title: Vehementer Nos

abstract: Vehementer Nos was a papal encyclical promulgated by Pope Pius X on 11 February 1906. He denounced the French law on the Separation of the Churches and the State enacted two months earlier. He condemned its unilateral abrogation of the Concordat of 1801 between Napoleon I and Pope Pius VII that had granted the Catholic Church a distinctive status and established a working relationship between the French government and the Holy See. The title of the document is taken from its opening words in Latin, which mean "We with vehemence".

text:
# Vehementer Nos

***Vehementer Nos*** was a papal encyclical promulgated by Pope Pius X on 11 February 1906. He denounced the French law on the Separation of the Churches and the State enacted two months earlier. He condemned its unilateral abrogation of the Concordat of 1801 between Napoleon I and Pope Pius VII that had granted the Catholic Church a distinctive status and established a working relationship between the French government and the Holy See. The title of the document is taken from its opening words in Latin, which mean "We with vehemence".

## Background

Prior to the French Revolution of 1789, Roman Catholicism had been the state religion of France, and closely identified with the *ancien regime*. During the French Revolution, the National Assembly had taken Church properties and issued the Civil Constitution of the Clergy, which made the Church a department of the State, effectively removing it from papal authority. Subsequent laws abolished the traditional Gregorian calendar and Christian holidays. The revolution led to a brief separation of church and state in 1795, ended by Napoleon's re-establishment of the Catholic Church as the state religion with the Concordat of 1801.

While the Concordat restored some ties to the papacy, it was an attempt on Napoleon's part to win favor with Catholics in France and largely favored the state. According to its terms Catholicism was recognized as the religion of the great majority of the French but not the official state religion. While the Papacy had the right to depose bishops, the French government retained the right to nominate them. The state would pay clerical salaries to clergy who swore an oath of allegiance to the state. The Catholic Church also gave up all claims to Church lands confiscated after 1790, but Sunday was reestablished as a "festival", effective Easter Sunday, 18 April 1802.

## 1905 law

In 1905 the French government passed a law stipulating “the separation of churches and the state", and unilaterally abrogating the terms of the 1801 Concordat. According to Sheridan Gilley while claiming to guarantee freedom of worship, the law kept religion under state regulation. The act stipulated that all Church property be turned over to "associations" of lay people. The pope and most French Catholics considered the law as undermining the independent authority of the Church. Pius viewed it as related to Modernist theories popular in France, and a concerted attack upon the Church. In Italy, Modernism was more political than doctrinal.

In February 1906 the government began to make inventories of ecclesiastical property in order "to prevent any theft of antiques". This provoked riots in Paris, Lille, and some country districts by disgruntled French Catholics. People barricaded themselves in churches. According to Mary McAuliffe, people rang church bells to sound the alarm, and armed themselves with sticks and pitchforks. She notes that in the Pyrenees, the Basques brought their bears. Opposition to the reforms was supported by the monarchists.

## InfoBox

| *Vehementer Nos*
Latin for 'We with vehemence'
Encyclical of Pope Pius X | |
| --- | --- |
|  | |
| Signature date | 11 February 1906 |
| Subject | French law on the Separation of Church and State |
| Number | 6 of 17 of the pontificate |
| Text |  |
|


abstract: The Venezuelan U-17 women's national football team are the national women's under-17 soccer team of Venezuela. They are controlled by the Federación Venezolana de Fútbol. They have been champions twice, in the 2013 South American Under-17 Women's Championship and 2016 South American Under-17 Women's Football Championship. The Venezuelan U-17 women's national football team, is the only Conmebol's national team of the category, that have qualified to FIFA U-17 Women's World Cup's semifinals.

text:
# Venezuela women's national under-17 football team

The **Venezuelan U-17 women's national football team** are the national women's under-17 soccer team of Venezuela. They are controlled by the Federación Venezolana de Fútbol. They have been champions twice, in the 2013 South American Under-17 Women's Championship and 2016 South American Under-17 Women's Football Championship. The Venezuelan U-17 women's national football team, is the only Conmebol's national team of the category, that have qualified to FIFA U-17 Women's World Cup's semifinals.

## Competitive record

### FIFA U-17 Women's World Cup

| FIFA U-17 Women's World Cup record | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Year | Result | Position | Pld | W | D | L | GF | GA |
| 2008 | *Did not qualify* | | | | | | | |
| 2010 | Group Stage | 12th | 3 | 1 | 0 | 2 | 3 | 9 |
| 2012 | *Did not qualify* | | | | | | | |
| 2014 | Fourth Place | 4th | 6 | 4 | 1 | 1 | 16 | 10 |
| 2016 | Fourth Place | 4th | 6 | 3 | 0 | 3 | 7 | 11 |
| 2018 | *Did not qualify* | | | | | | | |
| 2022 | |
| 2024 | |
| 2025 | *To be determined* | | | | | | | |
| **Total** | **3/9** | **-** | **15** | **8** | **1** | **6** | **26** | **30** |

### South American Championship record

| South American Championship | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Year | Round | Position | GP | W | D | L | GS | GA |
| 2008 | Group Stage | 9th | 4 | 0 | 0 | 4 | 6 | 16 |
| 2010 | 3rd Place | 3rd | 6 | 3 | 1 | 2 | 10 | 10 |
| 2012 | Group Stage | 5th | 4 | 2 | 0 | 2 | 7 | 7 |
| 2013 | 1st Place | 1st | 7 | 6 | 1 | 0 | 24 | 7 |
| 2016 | 1st Place | 1st | 7 | 7 | 0 | 0 | 27 | 3 |
| 2018 | 4th Place | 4th | 7 | 3 | 2 | 2 | 9 | 6 |
| 2022 | Group Stage | 8th | 4 | 1 | 0 | 3 | 2 | 11 |
| 2024 | Group Stage | 9th | 4 | 0 | 1 | 3 | 0 | 4 |
| 2025 | *TBD* | | | | | | | |
| **Total** | 9/9 | **2 Titles** | 43 | 22 | 5 | 16 | 85 | 64 |
|

