes in the river course has created ox-bows and abandoned ox-bows that are now ponds and wetlands.

## Course

The river begins in the southern extension of Algonquin Provincial Park at Yorkend Lake, in geographic Clyde Township in the municipality of Dysart et al, Haliburton County. It flows west out of the park through geographic Eyre Township and Harburn Township, then loops back east into the southernmost part of the park in geographic Bruton Township. It takes in the left tributary North York River just before Branch Lake, turns southeast, passes over the High Falls, and exits the park into Benoir Lake.

It continues east into Baptiste Lake where it enters geographic Herschel Township in the municipality of Hastings Highlands, Hastings County. The river leaves the lake south at the lake's southeast tip, controlled by the Ontario Ministry of Natural Resources-operated Baptiste Lake Dam, enters the town of Bancroft, and passes over the Bancroft Light & Power Generating Station and dam. The river is crossed by Ontario Highway 28 and Ontario Highway 62 in the town centre, then turns east and northeast. It is crossed again by Ontario Highway 28, passes over Egan Chute and Fram Chute at Egan Chutes Provincial Park, and briefly reenters Hastings Highlands at geographic Monteagle Township.

The river continues northeast into geographic Carlow Township in the municipality of Carlow/Mayo, passes over the Conroy Rapids and enters the Conroy Marsh, a 24 km2 (9 sq mi) provincially significant wetland. As the river flows through the marsh, it first passes into the municipality of Brudenell, Lyndoch and Raglan, Renfrew County, then takes in the right tributary Little Mississippi River. The river then reaches its mouth as a right tributary of the Madawaska River in geographic Radcliffe Township in the municipality of Madawaska Valley, near the community of Mayhews Landing. The Madawska River flows via the Ottawa River to the Saint Lawrence River.

### Waterfalls

* Egan Chute
* Farm Chute
* High Falls, Baptiste Lake (somewhat less dramatic as a result of the High Falls Dam which regulates the water level for Baptiste Lake)
* High Falls, Benoir Lake

### Tributaries

* Little Mississippi River (right)
* Papineau Creek (left)
* Alder Creek (left)
* Salmon Trout Creek (left)
* Mallard Creek (right)
* Bresnahan Creek (left)
* Bentley Creek (left)
* L'Amable Creek (right)
* Clark Creek (right)
* Faraday Creek (right)
* Baptiste Lake
    + McGarry Creek (left)
    + Hound Creek (left)
    + Hudson Creek (right)
    + Hamilton Creek (left)
    + Lighthouse Creek (left)
    + Chainy Creek (left)
* Elephant Creek (right)
* Benoir Lake
    + Allen Creek (right)
    + Fourcorner Creek (right)
    + Kingscote Creek (right)
* Mink Creek (left)
* North York River (left)
* Clyde Creek (left)

## History

In the second half of the 19th century, the river was used to transport logs out of the forests surrounding its watershed. Now, parts of this river have been turned into a provincial waterway park as well as a provincial nature reserve (at Egan Chute).

Group of Seven artist A. J. Casson painted a number of scenes from this region, including one titled "Conroy Marsh" and several along the York River itself.

## Sources

Media related to York River, Ontario at Wikimedia Commons

## InfoBox

| York River | |
| --- | --- |
| Egan Chute on the York River, near Bancroft | |
| Location of the mouth of the York River in southern Ontario | |
| Location | |
| Country | Canada |
| Province | Ontario |
| Regions |  |
| Counties |  |
| Physical characteristics | |
|  | |
| Source | Yorkend Lake |
| location | Dysart et al, Haliburton County, Central Ontario |
| coordinates | 45°18′01″N 78°20′21″W / 45.30028°N 78.33917°W / 45.30028; -78.33917 |
| elevation | 497 m (1,631 ft) |
|  | |
| Mouth | Madawaska River |
| location | Madawaska Valley, Renfrew County, Eastern Ontario |
| coordinates | 45°20′08″N 77°34′43″W / 45.33556°N 77.57861°W / 45.33556; -77.57861 |
| elevation | 283 m (928 ft) |
| Basin features | |
| Progression | Madawaska RiverOttawa RiverSt. Lawrence RiverGulf of St. Lawrence |
| River system | Saint Lawrence River drainage basin |


title: Stereosternum

abstract: Stereosternum tumidum is an extinct genus of mesosaur marine reptile from the Early Permian of Brazil and also the Great Karoo Basin of South Africa. The taxon mesosaur is a monophyletic group containing Brazilosaurus sanpauloensis and Mesosaurus tenuidens. For most of the 20th century, information of Stereosternum was reported as Mesosaurus. Unlike previous interpretations of Mesosaurs as filter feeding animals, later studies have shown that these animals were very much active aquatic predators. Stereosternum and Mesosaurus are the oldest reported reptile species to have had a range spanning two present-day continents, then joined as Gondwana and they represent the first record of reptile species shared by both Southern Africa and South America.

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# Stereosternum

***Stereosternum tumidum*** (meaning "rigid chest") (Stereos, Greek: “solid, firm”; Sternon, Greek: “chest, breastbone”) is an extinct genus of mesosaur marine reptile from the Early Permian of Brazil and also the Great Karoo Basin of South Africa. The taxon mesosaur is a monophyletic group containing *Brazilosaurus sanpauloensis* and *Mesosaurus tenuidens*.

For most of the 20th century, information of *Stereosternum* was reported as *Mesosaurus*. Unlike previous interpretations of Mesosaurs as filter feeding animals, later studies have shown that these animals were very much active aquatic predators. *Stereosternum* and *Mesosaurus* are the oldest reported reptile species to have had a range spanning two present-day continents, then joined as Gondwana and they represent the first record of reptile species shared by both Southern Africa and South America.

## Description

*Stereosternum* was about 80 centimetres (2.6 ft) in length as an adult, and some of the juveniles to get to sizes of 68 centimetres (2.23 ft) in length. Many of the ribs and the Haemal arches are thickened with bone or have a pachyostotic characteristic, which would have helped the animal to be able to dive deep in the water as a counteracting force against buoyancy.

### Post-cranial skeleton

#### Ribs

One of the more unusual and unique characteristics about the anatomy of *Stereosternum* is the thickness of the dorsal ribs, which continues to increase in size until the fifth rib, which measures 47.5 millimetres (1.87 in) in width. The ribs are noted here to be holocephalous. With the pachyostosis of the postcrania elements and restricted movement at the appendicular joints, it has been suggested that mesosaurs could not have walked on land, but may have been able to push themselves across terrestrial substrates. When studying the histology of the ribs of *Stereosternum* and *Mesosaurus*, the kind of pachyostosis of these two species has, is very much characterized by hyperostosis of the periosteal cortex, increased bone density, which was due to the bone becoming more compact, the absence of free medullary cavity and the remnants of calcified cartilage matrix. This kind of pachyostosis is called “pachyosteosclerosis”.

#### Axial skeleton

Another characteristic of *Stereosternum* is the length of the tail and the amount of caudal vertebrae. As counted by Osborn, there are about 60-64 caudal vertebrae, which is very predictable for an aquatic predator and these adaptations helped individuals to push and swim gracefully in the water. There are also about 34 presacral vertebrae, with 11 cervical and 23 thoracic-lumbar vertebrae. The presence of accessory articulations, like the zygantra and the zygosphenes, are there to supposedly to have dampened the twisting movements of the vertebral column. On the axial pleurocentrum, there is a process that is distinctly analogous to the odontoid structure found in mammals. This probably correlates with the presence of a long skull on a long neck that is found with *Stereosternum* and this process could have helped to minimize the stresses and movement between the skull and the neck.

#### Appendicular skeleton

Another characteristic of Mesosaurs was that they probably had webbing of skin on both their feet and their hands, analogous to that of a duck's foot. This paddle would have easily initiated movement within the water to swim and hunt for food. The phalangeal formula is noted to be 2-3-4-5-3 for the manus, giving them a paddle-like form to it. The pedes are described to have a 2-3-4-5-5 phalangeal formula. In *Stereosternum*, the humerus has well-developed proximal muscular processes, and the scapulocoracoid is early fused and the Iliac blade has a rounded dorsal margin, and the pubic foramen is early closed. The most distal end of the humerus is shown to be slightly less than 35 per cent of the total length of the humerus.

### Skull

Many of the modifications of the bones within the skull seem to reduce drag and help propel the animal through an aqueous environment while swimming and feeding. The skull of *Stereosternum* is equal to the length of the neck and the anterior half of the skull is not as elongated as in *Mesosaurus* and this is due to the extension of the premaxilla, which dominates the snout. The position of the external naris is about halfway along the skull. The presence of the lower temporal fenestra is absent in these species. There are a total of 12 within the premaxilla and then 14 teeth in the maxilla. The teeth seem to decrease in size from the frontal to the back part in the skull. The tongue-like posterolateral process, however, angles more posteriorly than laterally. The presence of such a process is a mesosaurid apomorphy, distinguishing this animal from other closely related clades. The dentary is a very slender and long bone, holding up to about 45 teeth. There is also the presence of palatal teeth that are much smaller in size than the marginal teeth, and also being sharp, straight and with homodont structures.

### Dentition

*Stereosternum* had small teeth compared to *Mesosaurus tenuidens*, but it had larger teeth compared to *Brazilosaurus sanpauloensis*. The teeth of *Stereosternum* are 6 times the length of *Brazilosaurus sanpauloensis*, but has smaller teeth compared to *Mesosaurus tenuidens*, which has teeth that are 12 times longer than *Brazilosaurus*. These differentiations with tooth length possibly correspond to different ecological niches being filled. The way the teeth are positioned inside the jaw is a unique feature of this species; with the teeth more apically being inserted within the alveolar bone and the fully developed teeth show dental ankylosis. From looking at the teeth and how they are positioned, it seems that the replacement pulse occurred anteroposteriorly in *Stereosternum*, in a quasi-alternate polyphyodont pattern. Going more distally, the teeth seem to have periodontal ligaments connecting the teeth to the alveolar bone and then even more distally the tooth is connected by the anchorage trabeculae, which is composed of cementum and probably the alveolar bone. The anchorage trabeculae structure acts as an additional structure to hold the teeth in place. Within the adult teeth, the pulp cavity is enclosed within on itself, and inside those pulp cavities are canals that connect the tooth to the alveolar bone. Those canals were the spaces that were filled by blood vessels and nerves, which supplemented the growth of the tooth and gave the tooth some sensory abilities. During the early part of the development of the teeth, the roots would have been open, and the only connection that would have been facilitated would have been the cementum between the tooth and the alveolar bone, the periodontal ligament and the cementum made anchorage trabeculae would have mediated this connection. This complex, called the tripartite periodontium, during the life of *Stereosternum*, would have acted as a mechanism for keeping the teeth within the jaw, working against the lateral forces that could easily pull teeth out of the socket, given the size of these teeth. The teeth also have multiple different types of dentine and there are different orientations of the dentine tubules along the tooth, including mixed composition in the dentary wall. These adaptations helped to increase the tooth's resistance to tension forces, especially the lateral forces.