## Current squad

### Previous squads

*2010 FIFA U-17 Women's World Cup* *2014 FIFA U-17 Women's World Cup* *2016 FIFA U-17 Women's World Cup*

## InfoBox

Venezuela Women's U-17
|  | |
| --- | --- |
| Nickname(s) | The Powerpuff Girls |
| Association | Venezuelan Football Federation |
| Confederation | CONMEBOL (South America) |
| FIFA code | VEN |
|  | |
|  | |
|  | |
| First international | |
| Venezuela 2–3 Brazil
(Peñalolén, Chile; January 15, 2008) | |
| Biggest win | |
| Venezuela 8–0 Peru
(Barquisimeto, Venezuela; March 03, 2016 | |
| Biggest defeat | |
| Venezuela 0–6 Paraguay
(Peñalolén, Chile; January 18, 2008) | |
| South American Under-17 Women's Football Championship | |
| Appearances | 7 (*first in 2008*) |
| Best result | Champions (2013 & 2016) |
| FIFA U-17 Women's World Cup | |
| Appearances | 3 (*first in 2010*) |
| Best result | 4th place (2014 & 2016) |


title: Varicella (video game)

abstract:
Varicella is a 1999 work of interactive fiction by Adam Cadre, distributed in z-code format as freeware. It is set in an alternate history which features roughly modern technology mixed with Renaissance-style principalities and court politics. The characters of Varicella use contemporary language from their home in a Renaissance castle, continuing the contrast between old and new. The player character is Primo Varicella, palace minister in Piedmont, who has to get rid of several rivals for the regency following the death of the king. He was inspired by the Machiavellian protagonist of Profit, but given even more despicable antagonists, thus making players willing to go along with his schemes. The international situation in the game is described in passing: Piedmont is part of a loose confederation of kingdoms that make up a Carolingian League and is engaged in a war against the Republic of Venice. It won four XYZZY Awards in 1999 including the XYZZY Award for Best Game, and was nominated for another four. The game was discussed academically by Nick Montfort and Stuart Moulthrop in their 2003 paper Face It, Tiger, You Just Hit the Jackpot: Reading and Playing Cadre's Varicella, and by Dr. Wendy Morgan in her 2003 paper Touching (on) Character: New Engagements in New Media Narratives. Cadre himself claimed in a January 2002 interview that it was the best game he had written up to that point:
  - "Photopia has made more of a mark, I suppose, but Photopia is a short story; Varicella is a world. There are so many things to see and do… it's definitely the game of mine that I'm hoping that future pieces I might create will most resemble, in structure if not in content."

text:
# Varicella (video game)

**Varicella** is a 1999 work of interactive fiction by Adam Cadre, distributed in z-code format as freeware. It is set in an alternate history which features roughly modern technology mixed with Renaissance-style principalities and court politics. The characters of Varicella use contemporary language from their home in a Renaissance castle, continuing the contrast between old and new. The player character is Primo Varicella, palace minister in Piedmont, who has to get rid of several rivals for the regency following the death of the king. He was inspired by the Machiavellian protagonist of Profit, but given even more despicable antagonists (just as variola is more virulent than varicella), thus making players willing to go along with his schemes. The international situation in the game is described in passing: Piedmont is part of a loose confederation of kingdoms that make up a Carolingian League and is engaged in a war against the Republic of Venice.

It won four XYZZY Awards in 1999 including the XYZZY Award for Best Game, and was nominated for another four. The game was discussed academically by Nick Montfort and Stuart Moulthrop in their 2003 paper *Face It, Tiger, You Just Hit the Jackpot: Reading and Playing Cadre's Varicella*, and by Dr. Wendy Morgan in her 2003 paper *Touching (on) Character: New Engagements in New Media Narratives*. Cadre himself claimed in a January 2002 interview that it was the best game he had written up to that point:

"*Photopia* has made more of a mark, I suppose, but *Photopia* is a short story; *Varicella* is a world. There are so many things to see and do… it's definitely the game of mine that I'm hoping that future pieces I might create will most resemble, in structure if not in content."

## Characters

* The main character *Primo Varicella*, the Palace Minister at the Palazzo del Piemonte. (Varicella is the technical name for chicken pox, while "Primo" means cousin as he is the eldest brother)
* War Minister *Klaus Wehrkeit* is one of Varicella's rivals hiding in Piedmont, had recently been fighting the Venetians. If the player does nothing in the interactive fiction, Wehrkeit will arrive around 3 o'clock and kill Varicella. ("Wehrkeit" might be translated from German as "defenseness")
* Another rival, Christ Minister *Pierre Bonfleche*, is the tutor of the young *Prince Charles*. He is planning an invasion of Piedmont by the Avignese forces.
* Interior Minister *Variola Modo* is the scientist of the palace working with green slime in an underground lab. ("Variola" is the technical term for smallpox)
* Coffers Minister *Argento Rico* is another of Varicella's rivals, but does not appear that prominently in the storyline. He still needs to be killed. ("Argento" is Italian for "silver", while "Rico" means "rich")
* Your fifth rival is *Prince Louis*, an alcoholic who is found passed out on the garden bench.
* *Sierra* is the informant of the palace. If Varicella has money, some extra information can be gained from her.
* A character discovered later is *Princess Charlotte*, who is locked away within the palace due to her perceived insanity. She has been hidden away since the death of her fiancé, Varicella's youngest brother *Terzio* (from the Italian "terzo", meaning third).
* Marco Pulisci, the ambassador to Song dynasty, is deemed a non-threat by Varicella due to Hangzhou's distance from Piedmont.