## Discovery

*Stereosternum tumidum* was discovered by Edward Drinker Cope in 1886, while he was in Brazil and looking over some specimens housed in the Museu Nacional (Rio de Janeiro). When looking at the specimen, he noticed that the characteristics seen in *Stereosternum* were also seen in *Mesosaurus*. At the time, E.D. Cope had no certainty about the time period *Stereosternum* belonged to, thinking that either it came from the Carboniferous or the Permian. He does note that the specimen looked like no other reptile known from the Carboniferous. He also discussed the ribs of the animal and noting how they were long, cylindrical, curved and very robust, reminding him of both *Ichthyosaurus* and *Mesosaurus*. Also, he had difficulties in trying to determine the position of *Stereosternum*, reporting that some characteristic point it into Rhynchocephalia or into Sauropterygia. The specimen that Cope had at the time contained only the posterior half of the animal and so he could not make a decision on whether to place it in Reptiles or in Batrachia. He also made some measurements of the different elements within the fossil, as well as noting the phalangeal formula, going from digits 2-6, as 4-4-4-3.

## Classification

Mesosaurs are a clade within the larger clade of Amniota, and are also within the smaller clade of Sauropsida. However, the decision on where specifically mesosaurs should go has been of constant debate and recently there is still discussion about where mesosaurs should be placed in taxonomy. Some paleontologists, like Laurin & Reisz, have put mesosaurs within Parareptilia and others, like Modesto, have had mesosaurs as an outgroup of Parareptilia. It has been suggested that *Mesosaurus* and *Stereosternum* formed a clade that was a sister taxon to *Brazilosaurus*. This phylogeny indicates that the shallow water, living near the coast is plesiomorphic for mesosaurs, whereas the characteristic of *Mesosaurus* living within a pelagic zone is derived. The evolutionary history is seen as the first mesosaurs were much like *Brazilosaurus* in form, first conquering the aquatic environments on the coasts of the Ecca sea, and then creatures like *Mesosaurus* conquer life in the open ocean.

## Paleobiology

### Diet

For many of the mesosaurid family, including *Stereosternum*, fossil evidence seems to suggest that their diet mainly included crustaceans. Evidence of large amounts of the carapaces of crustaceans within the coprolites of mesosaurs have mainly come from the Mangrullo Formation of Uruguay. There has also been evidence of small mesosaurid bones within the coprolites of mesosaurs as well, suggesting that cannibalism within this group did occur. Capturing fish and small mesosaurs would have been easier to catch and swallow, since many of its prey would have been small or soft bodied animals. Post-molt soft bodied crustaceans would have also been prey for *Stereosternum* and other mesosaurs, although there is very little evidence of this in the fossil record. The idea that *Stereosternum* used its marginal teeth to impale its prey seems very unlikely and probably used its teeth as a capturing mechanism to quickly entrap and restrain its prey.

### Reproduction

There is ample evidence to suggest that mesosaurs may have been the oldest known amniotes that displayed extended embryo retention, which could have been either oviparous or viviparous within the same species. When laying their embryos on land, they mostly would have done it on coastal and moist areas and could have buried the eggs as a way to avoid desiccation. Also, when looking at the anatomical structure of the mesosaur pelvic region, the evidence of the fusion of the ribs to the two sacral vertebrae, as well as a weak articulation between these ribs and the Iliac blade, suggests that mesosaurs had the capability to move on dry land and to deposit their eggs on land, plausibly close to water. The females probably carried one to two embryos at a time and the hatchings are interpreted to be about 10% of the adult body length. When comparing mesosaurs and their size differences between the adults and hatchlings to how monotremes and marsupials raise their young, the idea that parental care of the offspring or of the eggs until hatching occurring in mesosaurs is up for speculation.

## Paleoecology

Mesosaurs have been found in the Whitehill Formation (Ecca Group) of the Karoo Basin of South Africa and the Irati Formation (Passa Dois Group) of the Paraná Basin in Brazil. *Stereosternum*, including some fossils of *Brazilosaurus*, are found in the limestone deposits of the São Paulo area of Brazil and in the Kalahari Karoo Basin, where the limestone was deposited in more shallow waters than the Mesosaurus-bearing black shales of both the Irati and Whitehill Formations. Within the limestone, there is evidence of ripple marks, erosion cuts, and intra-formational clasts, strongly suggesting that the energy of the depositional environment at the time was higher than that of the black shale deposits. With evidence of the coastlines of this sea on both continents, it is evident that there did exist an inland seaway during the Early Permian, stretching east into the Great Karoo Basin of South Africa and west into the Paraná Basin, with an oceanic link that has been proposed being towards the extreme south of the basins. *Mesosaurus* seems to have been living out in the deep waters, relative to the shallow waters of *Stereosternum* and *Brazilosaurus*. Within these shallow waters, *Stereosternum* was spending most of its time within the shallow waters and probably going out into the deeper waters inhabited by *Mesosaurus*, while *Brazilosaurus* was thought to have probably been semi-aquatic and was mostly restrained to living within the shallow intertidal and coastal areas. However, evidence of both *Mesosaurus* and *Stereosternum* fossils being found in the black shales of both formations suggest that *Stereosternum* did cross over the sea way and could have survived being in the deeper part of this ancient sea. These shales were probably deposited in deep waters, going to a maximum depth of 150 metres (490 ft) within the sea. Within this deeper part of the sea, the water column was very stratified, with a fresh and habitable upper layer that was on top of the anoxic, highly sulphurated, toxic bottom brines. The depositional environment was almost stagnant, a grand difference from the more higher energy depositional environment of the shallower waters closer to the coasts. Within those surface waters, there a whole host of organisms from the sea going mesosaurids to the Palaeoniscoid fishes, with the bottom half of the water column that could not support a benthic zone due to the toxic bottom brines. The lithology representing that bottom half of the water column are black shales and also carbonaceous oil is found in the same area.

Stereosternum tumidum and Brazilosaurus sanpauloensis have been recently considered as nomina dubia and synonymized to Mesosaurus by Graciela Piñeiro, Jorge Ferigolo, Alvaro Mones and Pablo Nuñez Demarco (2021), after a detailed anatomical and taphonomic study of more than 500 specimens from palaeontological collections of several countries, which demonstrated that most of the characters used to distinguish three mesosaur taxa are indeed derived of the preservation of specimens in different ontogenetic stages and others are influenced by taphonomy. These results were also supported by morphometric analyses applied to specific region of the skeleton such as the vertebral column and limb bones by Pablo Nuñez Demarco, Jorge Ferigolo and Graciela Piñeiro (2022) and by an incredible similar article by Antoine Verrière and Jörg Fröbisch (2022), which was submitted posteriorly to the acceptation of the Nuñez Demarco et al. (2022) paper. Nuñez Demarco et al. (2022) found that juvenile and adult mesosaurs do not display appreciable change in bone proportions during growth, suggesting a surprising isometric pattern in mesosaurs which is a rare condition for reptiles. The isometry, and particularly, the high interrelation between metatarsals and phalanges permit us to suggest that the mesosaur hind limb is subject to notable modularity. This evidence strongly argues that the differences previously described to support three mesosaur species in Western Gondwana, might instead reflect natural intraspecific variability, taphonomic features or even possible sexual dimorphism, as recently suggested by Piñeiro et al. (2021).

Piñeiro, G., Ferigolo, J., Mones, A. & Núñez Demarco, P. 2021. Mesosaur taxonomy: Are Stereosternum and Brazilosaurus valid taxa?. Revista Brasileira de Paleontologia, 24(3):205–235. Núñez Demarco, P., Ferigolo, J., and Piñeiro, G. 2022. Isometry in mesosaurs: Implications for growth patterns in early amniotes. Acta Palaeontologica Polonica 67 (2): 509–542. https://doi.org/10.4202/app.00931.2021 Verrière, A. and Fröbisch, J. Ontogenetic, dietary, and environmental shifts in Mesosauridae. PeerJ 10:e13866. DOI: 10.7717/peerj.13866

## InfoBox

| *Stereosternum*
Temporal range: Cisuralian
~ | |
| --- | --- |
|  | |
| Fossil in Naturmuseum Senckenberg | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Reptilia |
| *Clade*: | Parareptilia |
| Order: | Mesosauria |
| Family: | Mesosauridae |
| Genus: | *Stereosternum*
Cope, 1885 |
|
| Type species | |
| ***Stereosternum tumidum***
Cope, 1885 | |
| Synonyms | |
| *Mesosaurus tumidum* (Cope, 1885) | |


title: Stenomyti

abstract: Stenomyti is an extinct genus of small aetosaur. It contains a single species, Stenomyti huangae, which is known from a skull, postcranial skeleton and other referred material from the Late Triassic Chinle Formation, Eagle Basin of Colorado, United States. Stenomyti is distinguished from other aetosaurs by eight autapomorphies, however its osteoderms are nearly identical to those of Aetosaurus which suggests that osteoderms are not always reliable taxonomic indicators for aetosaurs. Based on its osteoderms, and other shared cranial characters with Aetosaurus, it was suggested that these taxa are closely related and lie outside the clade containing Typothoracisinae and Desmatosuchinae.

text:
# Stenomyti

***Stenomyti*** is an extinct genus of small aetosaur. It contains a single species, ***Stenomyti huangae***, which is known from a skull, postcranial skeleton and other referred material from the Late Triassic Chinle Formation, Eagle Basin of Colorado, United States. *Stenomyti* is distinguished from other aetosaurs by eight autapomorphies (unique traits), however its osteoderms are nearly identical to those of *Aetosaurus* which suggests that osteoderms are not always reliable taxonomic indicators for aetosaurs. Based on its osteoderms, and other shared cranial characters with *Aetosaurus*, it was suggested that these taxa are closely related and lie outside the clade containing Typothoracisinae and Desmatosuchinae.

## InfoBox

| *Stenomyti*
Temporal range: Late Triassic | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Reptilia |
| *Clade*: | Archosauria |
| *Clade*: | Pseudosuchia |
| Order: | Aetosauria |
| Family: | Stagonolepididae |
| Subfamily: | Aetosaurinae |
| Genus: | *Stenomyti*
Small & Martz, 2013 |
|
| Type species | |
| ***Stenomyti huangae***
Small & Martz, 2013 | |


title: Stenonartonia

abstract:
Stenonartonia is a South American genus of potter wasps. The 15 known species of Stenonartonia are distributed across forested areas east of the Andes, with diversity concentrated on two areas: the Amazon basin and South-eastern Brazil. The distribution of Stenonartonia apicipennis seems to correspond with the distribution of the semideciduous dry forest system that crosses diagonally between the two above cited areas.
Stenonartonia belongs to a group of genera with axillary fossa tending to be closed by the nearby structures. Those species in the group of Stenonartonia polybioides have further developed transparent pockets visible under the surface of the scutellum. Symbiotic mites get sheltered into those pockets and are sometimes visible under the cuticle.

text:
# Stenonartonia

***Stenonartonia*** is a South American genus of potter wasps. The 15 known species of *Stenonartonia* are distributed across forested areas east of the Andes, with diversity concentrated on two areas: the Amazon basin and South-eastern Brazil. The distribution of *Stenonartonia apicipennis* seems to correspond with the distribution of the semideciduous dry forest system that crosses diagonally between the two above cited areas. *Stenonartonia* belongs to a group of genera with axillary fossa tending to be closed by the nearby structures. Those species in the group of *Stenonartonia polybioides* have further developed transparent pockets visible under the surface of the scutellum. Symbiotic mites get sheltered into those pockets and are sometimes visible under the cuticle.

* Garcete-Barrett, B.R. (2011). "A revision of the genus *Stenonartonia* Giordani Soika 1973 (Hymenoptera: Vespidae: Eumeninae)" (PDF). *Zootaxa*. **2868**: 1–50. doi:10.11646/zootaxa.2868.1.1.
* Garcete-Barrett, B.R. (2014). "*Stenonartonia tekoraava* sp. nov. (Hymenoptera: Vespidae: Eumeninae), a new member of a typical Amazonian mimicry ring" (PDF). *Zootaxa*. **3860** (1): 97–100. doi:10.11646/zootaxa.3860.1.7. PMID 25283194.

## InfoBox

| *Stenonartonia* | |
| --- | --- |
|  | |
| *Stenonartonia perdita* Garcete-Barrett | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Hymenoptera |
| Family: | Vespidae |
| Subfamily: | Eumeninae |
| Genus: | *Stenonartonia*
Giordani Soika, 1974 |
|
| Type species | |
| *Stenonartonia polybioides*
(Schulthess, 1904) | |
| Species | |
|  | |


title: West Barnstable station

abstract: West Barnstable station is a railway station in West Barnstable, Massachusetts. The train station currently serves as a weekend stop for several excursion trains operated by the Cape Cod Central Railroad. The station building, which is owned by the Town of Barnstable, Massachusetts, is the headquarters on the Cape Cod Chapter of the National Railway Historical Society (NRHS).

text:
# West Barnstable station

**West Barnstable station** is a railway station in West Barnstable, Massachusetts. The train station currently serves as a weekend stop for several excursion trains operated by the Cape Cod Central Railroad. The station building, which is owned by the Town of Barnstable, Massachusetts, is the headquarters on the Cape Cod Chapter of the National Railway Historical Society (NRHS).

## History

The original passenger station in West Barnstable was opened in 1854 by the Cape Cod Railroad.

This station was torn down and a new station was built, at the same location, by the New Haven Railroad in 1911 at a cost of $18,000. The original architecture style of the station was identical to the stations that the New Haven Railroad built in Buzzards Bay and Sagamore around the same time.

The station served trains to Boston and seasonal trains to New York City and remained in service until 1964 when the New Haven Railroad ran its last passenger trains to Cape Cod including the *Day Cape Codder.* Between 1986 and 1996 it was an unmanned station stop for Amtrak's *Cape Codder* service. It is one station that has been eliminated from the schedule of the seasonal *Cape Flyer* train service between Boston and Hyannis. From the 19th Century, under the Old Colony Railroad and until 1964 under the New York, New Haven and Hartford Railroad, passenger trains served Sandwich. Trains of the 1940s-1960s included the *Day Cape Codder* and the *Neptune.*

The property once included a detached freight house but it was torn down a few decades ago. The station was used as a shooting location for the films *The Golden Boys* (2008) and *The Lightkeepers* (2009). The Cape Cod Chapter of the NRHS signed a twenty-year lease on the building in 2012. They have been restoring it as a historical railway station and museum since 2001 when they became the custodian of the building. The station building, which is open to the public on Saturdays between May and October, also hosts numerous special events, including National Train Day in May, the West Barnstable village festival in August and the Cranberry Express in October.

During the summer, West Barnstable serves as a stop for select excursion trains running from Hyannis to the Cape Cod Canal, often including an additional stop at the historic Pairpoint Glass facility in Sagamore. Although trains depart from Hyannis every day of the week during the summer, West Barnstable is only served on Saturdays.

Media related to West Barnstable station at Wikimedia Commons

## InfoBox

| West Barnstable, MA | |
| --- | --- |
| West Barnstable station in 2012 | |
| General information | |
| Location | 2469 Meetinghouse Way (Route 149)<br>West Barnstable, Massachusetts |
| Coordinates | 41°42′25″N 70°22′27″W / 41.70694°N 70.37417°W / 41.70694; -70.37417 |
| Owned by | Town of Barnstable, Massachusetts |
| Line(s) | Cape Main Line |
| Platforms | 1 side platform |
| Construction | |
| Parking | Small lot |
| Accessible | Yes |
| History | |
| Rebuilt | 1911, 1980s |
|  | |
| Services | |
| Preceding station Cape Cod Central Railroad Following station  Sandwichtoward Buzzards Bay  Main Line  HyannisTerminus | |
|  | |
|  | |
| Former services   Preceding station  Amtrak Following station  Sandwichtoward New York  *Cape Codder**1986–1996*  HyannisTerminus  Preceding station Cape Cod and Hyannis Railroad Following station  Sandwichtoward Braintree or Attleboro  Braintree-HyannisClosed 1988  HyannisTerminus  Preceding station New York, New Haven and Hartford Railroad Following station  East Sandwichtoward Boston  Boston–Hyannis  Barnstabletoward Hyannis  Boston–Provincetown  Barnstabletoward Provincetown  Sandwichtoward New York  Cape Codder  Yarmouthtoward Hyannis | |
|  | |
|  | |
| Location | |


title: Stefan Bošković

abstract: Stefan Bošković is a Montenegrin writer. He was born in 1983 in Podgorica. He is known for the short story collection Transparentne životinje (2018) and the novel Šamaranje (2014). Another novel Ministar won the EU Prize for Literature. Bošković is also active in other genres, e.g. scripts for feature films and short films, TV sitcoms and documentaries. He has also written plays for the stage. In 2017, he signed the Declaration on the Common Language of the Croats, Serbs, Bosniaks and Montenegrins.

text:
# Stefan Bošković

**Stefan Bošković** is a Montenegrin writer. He was born in 1983 in Podgorica. He is known for the short story collection *Transparentne životinje* (2018) and the novel *Šamaranje* (2014). Another novel *Ministar* won the EU Prize for Literature. Bošković is also active in other genres, e.g. scripts for feature films and short films, TV sitcoms and documentaries. He has also written plays for the stage. In 2017, he signed the Declaration on the Common Language of the Croats, Serbs, Bosniaks and Montenegrins.


title: Stephanie Schiller

abstract: Stephanie Schiller is an Olympic-medalist sculler, winning a bronze medal in the women's quadruple sculls at the 2008 Summer Olympics. She also won a World Championship gold medal in the same event with Julia Richter, Tina Manker and Britta Oppelt.

text:
# Stephanie Schiller

**Stephanie Schiller** (born 25 July 1986 in Potsdam, East Germany) is an Olympic-medalist sculler, winning a bronze medal in the women's quadruple sculls at the 2008 Summer Olympics (with Britta Oppelt, Manuela Lutze and Kathrin Boron). She also won a World Championship gold medal in the same event with Julia Richter, Tina Manker and Britta Oppelt.

1. "Women's Quad are World Champions again – British Rowing". *British Rowing*. 30 January 2007. Retrieved 12 March 2016.
2. Evans, Hilary; Gjerde, Arild; Heijmans, Jeroen; Mallon, Bill; et al. "Germany Rowing at the 2008 Beijing Summer Games". *Olympics at Sports-Reference.com*. Sports Reference LLC. Archived from the original on 17 April 2020. Retrieved 12 March 2016.

## InfoBox

Stephanie Schiller
| Medal record | | |
| --- | --- | --- |
| Women's rowing | | |
| Representing  Germany | | |
| Olympic Games | | |
|  | 2008 Beijing | Quadruple sculls |
| World Championships | | |
|  | 2011 Lake Bled | W4x |
|  | 2005 Gifu | W4x |
|  | 2007 Munich | W4x |
|  | 2006 Eton | W4x |
|  | 2009 Poznan | W4x |


title: Stephanie Scuris

abstract: Stephanie Scuris is a Greek-American artist and arts educator known for her large-scale Constructivist sculptures. She taught at the Rinehart School of Sculpture at the Maryland Institute College of Art in Baltimore, Maryland.

text:
# Stephanie Scuris

**Stephanie Scuris** (born 1931) is a Greek-American artist and arts educator known for her large-scale Constructivist sculptures. She taught at the Rinehart School of Sculpture at the Maryland Institute College of Art in Baltimore, Maryland.

## Early life

Scuris was born in Lacedaemonos, Greece,. She moved to the United States in 1947 at age 16, two years after the end of World War II. She studied under Josef Albers at Yale University, receiving a BFA and a MFA from the School of Art and Architecture in the late 1950s.

## Career

Scuris was one of the select group of students Albers introduced to Madeleine and Arthur Lejwa at the Galerie Chalette. While still a student at Yale, she exhibited at their *Structured Sculptures* show of winter 1960. She exhibited at the Whitney Museum of Art, MOMA, The Baltimore Museum of Art, and the Yale Art School, and worked on major commissions for the Bankers Trust Company and the Salk Laboratories in the 1960s.

She was recruited, along with Norman Carlberg, by the educator and artist Eugene Leake (both alumni of the Yale/Albers MFA program), to revive the sculpture program at the Rinehart School at the Maryland Institute of Art. That revival was, by Scuris's account, "all about Bauhaus,” an educational approach that centered on knowledge of the physical manipulation of materials rather than strict figurative representation.

## Selected exhibitions

## Awards, permanent collections

Winterwitz Award, prize for outstanding work & alumni award, Yale Univ.; Peabody Award, 1961–62; Rinehart fellowship, 1961-64.