1. Adam Cadre: why chickenpox?
2. Baf's Guide game entry
3. Fine Art Online: Vol. 17 No. 8
4. English in Australia: Issue 139
5. Avventure Testuali interview with Adam Cadre, January 2002

## InfoBox

| Varicella | |
| --- | --- |
|  | |
| Developer(s) | Adam Cadre |
| Publisher(s) | Self published |
| Designer(s) | Adam Cadre |
| Engine | Z-machine |
| Platform(s) | Z-machine |
| Release | 1999 |
| Genre(s) | Interactive fiction |
| Mode(s) | Single player |


title: Vechelde

abstract: Vechelde is a municipality in the district of Peine, in Lower Saxony, Germany. It is situated approximately 12 km southeast of Peine, and 10 km west of Braunschweig.

text:
# Vechelde

**Vechelde** is a municipality in the district of Peine, in Lower Saxony, Germany. It is situated approximately 12 km southeast of Peine, and 10 km west of Braunschweig.

## Municipal subdivisions

## Twinned cities

Vechelde is twinned with:

## Main sights

## InfoBox

| Vechelde | |
| --- | --- |
| Municipality | |
| Town hall Vechelde | |
|  | |
| Location of Vechelde within Peine district | |
| Vechelde Vechelde | |
| Coordinates: 52°15.65′N 10°22.32′E / 52.26083°N 10.37200°E / 52.26083; 10.37200 | |
| Country | Germany |
| State | Lower Saxony |
| District | Peine |
| Subdivisions | 17 districts |
| Government | |
| Mayor (202126) | Tobias Grünert (CDU) |
| Area | |
| Total | 75.89 km2 (29.30 sq mi) |
| Elevation | 74 m (243 ft) |
| Population (2022-12-31) | |
| Total | 18,419 |
| Density | 240/km2 (630/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| Postal codes | 38159 |
| Dialling codes | 05302, 05300 |
| Vehicle registration | PE |
| Website | www.vechelde.de |


title: Mountain Home (album)

abstract: Mountain Home is the sixth album by American singer/songwriter Owen Temple. It was released on April 26, 2011 on El Paisano Records and on April 22, 2011 on Blue Rose Records in the UK and the European Union. The songs on the album focus on small Texas towns and the eccentrics inhabiting them.

text:
# Mountain Home (album)

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| *Hyperbolium* |  |

***Mountain Home*** is the sixth album by American singer/songwriter Owen Temple. It was released on April 26, 2011 on El Paisano Records and on April 22, 2011 on Blue Rose Records in the UK and the European Union. The songs on the album focus on small Texas towns and the eccentrics inhabiting them.

## Track listing

All songs (Temple) except where noted

1. "Mountain Home" – 2:52
2. "Desdemona" – 3:07
3. "Medicine Man" (Temple, Adam Carroll, Gordy Quist) – 3:50
4. "Small Town" – 2:57
5. "Danger and Good Times" (Temple, Adam Carroll, Scott Nolan)– 3:35
6. "Fall in Love Every Night" – 3:25
7. "Jacksboro Highway" – 3:41
8. "Old Sam" (Temple, Adam Carroll)– 3:22
9. "Prince of Peace" (Leon Russell, Greg Dempsey)– 3:58
10. "One Day Closer to Rain" – 2:51

## Personnel

### Musicians

### Production

## Releases

| Year | Format | Label | Catalog # |
| --- | --- | --- | --- |
| 2011 | CD | El Paisano Records | EPR CD 650182 |

## InfoBox

| Mountain Home | |
| --- | --- |
|  | |
| Studio album by Owen Temple | |
| Released | 2011 |
| Recorded | Austin, Texas, 2010 |
| Genre | Country |
| Length | 33:33 |
| Label | El Paisano |
| Producer | Gabriel Rhodes |
| Owen Temple chronology | |
| *Dollars and Dimes*
(2009) ***Mountain Home***
(2011) *Stories They Tell*
(2013) | |


title: Mountain Home Carnegie Library

abstract: The Mountain Home Carnegie Library, at 180 S. 3rd St. East, in Mountain Home, Idaho, was built as a Carnegie library in 1908. It was listed on the National Register of Historic Places in 1978.

text:
# Mountain Home Carnegie Library

The **Mountain Home Carnegie Library**, at 180 S. 3rd St. East, in Mountain Home, Idaho, was built as a Carnegie library in 1908. It was listed on the National Register of Historic Places in 1978.

## History

It was built in 1908.

## Architecture

It was designed by the architectural firm of Tourtelotte & Co. It is a one-story white pressed brick building upon a raised cut stone foundation. It is "western colonial revival" in style. It has a Tuscan-columned portico with a corniced entablature topped by a balustrade. It has a bracketed, overhanging hipped roof.

## InfoBox

|  | |
| --- | --- |
| Mountain Home Carnegie Library | |
| U.S. National Register of Historic Places | |
|  | |
|  | |
|  | |
| Location | 180 S. 3rd St. East, Mountain Home, Idaho |
| Coordinates | 43°07′51″N 115°41′28″W / 43.13083°N 115.69111°W / 43.13083; -115.69111 |
| Area | less than one acre |
| Built | 1908 |
| Architect | Tourtelotte & Co. |
| Architectural style | Western Colonial Revival |
| NRHP reference No. | 78001061 |
| Added to NRHP | July 24, 1978 |


title: Venket Ram

abstract: Venket Ram is an Indian celebrity and fashion photographer, who has shot principal photography stills for several notable films as well as portfolios.

text:
# Venket Ram

**Venket Ram** is an Indian celebrity and fashion photographer, who has shot principal photography stills for several notable films as well as portfolios.

## Works

### Annual calendar

Venket Ram, has recently started an annual calendar inspired by other brands such as Dabboo Ratnani and Kingfisher, and began photography for it 2010.

2011Shots were taken in Chennai and Hyderabad of actors modelling with vintage cars. The calendar was launched by Mani Ratnam on 24 December 2010 with Udhayanidhi Stalin attending the event.

Actors and actresses featured in the calendar: Nagarjuna, Suriya, Vikram, Silambarasan, Karthi, Arya, Trisha Krishnan, Genelia D'Souza, Shriya Saran, Nayantara, Tamannaah Bhatia and Shruti Haasan.

2012

Actresses featured in the calendar: Trisha Krishnan, Richa Gangopadhyay, Priya Anand, Shriya Saran, Amy Jackson, Amala Paul, Samantha, Deeksha Seth, Genelia D'Souza, Sameera Reddy, Mamta Mohandas and Kajal Aggarwal.