*Skedion Ecton,* (1964) Whitney Museum of American Art, New York

## InfoBox

| Stephanie Scuris | |
| --- | --- |
| Born | Stephanie Scuris
(1931-01-01)January 1, 1931
Lacedaemonos, Greece |
| Nationality | American |
| Education | Yale University, BFA, MFA |
| Known for | Sculpture |
| Notable work | *Harmony Fountain,* Singapore |
| Movement | Bauhaus, Modernist, Constructivist, Geometric abstraction |


title: Not Today (Mary J. Blige song)

abstract: "Not Today" is a song recorded by American singer Mary J. Blige for her sixth studio album Love & Life (2003). It features a guest appearance from rapper Eve. The song was written by Blige, Eve, Mike Elizondo, Theron Feemster, Bruce Miller, and Dr. Dre, while production was helmed by the latter. Built upon a "plinking beat", it lyrically emphasizes the theme of broken promises and consequent end of the relationship. "Not Today" was released as the third single from Love & Life, and the lead single from the Barbershop 2: Back in Business (2004) soundtrack, on November 24, 2003, by Geffen Records. It received widespread acclaim from music critics, who ranked it among the highlights of Love & Life. A moderate commercial success, the song peaked at number 41 on the US Billboard Hot 100.

text:
# Not Today (Mary J. Blige song)

"**Not Today**" is a song recorded by American singer Mary J. Blige for her sixth studio album *Love & Life* (2003). It features a guest appearance from rapper Eve. The song was written by Blige, Eve, Mike Elizondo, Theron Feemster, Bruce Miller, and Dr. Dre, while production was helmed by the latter. Built upon a "plinking beat", it lyrically emphasizes the theme of broken promises and consequent end of the relationship.

"Not Today" was released as the third single from *Love & Life*, and the lead single from the *Barbershop 2: Back in Business* (2004) soundtrack, on November 24, 2003, by Geffen Records. It received widespread acclaim from music critics, who ranked it among the highlights of *Love & Life*. A moderate commercial success, the song peaked at number 41 on the US *Billboard* Hot 100.

## Background

"Not Today" was written by Blige and rapper Eve along with Dr. Dre, Mike Elizondo, Theron Feemster, and Bruce Miller, while production was helmed by Dr. Dre. In a 2003 interview with *MTV News*, Blige elaborated on the track: "The first day Dre gave us the track, we went and laid it down in a studio. We didn't even know the song was going to make the album, because Dre was trying to do something else. We brought the song back and played it for him, and he was bugging out off the fact that we did it the same night. So a couple of weeks later he sends it back to us, mastered with Eve on it, killing it." She further commented on Eve's contribution: "She's just destroying somebody. I don't know who, but she sounds really pissed off. The good thing is she really murdered the track."

## Critical reception

Evan McGarey from *The Michigan Daily* described the song as a "big-budget \[...\] radio-ready anchor." He further wrote: "Fittingly, Dre’s plinking beats mold well with Mary J. Blige’s robust voice. It’s Eve, however, who steals the track. Instead of the subdued Eve we’ve seen in UPN sitcoms and Vin Diesel movies, we get a riled-up version who hurls fiery indictments to a former lover. It’s a shockingly welcome return to form." *New York Post* critic Dan Aquilante noted that "on "Not Today," Eve and Blige abuse a lying, cheating 'waste of time' boy who will never be a real man. Dre’s production surges with waves of orchestral power as Blige’s soul-flavored hip-hop cuts heads with Eve’s rap. From start to finish, it’s a terrific tune." *Dotmusic*'s Sharon O'Connell called the a "sleek, TLC-tastic treat." *New York Times* critic Jessica Willis that "on "Not Today," she lets Eve run away with all of the put-downs, and they're crass and flat compared to the nuanced "Where I've Been," their duet from *No More Drama*." In his review of parent album *Love & Life*, Sal Cinquemani from Slant Magazine noted: "The flawless, sample-free “Not Today,” produced by Dr. Dre and featuring Eve, stands out here like a shiny penny on a dirty city street."

## Music video

A music video for "Not Today" was directed by Chris Robinson. According to *MTV News*, the "clip features a sexy Mary visiting a local social hot spot – the barbershop – and witnessing the flirtatious actions of a man who seems to be too distracted by several women to ever stick to just one. Eve and Mary watch the shenanigans amusedly." In addition, the visuals feature cameos from *Barbershop 2: Back in Business* co-stars Eve and Cedric the Entertainer as well as scenes from the film itself.

## Track listings

CD single
| No. | Title | Writer(s) | Producer(s) | Length |
| --- | --- | --- | --- | --- |
| 1. | "Not Today" (radio edit featuring Eve) |  | Dr. Dre | 3:50 |
| 2. | "Ooh!" (G-Unit remix radio edit) |  |  | 3:48 |
| 3. | "Love @ 1st Sight" (Rishi Rich vocal remix featuring Juggy D) |  |  | 5:23 |

**Notes**

* **^\[a\]**  denotes remix producer

**Sample credits**

## Credits and personnel

Credits adapted from the liner notes of *Love & Life*.

## Charts

Weekly chart performance for "Not Today"
| Chart (20032004) | Peak
position |
| --- | --- |
| France (SNEP) | 57 |
| Scotland (OCC) | 64 |
| UK Singles (OCC) | 40 |
| UK Hip Hop/R&B (OCC) | 12 |
| US *Billboard* Hot 100 | 41 |
| US Hot R&B/Hip-Hop Songs (*Billboard*) | 21 |
| US Pop Airplay (*Billboard*) | 35 |
| US Rhythmic (*Billboard*) | 24 |

## Certifications

Video single certifications for "Not Today"
| Region | Certification | Certified units/sales |
| --- | --- | --- |
| United States (RIAA) | Platinum | 50,000^ |
| ^ Shipments figures based on certification alone.
 | | |

## Release history

Release dates and formats for "Not Today"
| Region | Date | Format(s) | Label(s) | Ref. |
| --- | --- | --- | --- | --- |
| United States | November 24, 2003 |  | Geffen |  |
| | December 8, 2003 | | Contemporary hit radio |  |
| | January 20, 2004 | | DVD |  |

## InfoBox

| "Not Today" | |
| --- | --- |
|  | |
| Single by Mary J. Blige featuring Eve | |
| from the album  *Love & Life and Barbershop 2: Back in Business* | |
| Released | November 24, 2003 |
| Length | 4:13 |
| Label | Geffen |
| Songwriter(s) |  |
| Producer(s) | Dr. Dre |
| Mary J. Blige singles chronology | |
| "Ooh!"
(2003) "**Not Today**"
(2003) "Whenever I Say Your Name"
(2004) | |
|  | |
| Eve singles chronology | |
| "Satisfaction"
(2003) "**Not Today**"
(2004) "Rich Girl"
(2004) | |
|  | |


title: Yoshihiro Tatsumi

abstract: Yoshihiro Tatsumi was a Japanese manga artist whose work was first published in his teens, and continued through the rest of his life. He is widely credited with starting the gekiga style of alternative manga in Japan, having allegedly coined the term in 1957. His work frequently illustrated the darker elements of life.

text:
# Yoshihiro Tatsumi

**Yoshihiro Tatsumi** (辰巳 ヨシヒロ, *Tatsumi Yoshihiro*, June 10, 1935 – March 7, 2015) was a Japanese manga artist whose work was first published in his teens, and continued through the rest of his life. He is widely credited with starting the gekiga style of alternative manga in Japan, having allegedly coined the term in 1957. His work frequently illustrated the darker elements of life.

## Biography

### Childhood and early work

Tatsumi grew up in Osaka, near a U.S. military base called Itami Airfield. As a child, with his old brother Okimasa, Tatsumi contributed amateur four-panel manga to magazines that featured readers' work, winning several times. After corresponding with like-minded children, Tatsumi helped form the Children's Manga Association. This led to a round-table discussion for the grade school edition of *Mainichi Shimbun* with pioneering manga artist Osamu Tezuka. Tatsumi formed a relationship with Tezuka, who encouraged him to try making longer stories.

Another well-known manga artist, Noboru Ōshiro, also gave Tatsumi feedback and advice. Ōshiro later asked to redraw and publish Tatsumi's immature work *Happily Adrift*, but did not end up doing so. Ōshiro offered Hiroshi a chance to live at his home "dojo" with other aspiring manga artists, but Tatsumi postponed the offer until he graduated from high school. One of the members of Ōshiro's dojo showed Tatsumi's *Children's Island* to the publisher Tsuru Shobō, which ended up publishing it in 1954.

Tatsumi eventually attended college instead of apprenticing with Ōshiro, studying for entrance exams, but purposefully didn't finish the exam. He met with the publisher Kenbunsha, which commissioned him to create a detective story similar to the fictional French thief Arsène Lupin, but the company reduced its payment offer so instead he published *Thirteen Eyes* with Hinomaru Bunko, with whom he would go on to publish many works. At this point, Tatsumi embarked on a three-year period of producing manga for the rental book market; during this period he produced seventeen book-length manga and several volumes of short stories.

### *Shadow* and "anti-manga manga"

Hinomaru Bunko's editor established a new monthly collection with its top authors titled *Shadow* (, *Kage*). Although influenced by Tezuka's cinematic style, Tatsumi and his colleagues were not interested in making comics for children. They wanted to make comics for adults that were more graphic and showed more violence. Tatsumi explained, "Part of that was influenced by the newspaper stories I would read. I would have an emotional reaction of some kind and want to express that in my comics." In short, Tatsumi aspired to create an "anti-manga manga", against his friendly rival and colleague Masahiko Matsumoto. Some of Tatsumi's first "anti-manga" mangas were published in *Shadow*.

Because *Shadow* was reducing its artists' output, however, Hinomaru asked his authors to also work on full-length stories. Tatsumi yearned to do such a story, and he pitched the idea of adapting Alexandre Dumas' *The Count of Monte Cristo* into a ten-volume Japanese period piece, but his boss did not feel he was skilled enough or had enough time.

The publisher put Tatsumi, Matsumoto, Takao Saito, and Kuroda in a "manga camp," an apartment in Tennōji-ku, Osaka. After his brother Okimasa's hospitalization, however, the 21-year-old Hiroshi left the "manga camp." Back home, he experienced a burst of creativity and created the manga he wanted to, titled *Black Blizzard*. *Black Blizzard* was created during a boom in short story magazines, so Tatsumi tried to come up with new forms of expression, such as conveying movement realistically, though his art was rough and used a lot of diagonal lines. Published in November 1956, *Black Blizzard* was well received by Hiroshi's fellow authors, with Masaki Sato (佐藤まさあき) calling it "the manga of the future".

### *Gekiga*

> What I aimed to do was increase the age of the readership of comics. It wasn't that I was trying to create anything literary, but I did want to create an older audience. I didn't do that single-handedly, but I did succeed to a certain level. And, again, part of that was accomplished out of necessity. There was an incommensurable difference between what I wanted to express and what you could express in children's comics.

—Yoshihiro Tatsumi, on being called the "grandfather of Japanese alternative manga."

In 1957, Tatsumi coined the term *gekiga* to differentiate his work from the more common term *manga*, or "whimsical pictures." Other names he considered include *katsudōga* and *katsuga*, both derived from *katsudō eiga* or "moving pictures," an early term for films, showing the movement's cinematic influence. Tatsumi's work "Yūrei Taxi" was the first to be called *gekiga* when it was published at the end of 1957.