*Aadhavan*, *Aasal*, *Boss Engira Bhaskaran*, *Enthiran*, *Kanthaswamy*, *Madrasapattinam*, *Naan Mahaan Alla*, *Paiyaa*, *Pokkisham*, *Singam*, *Vaanam*

2020

A series of photoshoots recreating Raja Ravi Varma paintings. Actresses featured in the calendar: Ramya Krishnan, Lakshmi Manchu, Chamundeswari, Lissy Lakshmi, Khushbu Sundar, Nadhiya, Priyadarshini Govind, Shruti Haasan, Shobana, Aishwarya Rajesh and Samantha Akkineni.

### Magazines and brands

He has shot for magazines and brands including:

He has photographed stills and the album cover of Yuvan Shankar Raja's promotional music video "I'll be there for you.

## Footnotes


title: Vermont Marble Museum

abstract: The Vermont Marble Museum or Vermont Marble Exhibit is a museum commemorating the contributions of Vermont marble and the Vermont Marble Company, located in Proctor, Vermont, United States. The museum is located in a wing of one of the former Vermont Marble Company buildings.

text:
# Vermont Marble Museum

The **Vermont Marble Museum** or **Vermont Marble Exhibit** is a museum commemorating the contributions of Vermont marble and the Vermont Marble Company, located in Proctor, Vermont, United States. The museum is located in a wing of one of the former Vermont Marble Company buildings.

## Vermont Marble Company

The Vermont Marble Company was founded in 1880 by businessman and politician Redfield Proctor, who served as the company's first president. Marble was quarried from several locations in the town of Proctor, then called Sutherland Falls, and the surrounding communities of Rutland, West Rutland and Danby. As railroads arrived in Rutland and Proctor, the Vermont Marble Company became one of the largest producers of marble in the world. It provided marble for the construction of such notable icons as the USS Arizona Memorial, the West Virginia State Capitol, the Oregon State Capitol, the United States Supreme Court Building, the Arlington National Cemetery, and Yale University's Beinecke Rare Book and Manuscript Library to name a few. The Tomb of the Unknown Soldier was also created there. The surrounding town was named after Redfield Proctor and became a company town.

The buildings and quarries of the Vermont Marble Company are now owned by OMYA, a supplier of industrial minerals.

## Exhibit

The exhibit offers self-guided tours focusing on the company's history, the geology of marble and other local stones, and the uses of marble in art, architecture, and industry. A short video narrates the history of the Vermont Marble Company, and historical photographs of VMC workers quarrying, carving, and shipping Vermont marble are displayed throughout the exhibit. Several geologic exhibits, including an artificial cave and a preserved *triceratops* skeleton are also on display. A display contains large slabs of decorative stone, including the local Danby white and deep green verde antique. This display also includes local granites and imported marbles. Numerous sculptures, including busts of nearly all the U.S. presidents, The Last Supper, and other works are scattered throughout the museum. An artists' studio allows visitors to watch carving demonstrations and ask questions of local sculptors. The architectural uses of marble are displayed in a small chapel and a modern kitchen and bathroom surfaced in stone. Visitors may also get a balcony view of one of the large 19th-century warehouses of the Vermont Marble Company, now used by OMYA.

A nearby quarry (now defunct), located about a quarter mile from the museum itself, has recently been added to the exhibit. The grounds around the exhibit hold large chunks of quarried, unfinished marble. The Preservation Trust of Vermont acquired the Vermont Marble Company in 2014.

Also, the town of Proctor has many sidewalks made of marble, and the high school and Catholic church are both faced in local stone. Most of the buildings of the former Vermont Marble Company still stand, and many are constructed of Vermont marble.

## Website

## InfoBox

Vermont Marble Museum
|  | |
| --- | --- |
|  | |
| Location | 52 Main Street<br>Proctor, Vermont, United States |
| Coordinates | 43°39′44″N 73°02′06″W / 43.66232°N 73.03509°W / 43.66232; -73.03509 |
| Type | Art, industry museum |
| Website | www.vermont-marble.com |


title: Vermont Medical Society

abstract: The Vermont Medical Society is the professional organization for physicians in the U.S. state of Vermont. Founded in 1813, the organization provides service to physicians in the form of information and lobbies the Vermont General Assembly on regulatory issues affecting its membership.

text:
# Vermont Medical Society

The **Vermont Medical Society** is the professional organization for physicians in the U.S. state of Vermont. Founded in 1813, the organization provides service to physicians in the form of information and lobbies the Vermont General Assembly on regulatory issues affecting its membership.

## InfoBox

Vermont Medical Society
|
|  |
| Founded | November 6, 1813 (1813-11-06) |
| Type | professional organization |
| Legal status | 501(c)(6) |
| Headquarters | Montpelier, Vermont, U.S. |
| Coordinates | 44°15′42″N 72°34′37″W / 44.2617899°N 72.5769966°W / 44.2617899; -72.5769966 |
| Area served | Vermont |
| Members | approximately 2,000 |
| Executive Director | Jessa Barnard |
| President | Ryan Sexton |
| Employees (2019) | 8 |
| Website | vtmd.org |
| Formerly called | Vermont State Medical Society |


title: Greg Quill

abstract: Gregory Raymond Quill was an Australian-born musician, singer-songwriter and journalist. He lived in Hamilton, Ontario, Canada, and was an entertainment columnist at the Toronto Star newspaper from the mid-1980s until his death in May 2013. In Australia he came to popular fame as a singer-songwriter for the country rock band Country Radio (1970–73). Their biggest hit, "Gypsy Queen", co-written by Quill with bandmate Kerryn Tolhurst, was released in August 1972 and peaked at No. 12 on the Go-Set National Top 40. After getting an arts grant, Quill travelled to Toronto in 1974 and by the mid-1980s had become a journalist with the Toronto Star. By 1983 he was married to Ellen Davidson, a public relations executive. Greg Quill died on 5 May 2013, at the age of 66, from "complications due to pneumonia".