In 1959, the Gekiga Kōbō (劇画工房) formed in Tokyo with eight members including Tatsumi, Matsumoto and Takao Saito. The group wrote a sort of "Gekiga Manifesto" that was sent to various publishers and newspapers declaring their mission.

Some authors use the term *gekiga* to describe works that only have shock factor. In 1968, Tatsumi published *Gekiga College* because he felt *gekiga* was straying too far from its roots and wanted to reclaim its meaning. In 2009, he said "Gekiga is a term people throw around now to describe any manga with violence or eroticism or any spectacle. It's become synonymous with spectacular. But I write manga about households and conversations, love affairs, mundane stuff that is not spectacular. I think that's the difference."

The monthly magazine *Garo*, devoted to publishing *gekiga*, was founded in 1964. Tatsumi and other influential *gekiga* artists contributed to *Garo*.

### Work of the late 1960s and early 1970s

In the late 1960s, Tatsumi worked on a series of stories which were serialized in the manga magazine *Gekiga Young* as well as in self-published dōjinshi magazines. During this period, Tatsumi was running a publishing house for manga rental shops so he did not have time to work on his own manga; he felt like an outcast in the manga industry. In a 2007 interview, Tasumi described *Gekiga Young* as an erotic "third-rate magazine" with low pay, which gave him freedom with the types of work he could create. Sixteen of the stories Tatsumi produced during this period were published in the 2005 Drawn & Quarterly collection *The Push Man and Other Stories* (which was later nominated for the Ignatz Award for Outstanding Anthology or Collection and the Harvey Award for Best American Edition of Foreign Material).

In 1970, Tatsumi published a number of stories that, according to him, "marked a breakthrough and rekindled \[his\] passion in *gekiga*". His approach was to use a "bleak story" *gekiga* style without the gags and humor in mainstream manga. These stories, which were serialized in various manga magazines, including *Weekly Shōnen Magazine* and *Garo*, were translated and published as *Abandon the Old in Tokyo*, by Drawn & Quarterly in 2006. The collection won the 2007 Harvey Award for Best U.S. Edition of Foreign Material. *Abandon the Old in Tokyo* was also nominated for the 2007 Eisner Award for Best Archival Collection/Project – Comic Books.

In 1971 and 1972, Tatsumi transitioned from rental comics to publishing in magazines. As a result, he started to tackle social issues in his *gekiga* work, and his editors gave him complete creative freedom. Due to Japan's political atmosphere at the time, Tatsumi felt disillusioned by his country's fascination with its own economic growth. One of his stories, "Hell," was inspired by a photograph Tatsumi saw of a shadow burnt into a wall by radiation heat of the nuclear bomb. "Hell" was published in the Japanese *Playboy*, which (happily) surprised Tatsumi because the usual manga publishers would not put out that kind of subject matter at the time. Nine of the stories he worked on during this period — which were created without assistants — were published in 2008 by Drawn & Quarterly in the collection *Good-Bye*, which was nominated for the 2009 Eisner Award for Best Archival Collection/Project—Comic Books.

### Later work

Tatsumi spent 11 years working on *A Drifting Life* (劇画漂流, *Gekiga Hyōryū*), a thinly veiled autobiographical manga that chronicled his life from 1945 to 1960, the early stages of his career as a cartoonist. It was released in Japan as two *bound volumes* on November 20, 2008, and published as an 840-page single volume by Drawn & Quarterly in 2009. The book earned Tatsumi the Tezuka Osamu Cultural Prize, and won two Eisner Awards.

One of Tatsumi's last major works was *Fallen Words* (劇画寄席 芝浜, *Gekiga Yose: Shibahama*), a collection of *rakugo* short stories published in 2009 by Basilico. *Rakugo* (literally "Fallen Words") is a form of storytelling where the stories are retold for generations, unlike manga, and are humorous as opposed to *gekiga*, which drew Tatsumi to adapt the stories. Tatsumi attempted to combine the humor of the stories with the visual language of *gekiga*, two forms which he thought were incompatible, but he later realized that they both rely strongly on timing and that *rakugo* has much more depth and variety, forcing him to reevaluate the form and see that it was closer to *gekiga* than he thought. *Publishers Weekly* complimented the humor and relatable nature of the fables, concluding that Tatsumi's "flat yet expressive drawings" help move the stories smoothly. Garrett Martin of *Paste* called the manga "a slight work, but fascinating as a historical and cultural artifact", comparing it to as if Robert Crumb adapted traditional folk songs.

### Death

Tatsumi died of cancer at the age of 79 on March 7, 2015.

## Legacy

His work has been translated into many languages, and Canadian publisher Drawn & Quarterly took part in a project to publish an annual compendium of his works focusing each on the highlights of one year of his work (beginning with 1969) that produced three volumes, edited by American cartoonist Adrian Tomine. According to Tomine, this is one event in a seemingly coincidental rise to worldwide popularity along with: reissued collections of his stories in Japan, acquisition of translation rights in a number of European countries, and competition for the rights for Drawn & Quarterly.

A full-length animated feature on the life and short stories of Yoshihiro Tatsumi was released in 2011. The film, *Tatsumi*, is directed by Eric Khoo and The Match Factory handled world sales.

## Awards

Tatsumi received the Japan Cartoonists Association Award in 1972. In 2009, he was awarded the Tezuka Osamu Cultural Prize for his autobiography, *A Drifting Life*. The same work garnered him multiple Eisner awards (Best Reality-Based Work and Best U.S. Edition of International Material–Asia) in 2010 and the *regards sur le monde* award in Angoulême International Comics Festival in 2012.

## Bibliography

### In Japanese

* *Children's Island* (Tsuru Shobō, 1954)
* *Thirteen Eyes* (Hinomaru Bunko, 1954)
* *The Man who Laughs in the Darkness* (Hinomaru Bunko, 1955)
* "The People of the Valley Inn," in *Shadow* #2 (Hinomaru Bunko, 1956)
* "It Happened One Night," in *Shadow* #4 (Hinomaru Bunko, July 1956)
* *Black Blizzard* (Hinomaru Bunko, Nov. 1956)
* "Yūrei Taxi" ("Ghost Taxi"), in *Machi* ("The Street") (1958) — first published use of the term *Gekiga*
* "A Handshake in the Graveyard," in *Secret Room* #1 (Nakamura Shoten, 1960–61)
* *Dynamic Action* (Sanyōsha, 1961)
* *Tatsumi Yoshihiro Action* (Sanyōsha, 1961)
* "The Graveyard of the Sea," *Gekiga Magazine* #1 (Satō Pro, 1963)
* *Gekiga College* (Hiro Shobō, 1968) — a manifesto
* *Hitokui zakana* ("A Little Rough") (Napoleon Books, 1970)
* *Hitokuigyo* ("Man-Eating Fish") (Hiro Shobō, 1973) OCLC 673412591
* *Turkish Bath Bastard* (Geibunsha, 1978)
* *The Army of Hell* (Jigoku no gundan, 1982–83)
* *Shoot the Sun* (Taiyō o ute, early-mid-1980s)
* *Fallen Words* (Basilico, 2009)
* *Gekiga Living* (Gekiga kurashi, 2010) — prose

### English publications

### In French

### In German

### In Spanish

* *El Macarra*  (El Víbora #47, 1983)

## InfoBox

| Yoshihiro Tatsumi
辰巳 ヨシヒロ | |
| --- | --- |
| Tatsumi in 2010 | |
| Born | (1935-06-10)June 10, 1935
Tennōji-ku, Osaka, Japan |
| Died | March 7, 2015(2015-03-07) (aged 79)
Tokyo, Japan |
| Nationality | Japanese |
| Area(s) | Cartoonist, Writer, Artist, Publisher |
| Notable works | *Children's Island*
*Black Blizzard*
*The Push Man and Other Stories*
*Abandon the Old in Tokyo*
*Good-Bye*
*A Drifting Life*
*Fallen Words* |
| Awards | Japan Cartoonists Association Award (1972)
Inkpot Award (2006)
Harvey Award (2007)
Tezuka Osamu Cultural Prize (2009)
Eisner Award x2 (2010)
Regards sur le Monde Award (2012) |


title: Youwarasan Maniom

abstract: Youwarasan a/l Maniom is a Malaysian professional footballer who plays as a defender.

text:
# Youwarasan Maniom

**Youwarasan a/l Maniom** (born 15 February 1993) is a Malaysian professional footballer who plays as a defender.

## InfoBox

M. Youwarasan
| Personal information | | | |
| --- | --- | --- | --- |
| Full name | Youwarasan a/l Maniom | | |
| Date of birth | (1993-02-15) 15 February 1993 | | |
| Place of birth | Malaysia | | |
| Position(s) | Defender | | |
| Team information | | | |
| Current team | Bukit Tambun F.C. | | |
| Number | 15 | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 2015–2022 | Petaling Jaya City |  |  |
| 2023 | Melaka |  |  |
| 2024– | Bukit Tambun F.C. |  | (1) |
| \*Club domestic league appearances and goals | | | |


title: Youves

abstract: Youves are an English dance-punk quintet from Nuneaton, formed in 2003. The band consists of lead vocalist Stephen Broadley, guitarists Michael King and Alex Wiezak, bassist Luke Neale and drummer Paul Wechter. The band's sound is an energetic mixture of punk, dance and new wave, which is characterized by an emphasis on percussion with polyrhythmic qualities and a quirky sometimes described as 'violent' but simplistic duel between guitars with a danceable edge. In 2009, the band released their mini-album Cardio-Vascular which has been received with widespread acclaim from many notable publications.

text:
# Youves

**Youves** are an English dance-punk quintet from Nuneaton, formed in 2003. The band consists of lead vocalist Stephen Broadley, guitarists Michael King and Alex Wiezak, bassist Luke Neale and drummer Paul Wechter. The band's sound is an energetic mixture of punk, dance and new wave, which is characterized by an emphasis on percussion with polyrhythmic qualities and a quirky sometimes described as 'violent' but simplistic duel between guitars with a danceable edge.

In 2009, the band released their mini-album *Cardio-Vascular* which has been received with widespread acclaim from many notable publications.

## History

The band formed in 2003 as a hardcore punk band named 'The Tragic Vision' which consisted of Stephen Broadley, Michael King, Alex Wiezak, Jordan Daniel and Adam Mallabone. The band soon played many basement shows and house parties until less than a year later Jordan and Adam left the band. Soon after they recruited bassist Luke Neale and Drummer Jon McGovern. Developing their hardcore punk sound with many danceable qualities and soon becoming a fully fledged band they began gigging under name 'Mirror!Mirror!' in 2004. After a few months of relentless touring with bands such as Klaxons and Blood Red Shoes they released a split 7-inch record with Rolo Tomassi on Speedowax records.