text:
# Greg Quill

**Gregory Raymond Quill** (18 April 1947  5 May 2013) was an Australian-born musician, singer-songwriter and journalist. He lived in Hamilton, Ontario, Canada, and was an entertainment columnist at the *Toronto Star* newspaper from the mid-1980s until his death in May 2013. In Australia he came to popular fame as a singer-songwriter for the country rock band Country Radio (1970–73). Their biggest hit, "Gypsy Queen", co-written by Quill with bandmate Kerryn Tolhurst, was released in August 1972 and peaked at No. 12 on the *Go-Set* National Top 40. After getting an arts grant, Quill travelled to Toronto in 1974 and by the mid-1980s had become a journalist with the *Toronto Star*. By 1983 he was married to Ellen Davidson, a public relations executive. Greg Quill died on 5 May 2013, at the age of 66, from "complications due to pneumonia".

## Biography

### Early life

Gregory Raymond Quill was born on 18 April 1947 to Raymond and Doris Quill (née Markham). He grew up in Sydney with a younger brother, Christopher. From the age of about 15 years he learned how to play acoustic guitar and his first public performance was in his final year of high school. Quill began his musical career in the 1960s as a solo performer on the Sydney folk scene clustered around the University of Sydney, where he graduated in 1970 with a Bachelor of Arts in English Language and Literature. He worked briefly as a history teacher at a Catholic boys high school in Bankstown. He was hired by David Elfick, then the local editor of the national weekly pop music magazine, *Go-Set* (later Elfick was a movie producer). Quill worked as a writer from 1969, then feature writer (February 1970 to August 1971) and Sydney regional editor (July 1970 to August 1971) for the Melbourne-based publication. In 2002 Quill recalled that editing *Go-Set* had prepared him for his later work in journalism.

### Early musical career

From 1967, Greg Quill ran The Shack, a folk music venue at Narrabeen on Sydney's northern beaches, where he also performed. In 1999 he described the venue "\[it\] was a sort of folk co-operative, and everybody who performed on a particular evening got to share in the door takings – it was never more than a couple of bucks". In 1969 Quill handed over the running of the venue to his younger brother, Christopher. Gus McNeil, a music publisher, record producer and former singer and saxophonist for 1960s rock band, Gus & The Nomads, signed Quill to a publishing deal with his company, Cellar Music. McNeil produced Quill's first commercial recording, the single, "Fleetwood Plain", and the subsequent album of the same name. Quill wrote all the tracks on the album.

For the album Quill was backed by Orlando Agostino on guitars, Chris Blanchflower on harmonica, John Walsh on bass guitar, and members of local rock band Pirana: Jim Duke-Yonge on drums, Tony Hamilton on guitar, Graeme Thompson on bass guitar and Stan White on keyboards. Early in 1970 the album was released on EMI's new subsidiary label, Harvest Records, although the title single had been issued on EMI's Australian pop label Columbia Records. "Fleetwood Plain" was subsequently covered by Australian country musician, Reg Lindsay, and by Canadian folk-rockers Creamcheeze Good Time Band on their 1973 album, *Home Cookin'*.

### Country Radio band

To promote *Fleetwood Plain* Greg Quill formed the original line-up of Country Radio (also seen as Greg Quill's Country Radio or Greg Quill and Country Radio) in June 1970. Other members were Agostino, Blanchflower, Walsh and Dave Hannagan on percussion and backing vocals. The group started as an acoustic act but from 1970 to 1971 its musical style evolved into electric country rock, a style then gaining popularity through the influence of albums like The Band's *Music from Big Pink* (1968), The Byrds' *Sweetheart of the Rodeo* (1968), and Bob Dylan's *Nashville Skyline* (1969).

By May 1971, Country Radio's line-up had changed with Blanchflower and Quill joined by Mal Algar on bass guitar (ex-Chorus), John A. Bird on keyboards and Ace Follington on drums (ex-Chain). In October that year the group signed to Infinity Records, a new subsidiary of Festival Records and recorded their debut single, "Listen to the Children", which came out in November although it did not chart. Soon after, Follington left to join a pop band, The Cleves, for a tour of Britain; he was replaced on drums by Kim Bryant, who was in turn was replaced a few months later by Tony Bolton (ex-The Affair, Freshwater). In January 1972 Algar left and they were joined by John Du Bois (ex-Circle of Love, New Dream) on bass guitar and Kerryn Tolhurst on guitar, lap steel and mandolin (ex-Adderley Smith Blues Band, Sundown). The addition of Tolhurst was crucial to the band's sound and style, Quill and Tolhurst began a songwriting partnership.

With the "classic" line-up of Quill, Tolhurst, Bird, Bois, Bolton and Blanchflower, Country Radio recorded their second and most successful single, "Gypsy Queen", with producer John French, in Melbourne in April 1972. It was co-written by Quill and Tolhurst, and featured a string arrangement by session musician, Peter Jones (who later worked on Quill's solo album, *The Outlaw's Reply*). Released in August, the single spent 13 weeks in the *Go-Set* National Top 40 and peaked at No. 12. "Gypsy Queen" shared the APRA (Australasian Performing Right Association) Song of the Year award with Mississippi's "Kings of the World". It was featured on the soundtrack of director Rod Hardy's 2007 film, *December Boys*, starring Daniel Radcliffe, and in the 2009 ABC-TV series, *East of Everything*.

The chart success of the single and the interest of expatriate Canadian music promoter and label representative, Michael McMartin, led to a contract with Toronto-based MUCH Productions, which issued "Gypsy Queen" in Canada in 1972. At the end of that year they toured Canada to promote its release. The group's follow-up single, "Wintersong", appeared in December 1972 and made the *Go-Set* Top 40 in April, the next year. On 4 October 1972 the group had recorded a live-in-the-studio performance before an invited audience, which Infinity released as their debut album, *Country Radio Live*, in December. It included a selection of originals, plus two tracks, "Some Lonesome Picker" and "Never Goin' Back", written by John Stewart (ex-The Kingston Trio).