The band then went on a break which lasted a year and during this time Jon McGovern had left the band which led to the recruitment of Craig Thornicroft to play drums. During this time they abandoned their hardcore punk sound and replaced it with a more dance-oriented sound which holds the intensity of hardcore punk which they possessed in previous projects. The band released the single "Wolfgang Bang", which remains in their setlist. Soon they signed a deal with Holy Roar Records to release a seven track mini-album but decided to not work under the name 'Mirror!Mirror!' and changed their name to 'Youves'. While writing new material and touring non-stop through the UK and Europe they released their mini-album *Cardio-Vascular* in the spring of 2009 to positive reviews from the *NME* and *Rock Sound* and the single and music video "Aladdins Rave" was released with moderate rotation which also led to the band enjoying a considerable amount of press.

The band are currently writing and recording their debut full-length album, working with former drummer Craig Thornicroft.

## Musical style

The band's Sound has been described by *Rock Sound* as "Unpretentious, Inventive and Infectious Dance-Punk Played with Style". *The Fly* described their sound as "Gang Of Four attacking The Rapture with a rusty breadknife-like guitar, awkward disco and lashings of cow bell". *Artrocker* also compared the band to The Rapture and Radio 4.

## Discography

### As Mirror!Mirror!

* 4 track Cassette (Stop Scratching Records) - 2007
* split 7-inch w/ Rolo Tomassi (Speedo Wax Records) - 2008
* "Wolfgang Bang" / "Silicone Eyes" 7-inch Single (Tough Love Records) - 2008

### As Youves

## Current members

* Stephen Broadley - Lead Vocals
* Alex Wiezak - Guitar and Backing Vocals
* Michael King - Guitar and Backing Vocals
* Luke Neale - Bass guitar
* Paul Wechter - Drums

## Former members

* Jon McGovern - Drums
* Craig Thornicroft -Drums
* Jordan Daniel - Bass

## InfoBox

| Youves | |
| --- | --- |
| Origin | Nuneaton, England |
| Genres | Dance-punk, post-punk revival |
| Years active | 2003present |
| Labels | Holy Roar Records |
|  | |
| Members | Stephen Broadley
Michael King
Paul Wechter
Alex Wiezak
Luke Neale |
|  | |
| Past members | Jordan Daniel
Adam Mallabone
Jon McGovern
Craig Thornicroft |
|  | |
| Website |  |


title: Your Blues

abstract: Your Blues is the sixth studio album by Destroyer, released on March 8, 2004 by Merge Records, Trifekta Records, Scratch Records, Talitres Records, and Acuarela Discos. It is a notable departure from the full-band format of Destroyer's previous few albums, largely featuring MIDI-simulated orchestration as its backing music. The album was reissued in 2014 by Merge Records.

text:
# Your Blues

***Your Blues*** is the sixth studio album by Destroyer, released on March 8, 2004 by Merge Records, Trifekta Records, Scratch Records, Talitres Records, and Acuarela Discos.

It is a notable departure from the full-band format of Destroyer's previous few albums, largely featuring MIDI-simulated orchestration as its backing music.

The album was reissued in 2014 by Merge Records.

## Critical reception

Professional ratings
| Aggregate scores | |
| --- | --- |
| Source | Rating |
| Metacritic | 79/100 |
| Review scores | |
| Source | Rating |
| AllMusic |  |
| *The A.V. Club* | C+ |
| Pitchfork | 8.6/10 |
| PopMatters |  |
| *Spin* | B+ |
| *Uncut* |  |

*Your Blues* received positive reviews from contemporary music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 79, based on 14 reviews, which indicates "generally favorable reviews".

Matt LeMay of Pitchfork Media gave the album a very favorable review stating, "Like Bejar's 2002 release *This Night*, *Your Blues* constitutes a fundamental challenge to deeply ingrained conventions of sincerity and emotional honesty. The record's conceptual brilliance lies largely in Bejar's ability to craft deeply moving passages out of ostensibly artificial and contrived elements, subtly suggesting that all music, if not all human expression, is in effect some sort of artifice. Bejar's critical engagement with codified aesthetic techniques certainly renders Your Blues a less immediately "accessible" record, and can at first come off as kitschy or detached. But the album's unique and defiant expression makes this the most holistically accomplished album Bejar has released to date."

## Track listing

All tracks are written by Dan Bejar

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Notorious Lightning" | 5:57 |
| 2. | "It's Gonna Take an Airplane" | 3:41 |
| 3. | "An Actor's Revenge" | 2:57 |
| 4. | "The Music Lovers" | 4:22 |
| 5. | "From Oakland to Warsaw" | 3:11 |
| 6. | "Your Blues" | 2:57 |
| 7. | "New Ways of Living" | 4:23 |
| 8. | "Don't Become the Thing You Hated" | 2:13 |
| 9. | "Mad Foxes" | 4:45 |
| 10. | "The Fox and the Hound" | 3:23 |
| 11. | "What Road" | 3:57 |
| 12. | "Certain Things You Ought to Know" | 4:25 |
| Total length: | | 46:11 |

## Personnel

### Destroyer

* Dan Bejar \- vocals, acoustic guitar, Roland XV-3080, Kurzweil K2600, percussion, production
* John Collins - Roland XV-3080, Kurzweil K2600, production, recording
* David Carswell - Roland XV-3080, Kurzweil K2600, production, recording

### Additional personnel

* Jamie Sitar - mastering at Suite Sound Labs, Vancouver
* Sydney Vermont - drawing
* Marya Spenton - layout

## References and notes

## InfoBox

| Your Blues | |
| --- | --- |
|  | |
| Studio album by Destroyer | |
| Released | March 8, 2004 |
| Recorded | late summer/early fall 2003 |
| Studio | JC/DC |
| Genre | Indie rock, European blues |
| Length | 46:11 |
| Label |  |
| Producer |  |
| Destroyer chronology | |
| *This Night*
(2002) ***Your Blues***
(2004) *Notorious Lightning & Other Works (EP)*
(2005) | |


title: Steve King (audio engineer)

abstract: Steven King was an American record producer and audio engineer from Detroit, most known for his work at 54 Sound in Ferndale, Michigan with Shady/Aftermath artists. He won a Grammy Award for Best Rap Album at 45th Annual Grammy Awards for The Eminem Show.

text:
# Steve King (audio engineer)

**Steven King** (May 14, 1958 – June 3, 2014) was an American record producer and audio engineer from Detroit, most known for his work at 54 Sound in Ferndale, Michigan with Shady/Aftermath artists. He won a Grammy Award for Best Rap Album at 45th Annual Grammy Awards for *The Eminem Show*.

## Death

Survived by his wife, Roberta, and his son Nick, as well a sister, Jennifer Orr, stepdaughter Kimberly Freiwald and stepson Christopher VanderBerg, he died at 56 on June 3, 2014, following a battle with liver disease.

## Awards and nominations

| Year | Nominee / work | Award | Result | Ref. |
| --- | --- | --- | --- | --- |
| 2000 | *The Marshall Mathers LP* | Grammy Award for Album of the Year | Nominated |  |
| 2002 | "Without Me" | Grammy Award for Record of the Year | Nominated |  |
| 2002 | *The Eminem Show* | Grammy Award for Album of the Year | Nominated |  |
| 2002 | *The Eminem Show* | Grammy Award for Best Rap Album | Won |  |
| 2003 | "Lose Yourself" | Grammy Award for Record of the Year | Nominated |  |

## InfoBox

| Steve King | |
| --- | --- |
| Born | (1958-05-14)May 14, 1958
Northville, Michigan, US |
| Died | June 3, 2014(2014-06-03) (aged 56)
Detroit, Michigan, US |
| Genres |  |
| Occupations |  |
| Years active | 1980–2014 |
| Formerly of |  |


title: Nozomi Bando

abstract: Nozomi Bando is a Japanese dancer, model and actress. She is a former member of Flower and E-girls, former model for Hanachu and an exclusive model for Seventeen. Nozomi is represented with LDH.

text:
# Nozomi Bando

**Nozomi Bando** (坂東 希, *Bandō Nozomi*, born 4 September 1997, in Tokyo) is a Japanese dancer, model and actress. She is a former member of Flower and E-girls, former model for *Hanachu* and an exclusive model for *Seventeen*. Nozomi is represented with LDH.

## Early life

Nozomi was born in Tokyo in 1997. She has an older brother. From the age of 3 Bando started to learn classical ballet and attended Masako Ono Ballet Studio during her second grade in elementary school. She also started hip-hop dancing and was scouted in Odaiba during her 4th year in elementary school, her entrance to attending the Exile Professional Gym (EXPG) in Tokyo.

In 2010, Bando made her model debut in the fashion magazine *Hanachu* and served as an exclusive model until she went on hiatus in May 2011.

## Career

*For more information, see Flower (Japanese band) § History*

On July 26, 2011, it was revealed during an *E-Girls SHOW* event in SHIBUYA-AX, that Nozomi passed the dance performance department of the *Exile Presents VOCAL BATTLE AUDITION 3 ~For Girls*~ and was added to Flower as a performer alongside Harumi Sato. On that same day, she was also added as a member to E-girls, having a concurrent position in the group and Flower. On August 30, she became an exclusive model for the fashion magazine *Seventeen* after winning the *Miss Seventeen 2011* audition along with Yua Shinkawa, Ayami Nakajo and Ai Hashizume. On October 12, Flower made their debut with the single "Still".

In July 2012, Nozomi made her acting debut in the Kansai Telecasting Corporation drama *GTO*.

In April 2015 she ended her work as an exclusive model for *Seventeen*.

On January 12, 2018, Nozomi was announced as one of the cast members for the live-action adaptation of the manga *Rainbow Days (虹色デイズ Nanairo Days)*. The movie stars her label mate Reo Sano, member of Generations from Exile Tribe, and was released on July 6. On May 30 in the same year, it was also announced Nozomi would play one of the leading roles in the short film *Kuu* alongside her group members Anna Ishii and Nonoka Yamaguchi from E-girls. The short film was part of LDH's *Utamonogatari -CINEMA FIGHTERS project- (ウタモノガタリ -CINEMA FIGHTERS project-)*.

On April 15, 2019, Nozomi was announced to be part of the cast for the movie *Three Nobunaga (3人の信長)* which stars Exile Takahiro playing the main character and will be released on September 20. On April 23 in the same year, she was chosen as one of the representative E-girls members alongside Harumi Sato, Kaede Dobashi and Nonoka Yamaguchi for the advertisements of *Mister Donut*'s Tapoica Drink *"Tap！Tap！Tapioca！*", a new product released on the same day.

On September 10, 2019, it was announced that she would be on the cover for the 12th issue of the Japanese fashion magazine *Please*, making it her first solo cover in her career.

## Personal life

* Bando is friends with Ikumi Hisamatsu when working for *Hanachu*, and she was nicknamed Imōto-bun (妹分, "Little Sister") by Hisamatsu.

## Filmography

> *To see her appearances with Flower, see Flower (Japanese band); To see her appearances with E-girls, see E-girls*

### TV dramas

| Year | Title | Role | Network | Notes | Ref. |
| --- | --- | --- | --- | --- | --- |
| 2012 | *GTO* | Ai Tokiwa | KTV |  |  |
| 2014 | *Koibumi Biyori (A Perfect Day for Love Letters)* | Sese | NTV | Episode 9; Lead role |  |
| | *Tokkō Jimuin Minowa* | Masami Aoyama | YTV | Episode 11 |  |
| 2015 | *High & Low: The Story Of S.W.O.R.D.* | Nika Ijuin | NTV |  |  |
| 2016 | *High & Low Season 2* | | |  |  |

### Films

| Year | Title | Role | Notes | Ref. |
| --- | --- | --- | --- | --- |
| 2016 | *Road To High & Low* | Nika Ijuin |  |  |
| | *High&Low The Movie* | |  |  |
| | *High&Low The Red Rain* | |  |  |
| 2017 | *High&Low The Movie 2 / End of Sky* | |  |  |
| 2018 | *Rainbow Days* | Reiko Chiba |  |  |
| | *Utamonogatari -CINEMA FIGHTERS project- "Kuu"* | Ten | Short film |  |
| 2019 | *Three Nobunagas* | Haru Kuchiki |  |  |
| 2023 | *(Ab)normal Desire* | Yume Takami |  |  |
|

### Stage

| Year | Title | Ref. |
| --- | --- | --- |
| 2020 | Reading drama *Book Act "Entertainer Exchange Diary / Geinin koukan nikki"* |  |

### Music videos

| Year | Title | Artist |
| --- | --- | --- |
| 2010 | "Kataomoi" | Love |

### Commercials

| Year | Title | Notes | Ref. |
| --- | --- | --- | --- |
| 2019 | Mister Donut "*Tap！Tap！Tapioca！"* | with other E-girls members |  |
| | Mister Donut *"Cotton Snow Candy"* | |  |
| | Yofuku no Aoyama | |  |

## Other work

### Runways

| Year | Title | Season | Ref. |
| --- | --- | --- | --- |
| 2011 | *Tokyo Girls Collection* | Autumn/Winter |  |
| 2012 | *Girls Award* | Autumn/Winter |  |
| 2013 | *Kansai Collection* | Spring/Summer |  |
| | *Tokyo Girls Collection* | Spring/Summer |  |
| 2018 | *Tokyo Girls Collection* | Spring/Summer |  |
| 2019 | *Tokyo Girls Collection Shizuoka* |  |  |
| | *Tokyo Girls Collection Toyama* |  |  |
| | *Tokyo Girls Collection* | Autumn/Winter |  |
| | *Tokyo Girls Collection Kitakyushu* |  |  |
| 2020 | *Tokyo Girls Collection Shizuoka* |  |  |

### Magazines

| Year | Title | Notes |
| --- | --- | --- |
| 2010 | *Hanachu* | Exclusive model |
| 2011 | *Seventeen* | |
| 2017 | *WWD Beauty* |  |
| 2018 | *atmos mag* | Spring/Summer issue 13 |
| 2018 | *SPRiNG* | regular model |
| 2019 | *Please* | cover, 12th issue |

### Awards

| Year | Title |
| --- | --- |
| 2011 | 2011 Miss Seventeen |

## InfoBox

| Nozomi Bando | |
| --- | --- |
| 坂東 希 | |
|  | |
| Born | (1997-09-04) 4 September 1997<br>Tokyo, Japan |
| Other names | Non (のん) |
| Occupations | * Dancer * model * actress |
| Years active | 2010present |
| Agent | LDH |
| Style | Fashion |
| Height | 1.67 m (5 ft 6 in) |
| Awards | Miss Seventeen 2011 |


title: Nucky Johnson's Organization

abstract: Nucky Johnson's Organization was a corrupt political machine based in Atlantic City, New Jersey that held power during the Prohibition era. Its boss, Enoch "Nucky" Johnson, coordinated the Organizations's bootlegging, gambling, racketeering, and prostitution activities.

text:
# Nucky Johnson's Organization

**Nucky Johnson's Organization** was a corrupt political machine based in Atlantic City, New Jersey that held power during the Prohibition era. Its boss, Enoch "Nucky" Johnson, coordinated the Organizations's bootlegging, gambling, racketeering, and prostitution activities.

## Origins

### Early history

Before the rise of German American political boss Louis "Commodore" Kuehnle and Scots-Irish American treasurer Nucky Johnson, Atlantic City's government was run by a three-man group, including: Atlantic County Clerk Lewis P. Scott (1854-1907) and Congressman John J. Gardner (1845-1921), and Mays Landing sheriff and Atlantic City undersheriff Smith E. Johnson.

#### The Kuehnle regime

## New regime

After the conviction of Kuehnle in 1911, Smith Johnson's son became boss of the organization. Under his son's new regime, the organization would enjoy its most successful 30 years in its history.

### Nucky's paradise and Prohibition

Smith Johnson's son Enoch Lewis "Nucky" Johnson was born in 1883. Nucky became undersheriff in 1905 while his father was sheriff of Atlantic City. The younger Johnson was eventually elected sheriff in 1908. In 1909, he became secretary of the very powerful Atlantic County Republican Executive Committee. After the conviction of Kuehnle on corruption charges in 1911, the younger Johnson became boss of the organization.

Johnson also held several other jobs, including: Atlantic County Treasurer (1914–1941), County Tax Collector, publisher of a weekly newspaper, bank director, president of a building and loan company, and director of a Philadelphia brewery.

Johnson was known to be a very well dressed and nice man who would rarely say no. He wore tailored suits, owned the entire ninth floor of the Ritz-Carlton Hotel, and he owned a chauffeur-driven $14,000 1920 powder blue Rolls-Royce Silver Ghost; which was his trademark car. It was known that when Nucky prospered, everyone prospered in his organization and the city. Johnson once explained, "When I lived well, everybody lived well." Johnson has been described as running his criminal-political empire with a "velvet hammer".

When Prohibition went in effect in Atlantic City in January 1920, Johnson and his organization went straight into the bootlegging business. He allied himself with several other well-known bootleggers, including: Arnold Rothstein (New York's Jewish mob boss), Charlie Luciano (Masseria family lieutenant), Johnny Torrio (Chicago South Side Gang boss), and Benny Siegel (Bugs and Meyer Mob boss).

Nucky had also helped Republican building constructor Edward Bader get elected as mayor in 1920. And through Bader's construction business, he built the Atlantic City Convention Hall in 1929.

Johnson and Luciano began forming the Big Seven during the mid-to-late 1920s. The group was supposed to help solve bootlegging disputes and serve as a predecessor to the National Crime Syndicate in the 1930s. It was around this time that Johnson met a bellhop at the Ritz, named Jimmy Boyd; the two took an instant liking to each other. Johnson began grooming Boyd to become the next boss of his organization, and soon, Boyd was Nucky's top enforcer/right-hand man and controlled all of the brothels, casinos, speakeasies, and numbers rackets in Atlantic City.

#### Atlantic City Conference

From 13 to 16 May 1929, Johnson hosted the Atlantic City Conference at the Ritz-Carlton and Ambassador Hotels on the boardwalk. Johnson made arrangements for the attendees accommodations and guaranteed there would be no interference from law enforcement since his brother, Alfred Johnson was the sheriff of Atlantic County.

The leaders that thought of the conference were: La Cosa Nostra Masseria crime family lieutenant Charlie Luciano and the former boss of Chicago's South Side Gang Johnny Torrio. Meyer Lansky and Benny Siegel (bosses of the Bugs and Meyer Mob) served as the muscle/security at the conference. Delegates included several notable Jewish and Italian mobsters, including: Alphonse "Scarface" Capone (boss of the Chicago Outfit)—who was fighting a war with the Genna brothers against Dean O'Banion's North Side Gang—, Frank Costello and Joe Adonis (lieutenants in the Masseria family), Max Hoff (Philadelphia Jewish mob boss), Abe Bernstein (Purple Gang boss), Carlo Gambino (D'Aquila family lieutenant), and Gaetano Lucchese (Reina family lieutenant).

Johnson's enforcer Jimmy Boyd is never mentioned by anyone to being at the convention, but since Boyd was Nucky's right-hand man and an important figure in the organization, it is most likely that he was there to help make decisions for the organization.

During the late 1930s and early 1940s, FBI special agent William Frank and his team of agents investigated into the activities of Johnson and his organization but were unable to do so successfully.

### Frank Farley

In 1941, Johnson was convicted of tax evasion charges and was sentenced to 10 years in a federal prison and fined $20,000. Following his conviction, New Jersey Senator Frank "Hap" Farley took over the organization.

## In television

Nucky's organization is in the entire HBO series *Boardwalk Empire*, but is named Nucky Thompson's Organization; since instead of Nucky Johnson, his name is Nucky Thompson. Many members of the Thompson organization are based on or were in the Johnson organization; for example: Edward Bader, Frank Hague, Louis "Commodore" Kaestner (based on Louis "Commodore" Kuehnle), Jimmy Darmody (based on Jimmy Boyd), and Eddie Kessler (based on Johnson's German valet Louis Kessel).

In the show, the organization is an official rival of Dr. Valentin Narcisse (based on Casper Holstein), Charlie Luciano, Meyer Lansky, Benjamin Siegel, George Remus, the D'Alessio Brothers, and an unofficial rival of Arnold Rothstein and Joe Masseria. The organization is allied with Al Capone, Johnny Torrio, Ralph Capone, Frank Capone, Arnold Rothstein, and Salvatore Maranzano.

## List of known members

This is a list of the known members in the history of the organization:

### Administration

#### Bosses

#### Lieutenants

* **Smith E. Johnson:** 1890s-1910s—sheriff-undersheriff of Atlantic City; Johnson's father; born in ?, died in ?.
* **Enoch "Nucky" Johnson:** 1900s-1911—sheriff-undersheriff of Atlantic City; became boss in 1909; born in 1883, died in 1968 (85 years old).
* **James "Jimmy" Boyd:** 1920s-1970s—Fourth Ward boss; Nucky and Farley's top enforcer; born in 1906, died in 1974 (67 years old).
* **Herman "Stumpy" Orman:** 1920s-1970s—Boyd's partner; racketeer and protection money collector; born in ?, died in ?
* **Alfred Higabee "Alf" Johnson:** mid 1910s-1940s—Atlantic County Sheriff; Nucky Johnson's brother; born in 1878, died in 1958 (80 years old).