The band made several live TV recordings for the ABC-TV in-studio concert and interview series, *GTK*; including "Just Goodbye" (May 1971), "Last Time Around" (June), "Empty Pockets" (June), "Almost Freedom" (June), "Silver Spurs" (February 1972), "Commisar" (March), "Some Lonesome Picker" (April, May), "Listen to the Children" (October), "Fleetwood Plain" (November), "Gypsy Queen" (November), "Winter Song" (November), "I Need a Woman" and an interview on their break-up (April 1973). They appeared on concert and festival stages with different artists of the era, including Creedence Clearwater Revival, Elton John, Santana and Stephen Stills. They performed at the Rock Isle Mulwala Festival in 1972 and the Sunbury Pop Festivals in January 1972 and again the following year. Their live performance of "Silver Spurs" – written by Quill – at the latter festival, was included in Mushroom Records' triple live album, *Sunbury 1973 – The Great Australian Rock Festival*, released in April. Tolhurst abruptly left the band after the second Sunbury festival, briefly joining Mississippi, before forming The Dingoes in Melbourne, with singer-harmonicist, Broderick Smith. Soon after, both Bird and Blanchflower also left Country Radio.

> we were playing this very gentle, acoustic, ringy mandolin music, with lots of romance in the lyrics ... it happened right at sundown, with a rather spectacular sunset \[...\] I remember, after a couple of songs, looking out and seeing 80,000 people standing up and screaming and waving and clapping. I thought the stage was on fire or something. I remember turning round to Kerryn and saying "What the hell's going on?" – but it was for us!
>
> Greg Quill in December 1999 on performing at Sunbury Pop Festival, January 1973, Broughton, John; "Interview – Greg Quill (Country Radio, Southern Cross)".

Quill, Bolton and Du Bois were joined by Adelaide guitarist-songwriter Russ Johnson (ex-Mississippi) – effectively swapping places with Tolhurst. In May 1973 that line-up recorded the group's fourth single, a country-rock restatement of the traditional song, "Bound for South Australia", which did not chart. The four-piece ensemble opened for British folk-rock band Fairport Convention on three dates of their 1973 tour, which despite promotions did not include former lead singer, Sandy Denny. Soon after, Johnson left Country Radio for medical reasons and returned to Adelaide.

Guitarists Les Stacpool and Russ Hinton (ex-Moonstone) alternated on lead guitar after Johnson's departure. Hinton also performed on Quill's subsequent solo LP. Du Bois left in August 1973, rejoining Tolhurst in The Dingoes. Country Radio had toured relentlessly during 1972 to 1973 and according to Australian musicologist, Ed Nimmervoll, they were "driven into the ground to the point where disintegration was inevitable". Quill dissolved the group in December 1973 and decided to return to his solo music career. He also worked for a year as general features writer and news reporter for *The Sunday Telegraph*, then as editor of the suburban weekly newspaper, *The Peninsula News*. In 1974, Quill, performing solo, opened for Fairport Convention in several Australian cities.

In the same year Quill recorded a solo studio album, *The Outlaw's Reply*, with the financial backing of Sydney-based executive producer and Trafalgar Studios owner Charles Fisher. It was produced by John L Sayers and featured Country Radio alumni: Blanchflower, Bolton, Du Bois, Hinton and Tolhurst, plus former collaborator Jones on keyboards. Also appearing on the album were Barry Leef on backing vocals, Chris Neal on synthesisers and Peter Walker on guitar. Two singles from the album were issued during 1975: "She Do It to Me" (April) and "Blackmail" / "The Outlaw's Reply" (September). The album included the Quill song "Almost Freedom", which had previously been covered by former Company Caine singer Gulliver Smith on his 1973 solo LP *The Band's Alright But The Singer Is ....*  During 1974 Festival also released a compilation album, *Gypsy Queen*, credited to Greg Quill & Country Radio, contained selection of album tracks, and A- and B-sides of singles. It included Quill's cover of the country classic "Singin' the Blues", which featured Renee Geyer on backing vocals and Stacpool on guitar. In May 1975 Quill promoted the release of *The Outlaw's Reply* by a performance at the Sydney Opera House, backed by the musicians who had contributed to the album. The Dingoes and Richard Clapton were also part of the first all-Australian country-rock show to take place on the Opera House's main stage. It was Quill's final performance in Australia for almost four years.

Quill was one of the first Australian rock musicians to be awarded a grant by the Australian Council for the Arts, alongside Margret RoadKnight and guitarist Rob MacKenzie (MacKenzie Theory). The grant enabled him to travel overseas and he moved between Toronto and Sydney for most of 1975. In Toronto he put together a new band, Hot Knives, with Bolton, and Toronto-based bass guitarist Dennis Pinhorn and violinist Anne Lindsay, and expatriate Australian guitarist, keyboardist, and songwriter Sam See (ex-Sherbet, The Flying Circus, Fraternity, Lighthouse). In 1977 Australian guitarist and songwriter Chris Stockley (Cam-Pact, Axiom, The Dingoes) replaced Lindsay in 1977 and bass guitarist Bruce Worrall (also ex-Sherbet) replaced Pinhorn, the band of Toronto-based expatriates took up the name Southern Cross.

In October 1978 Southern Cross released only one single, "Been So Long" on Warner's Elektra Records label. The group split at the end of that year, during a tour of Australia. Quill returned to Canada alone. A re-arranged and remixed version of "Been So Long", with parts added in Toronto by bass guitarist Steve Hogg, singer Ian Thomas and keyboardist Hugh Syme, was released in Canada as Quill's first solo single there, but it was the B-side, the raucous, guitar-heavy "I Wonder Why", that got most of the attention on Canadian radio, particularly Toronto's then hard-rock FM station Q107 (CILQ). A proposed album, "Correspondence", produced in Toronto by Alan Thorne, and featuring mostly new Quill compositions and guest performances by Canadian guitarists Amos Garrett and Mike McKenna (Mendelson McKenna Mainline), as well as Thomas, Hogg and Syme, was never released.

### Journalist in Canada

After the demise of Southern Cross in 1978 Greg Quill stopped playing music professionally for almost two decades. He resided in Toronto and then Hamilton. By 1983 he had married Ellen Davidson, a concert promoter-turned-corporate public relations executive. They had a daughter, and together they also raised her two children. Quill wrote for and edited numerous music magazines – *Music Express* (1981–82), *Graffiti* (1982–83), *Applaud*, *The Canadian Composer*, *Songwriter*. From 1983 he was a journalist and occasional TV and radio commentator on the arts scene in Toronto, where he was an entertainment columnist for the *Toronto Star*, Canada's largest newspaper.

Quill believed his earlier career helped with journalism, as "musicians sense that I know what I'm talking about, so there's an element of trust, and when there's trust they're more forthcoming than they would be with a journalist who was just off the city desk. But also I was able to frame stories in a way that led readers into an insight that illuminated the musician's life for readers, which I still think is an edge". He also published books about musicians: Bon Jovi*Bon Jovi: Hard Rock for the '80s* (1987), Michael Jackson*Michael Jackson Electrifying* (1988) and The Rolling Stones*The Rolling Stones 25th Anniversary Tour* (1989). The latter had live reviews by Lenny Stoute.

### Musical career resumed

In September 1999, an impromptu reunion in Melbourne with former bandmates Tolhurst and Stockley led to Quill's returning to performing music. Over the next two years, with Quill in Toronto and Tolhurst in New York, the pair maintained contact and resumed songwriting. They formed a duo, Quill-Tolhurst and in early 2003 issued an album, *So Rudely Interrupted*, in Canada on the True North Records label.

They promoted its release with a concert in October that year at C'est What? in Toronto, performing with a full band including Garth Hudson (ex The Band) on keyboards, accordion and piano. Excerpts from the show were aired nationally on Bravo! Canada's *Arts & Minds* and on CP24. The duo made a short Australian tour, for their first public performances there since 1973, appearing at several festivals, including the Port Fairy Folk Festival and the Brunswick Music Festival in Melbourne. Their concerts in Sydney reunited Quill with friends from his folk days at The Shack. At the final gig of the tour, at the Bridge Hotel, Sydney, Quill and Tolhurst were joined on stage by Country Radio bandmate Blanchflower.

From 2003, Quill became a regular performer in Canada's roots music scene, as both a solo act and with members of a loose collective that included Bucky Berger on drums, Anne Lindsay on violin, Denis Keldie on accordion, Cam MacInnes on guitar, and Dennis Pinhorn on bass guitar. From June 2006 to March 2008 Quill compiled and hosted the hour-long weekly Canadian roots music speciality program, *River of Song*, on Sirius Canada satellite radio. He returned to Australia in July 2009, and played two shows in his home town, one at the revived Shack in Narrabeen, and another at the Excelsior Hotel in Sydney, where he was joined for several songs by former bandmates Agostino and Blanchflower. In January and February 2011 Quill toured Australia's east coast, playing 15 dates with Toronto singer-songwriter, Jon Brooks. Quill started recording an album of new material during 2012.

Quill also performed with fellow expatriate Australian Terry Wilkins on bass guitar, (ex-The Flying Circus) in the band, Ironbark, which also featured Berger and MacInnes, with Mitchell Lewis on drums, guitar, and stringed instruments. On his website, Quill described Ironbark as "an extension of the traditional bush music and country-rock roots of core members Quill and Wilkins, whose musical kinship extends even further back than their time with fabled Australian country-rock bands Country Radio and Flying Circus, respectively, to Sydney's folk, blues and jug band haunts in the late 1960s".

### Death and legacy

Greg Quill died on 5 May 2013 at his home in Hamilton. His family announced that he had "passed away suddenly but peacefully this afternoon from complications due to pneumonia and a recently diagnosed case of sleep apnea". Aged 66, he was still an entertainment journalist for the *Toronto Star* at the time of his death. He was survived by his wife, Ellen Davidson, their daughter Kaya, a grandson, and his two stepdaughters.

In the April prior to his death, Quill had announced via Facebook that he was working with Warner Music Australia and Gil Matthews' Aztec Music label on the reissue of his 1970s and 1980s recordings, and he was planning to tour Australia later in 2013 to promote them. Aztec are scheduled to release new CD versions of Quill's solo albums, *Fleetwood Plain* and *The Outlaw's Reply*, and the *Country Radio Live* album, with bonus tracks from a recently rediscovered recording of a 1970s festival performance by Country Radio, which includes otherwise unrecorded tracks. Warner Music (who now own the Infinity/Festival Records archive) are set to release a new edition of *Gypsy Queen* as a CD compilation, expanded with previously unreleased tracks.

In addition, Quill had announced plans to reissue his "lost" solo album, *Correspondence*, which had been recorded in Toronto in 1980 with producer Alan Thorne and featured contributions from Amos Garrett, Mike McKenna, and Ian Thomas. Quill had said that the album was being restored from a safety master that had recently come to light, and that it would also include bonus material, recorded around the same time in Canada for radio broadcasts, with his bands, Hot Knives and Southern Cross. *Correspondence* was due to be released on the Canadian label So Rude Records, but would have a separate Australian distributor. Quill had been set to release a new solo album of acoustic material that he had been working on over the previous few years.