### Other members

#### Lower ranks

* **Paul "Skinny" D'Amato:** 1920s–1970s—illegal casino owner; Chicago Outfit and New Orleans crime family associate; born in 1908, died in 1984 (75 years old).
* **John Martino:** 1920s–1940s—illegal casino owner-loan shark-bookmaker; Chicago Outfit and Trafficante crime family associate; born in 1910, died in 1975 (65 years old).
* **Fred Masucci:** 1930s–1950s—Numbers operator; born in ?, died in ?
* **Ben Rubenstein:** 1930s-1950s—Numbers operator and Masucci's partner; possibly Jewish mob associate; born in ?, died in ?
* **Harold Scheper:** 1920s-1950s—Numbers operator; operated in the black community; born in ?, died in ?
* **Harry "Cherry" Haggerty:** 1930s–1960s—Numbers operator and Scheper's partner; probation with Scheper since 1947 during the Kefauver Committee; born in ?, died in ?
* **Francis B. Gribbin:** Heroic police officer who fought against illegal gambling in Atlantic City. He and the other members of the "Four Horseman" were framed for shaking down the illegal gambling clubs and jailed. It was untrue - they were the ones who acted against illegal gaming when the Atlantic City Police Department didn't.
* **Jack Portock:** 19??–1940s—Former corrupt policeman; part of the "Four Horsemen"; born in ?, died in ?
* **Frederick J. Warlich:** 1919–1996;Former policeman, part of the "Four Horsemen", who fought against corruption, by shutting down Nucky's illegal gambling rings.
* **Francis L. Smith:** 19??–1951—Former racketeer; witness at the Kefauver Committee; born in ?, died in ?
* **Joseph McBeth:** 19??–1950s—Treasurer of the Republican County Committee; born in ?, died in ?
* **Lester Burdick:** 19??–1950s—Race-wire service operator; born in ?, died in ?
* **Louis Kessel:** ??1941—Nucky's German assistant and valet; born in ?, died in ?.

#### Associates

## InfoBox

Nucky Johnson's Organization
| Enoch "Nucky" Johnson (second from right) and Alphonse "Scarface" Capone (third from right) this picture has also been proven to be photoshop on the boardwalk during the Atlantic City Conference | |
| --- | --- |
| Founded | 1870s |
| Founded by | Louis Kuehnle |
| Founding location | Atlantic City, Atlantic County, NJ<br>USA |
| Years active | c. 1870s–1970s |
| Territory | South Jersey |
| Criminal activities | Racketeering, illegal gambling, prostitution, bootlegging, number writing, bribery, bookmaking, police corruption, political corruption, extortion, money laundering, smuggling, and drug trafficking |
| Allies | Charlie Luciano, Johnny Torrio, Benny Siegel, Frank Hague, Walter Evans Edge, and Arnold Rothstein |


title: Young (Canadian band)

abstract: Young was a Canadian rock music group led by Danny Squire.They released a few singles and an album during the 1970s. They had success with "Goin' to the Country" which was a hit in both Canada and the United States. Their album also spent about 14 weeks in the charts. The group may have been working on a second album prior to their break up.

text:
# Young (Canadian band)

**Young** was a Canadian rock music group led by Danny Squire.They released a few singles and an album during the 1970s. They had success with "Goin' to the Country" which was a hit in both Canada and the United States. Their album also spent about 14 weeks in the charts. The group may have been working on a second album prior to their break up.

## Background

Their group had a hit with "Goin' to the Country" in both Canada, and the United States where it made it to #30 on the Billboard Hot 100 chart. Two members of the group, Carl Watral and Leon Feigenbaum had been in the Canadian group, Natural Gas.

## History

### 1971

That year, the group released the single, "Goin’ To the Country" bw "Grape Farm" on Ampex AC 1301. Produced by John Driscoll, the A side was composed by Bruce Gordon and the B side by Rocco Ferrill. The two songs were the first published by Skyline North, a new publishing company established by Ampex Music.

By May 1, 1971, the single had moved up from #80 to #74 in the RPM100 Chart. By May 29, 1971, the single was at its second week still holding the #37 spot, just behind "Garden of Ursh" by Karen Young.

In August that year, the band was pictured on the front cover of *RPM Weekly*. At that time the line up consisted of Roger Plomish who replaced the original vocalist Danny Squire (leader, lead singer, trumpet, organ, piano, pedal steel guitar), Mo Prieur (sax, flute, vocals), Mike Sloski (drums, percussion, vocals), Alex MacDougall (lead guitar, banjo, pedal steel guitar, vocals), Brian Kirkwood (bass, vocals, trumpet), John Redmond (keyboard, lead vocals), Paul Olympico (trumpet, flugel horn, vocals), and Danny Elliott (trombone and vocals).

Following on from the success of their previous single, "Goin' to the Country", there was expectation that the new single "The Rain Came Down" bw "We Got Time" would do well. It was given a 75% charting probability.

### 1972

In August, 1972, *RPM Weekly* wrote that the nine member band had had undertaken a successful tour through Ontario, and were preparing for a Western Canadian tour starting on the 18th of the following month. They were readying their next single for Ampex. At the time they were made up of former members from Truck, Natural Gas, Brass Union and the Tom Jones Las Vegas Review. Ampex's A&R director John Driscoll was hoping to release an album of the band to coincide with their tour.

Album

By early December their album *Business* had been released. It received a favorable review by *RPM Weekly* with the reviewer calling it a first rate production and commenting on the vocal strength having increased considerably since their last record. It was referred to as *"Big Band Hard Rock"* with good commercial appeal, with the best tracks being "Buffalo" and "America". The album entered the RPM100 album chart at #97 for the week of December 30, 1972. By January 20, at its third week, it was at #77. The following week it was still holding at #77. The album was recorded at #85 in the *RPM Weekly* March 3 issue. By March, 10 it was in still charting at #89.

Further activities

### 1973

By mid-February, the line up had changed. It now consisted of Roger Plomish (lead singer, keyboards, guitar), Bobby Washington (bass guitar and background vocals), Roger Dickin (lead guitar), Joe Bendzsa (drums), Joe Edmonds (trombone, euphonium, flute and background vocals), Mike Hunter (trombone, octa voice, French horn, background vocals and brass arrangements), Carl Waytral (aka Carl Watral) (trumpet, brass arrangements), Tony Mastrull (trumpet, fluegel horn, French horn, head arranger) and Danny Fogel (trumpet, brass arrangements). Bruce Ley who sang lead on the song "Buffalo" was no longer with the group. Tony Booth who both wrote and sang lead on "America" and sang on "Invitation" had also left the band.

By August, 1973 the group had come under the management of Jules Rabkin who also managed Robbie G. Griffith. The group's line up at the time consisted of Roger Plomish on lead guitar, keyboards and lead vocal; Jimmy Roberts on tenor sax and flute; Joe Edmonds on trombone, bass and vocals; Mike Hunter on trombone, bass and vocals; Leon Feigenbaum on bass; Joe Bendzsa on drums; Carl Watral on trumpet and flugel horn; Tony Mastrull on trumpet and flugel horn; Dennis Collier on trumpet; and Roger Dickin on lead guitar. An article in the September 1 issue of *Billboard* that the group was working on their second album with producer John Driscoll. They had recently appeared at the Granny's venue where Rabkin had arranged for several US booking agents to see their show. Also in that early period of September, the group were half-way through a six week engagement at the Marco Polo in Miami, playing to sell out crowds nearly every night. After that engagement finished they were to head off to Mexico and then to Toronto work on their album which John Dee Driscoll would be producing at the RCA studios.

## Discography

Singles
| Act | Release | Catalogue | Year | Notes |
| --- | --- | --- | --- | --- |
| Young | "Goin’ to the Country" / "Grape Farm" | Ampex AC-1301 | 1971 |  |
| Young | "The Rain Came Down" / "We Got Time" | Ampex AC-1302 | 1971 |  |
| Young | "Happy Song" / "Don’t Push A Man" | Ampex AC-1308 | 1971 |  |
| Young | "Buffalo" / "Goin’ Down" | Ampex AC-1312 | 1971 |  |
|

Albums
| Act | Release | Catalogue | Year | Notes |
| --- | --- | --- | --- | --- |
| Young | *Business* | Ampex A-10151 | 1971 |  |
|

## Line ups

Line up as of August, 1971 * Alex MacDougall (lead guitar, banjo, pedal steel guitar, vocals)
* Danny Elliott (trombone and vocals)
* Brian Kirkwood (bass, vocals, trumpet)
* Paul Olympico (trumpet, flugel horn, vocals)
* Roger Plomish (leader, lead singer, trumpet, organ, piano, pedal steel guitar)
* Mo Prieur (sax, flute, vocals)
* John Redmond (keyboard, lead vocals)
* Mike Sloski (drums, percussion, vocals)

Line up on 1972 album * Paul Booth (bass guitar, backing vocals, lead vocals)
* Jim Chivers (drums, percussion)
* Roger Dickin (guitar, backing vocals)
* Jaan Koel (tenor saxophone, soprano saxophone, alto flute, flute)
* Dan Fogel (trumpet)
* Bruce Ley (keyboards, tambourine, backing vocals, lead vocals)
* Tony Mastrull (trumpet)
* Roger Polmish (lead vocals, guitar)
* Carl Watral (trumpet, flugelhorn)

Line up in early 1973 * Joe Bendzsa (drums)
* Roger Dickin (lead guitar)
* Joe Edmonds (trombone, euphonium, flute and background vocals)
* Danny Fogel (trumpet, brass arrangements)
* Mike Hunter (trombone, octa voice, French horn, background vocals and brass arrangements)
* Tony Mastrull (trumpet, fluegel horn, French horn, head arranger)
* Roger Plomish (lead singer, keyboards, guitar)
* Bobby Washington (bass guitar and background vocals)
* Carl Watral aka Cark Waytral (trumpet, brass arrangements)

Line up in August, 1973
under management of Jules Rabkin. * Joe Bendzsa (drums)
* Dennis Collier (trumpet)
* Roger Dickin (lead guitar)
* Joe Edmonds (trombone, bass, vocals)
* Leon Feigenbaum (bass)
* Mike Hunter (trombone, bass, vocals)
* Tony Mastrull (trumpet, flugel horn)
* Roger Plomish (lead guitar, keyboards, lead vocal)
* Jimmy Roberts (tenor sax, flute)
* Carl Watral on (trumpet, flugel horn)

## Further reading

## Later years

James Roberts aka Jimmy Roberts who was a member of Truck would play with artists such as David Benoit, R&B singer Derek Bordeaux, Rick Braun, The Eurythmics, Randy Jacobs, Etta James, Greg Karukas, Pianist Rob Mullins, Sade, Rod Stewart, Carly Simon. Later, with the help of his old friend William "Smitty" Smith, he became one of the stock session musicians in L. A. and became a sought after player. He also had released some solo recordings.

## InfoBox

| Young | |
| --- | --- |
| Origin | Canada |
| Genres | Jazz Rock, rock |
| Years active | 1970s |
| Labels | Ampex |