## Bibliography

Articles cited in other works * Orlik, Peter B (2001). "Chapter 12 'Canadian-Made Show Proves Its Work' by Greg Quill; Chapter 14 'CITY-TV's Crime Series Frightening' by Greg Quill". *Electronic Media Criticism: Applied Perspectives*. Routledge. pp. 220–228, 278–287. ISBN 978-0-80583-641-7.
* Quill, Greg (28 February 1993). "Atom Egoyan Misses Wide Open Net in Golden Opportunity to Score Big". *Toronto Star*. Star Media Group (John D. Cruickshank). p. C2.
    + quoted in Beaty, Bart (2006). "Not Playing, Working: Class, Masculinity, and Nation in the Canadian Hockey Film". In Malek Khouri; Darrell Varga (eds.). *Working on Screen*. University of Toronto Press. p. 128. ISBN 978-0-80209-388-2.
* Quill, Greg (3 May 1995). "Historical Vignettes Given a Dignified Debut". *Toronto Star*. Star Media Group (John D. Cruickshank).
    + quoted in West, Emily (2005). "Media and Its (Dis)Contents: 3 Collective Memory on the Airwaves". In Sheila Petty; Garry Sherbert; Annie Gérin (eds.). *Canadian Cultural Poesis: Essays on Canadian Culture*. Wilfrid Laurier University Press. pp. 72, 82. ISBN 978-0-88920-486-7.
* Quill, Greg (8 November 1995). "Is TV's Hit *North of 60* Real or a White Fantasy". *Toronto Star*. Star Media Group (John D. Cruickshank).
    + quoted in Miller, Mary (2008). "Set Up, or How *North of 60* Was Framed". *Outside Looking In: Viewing First Nations Peoples in Canadian Dramatic Television Series*. McGill-Queen's Press. pp. 242–243. ISBN 978-0-77357-487-8.
* Quill, Greg (13 August 1998). "Protecting Canada's Magazines". *Toronto Star*. Star Media Group (John D. Cruickshank). p. A23.
    + quoted in Grant, Peter S; Wood, Chris (2004). "16: Trade Wars". *Blockbusters and Trade Wars: Popular Culture in a Globalized World*. Douglas & McIntyre. p. 366. ISBN 978-1-92670-679-5.

Books

## Discography

### Albums

* *Fleetwood Plain* – Greg Quill and Country Radio (studio album, EMI/Harvest 1970 SHVL 602)
    + Personnel: Greg Quill – vocals, guitars; Orlando Agostino – guitars; Chris Blanchflower – harmonica; Tony Hamilton – lead guitar; Graeme Thompson – bass guitar; Stan White – piano; Jim Yonge – drums.
    + Production work: Gus McNeil – producer; John Taylor – engineer; recorded at EMI Studios, Sydney

All tracks are written by Greg Quill

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Empty Pockets" / "Leaving the City" | 4:58 |
| 2. | "Fleetwood Plain" | 3:30 |
| 3. | "Paradise" | 3:47 |
| 4. | "Just Goodbye" | 4:14 |
| 5. | "I'd not Let You Be" | 3:21 |
| 6. | "Song to David" | 1:45 |
| 7. | "Commissar" | 4:32 |
| 8. | "Observations from a Second Storey Window" | 3:39 |
| 9. | "Windy on the Main" | 5:16 |
| 10. | "Susannah Lee" | 4:23 |
| 11. | "If You Ever" | 2:08 |
| 12. | "Kitty's Song" | 6:03 |
| Total length: | | 47:36 |

* *Country Radio Live*: Country Radio (live album, Festival/Infinity 1972 INL 34726)
    + Personnel: Greg Quill – vocals, acoustic guitar; John A. Bird – piano, Hammond B3; Chris Blanchflower – harmonica; Tony Bolton – drums; John Du Bois – bass guitar, harmony vocals; Kerryn Tolhurst – lap steel, dobro, mandolin, electric guitar.
    + Production work: John French and Country Radio – producers, John French and Graeme McCrae – engineers; recorded live at TCS Studios, Melbourne on 4 October 1972.

All tracks are written by Greg Quill, unless otherwise shown

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Some Lonesome Picker" (John Stewart) | 4:55 |
| 2. | "Never Goin' Back" (Stewart) | 3:47 |
| 3. | "Terry's Tune" | 3:53 |
| 4. | "Listen to the Children" | 4:30 |
| 5. | "Silver Spurs" | 4:43 |
| 6. | "Gypsy Queen" (Quill, Kerryn Tolhurst) | 4:02 |
| 7. | "Last Time Around" | 3:32 |
| 8. | "Wintersong" (Quill, Tolhurst, John Du Bois) | 5:20 |
| 9. | "Observations from a Second Storey Window" | 5:03 |
| Total length: | | 39:45 |

* *Gypsy Queen*: Greg Quill and Country Radio (compilation album, Festival/Infinity/Harlequin 1974 L 25113)
    + Personnel: Tracks 1, 4, 5, 6, 7 and 9: Greg Quill – vocals, acoustic guitar; John A. Bird – piano, Hammond B3, harmony vocals; Chris Blanchflower – harmonica, harmony vocals; Tony Bolton – drums, harmony vocals; John Du Bois – bass guitar, harmony vocals; Kerryn Tolhurst – lap steel, dobro, mandolin, electric guitar, harmony vocals. Track 2: Quill – vocals, electric and acoustic guitars; Bolton – drums, harmony vocals; Du Bois – bass guitar, harmony vocals; Russell Johnson – electric guitar, harmony vocals. Tracks 3 and 8: Quill – vocals, electric and acoustic guitars; Bolton – drums, harmony vocals; Du Bois – bass guitar, harmony vocals; Les Stacpool – electric guitar, harmony vocals. Additional personnel: Peter Jones – string arrangement (track 1, 7); cor anglais (track 7); piano, Hammond organ, vibraphone, celeste, conga drums (track 8). Renée Geyer – harmony vocals (track 8).

All tracks are written by Greg Quill, unless otherwise shown

| No. | Title | Source details | Length |
| --- | --- | --- | --- |
| 1. | "Gypsy Queen" (Quill, Kerryn Tolhurst) | Produced by John French, TCS Studios, Melbourne, 1971. Single version. | 4:00 |
| 2. | "I Need Women" | Produced by John French, engineered by John Sayers, TCS Studios Melbourne, 1973. B-Side version. | 4:31 |
| 3. | "Bound for South Australia" (Traditional; arranged by Quill, Tony Bolton, John Du Bois, Les Stacpool) | Produced and engineered by John French, TCS Studios, Melbourne, and ATA Studios Sydney, 1974. Single version. | 3:06 |
| 4. | "Radio Rag" (Tolhurst) | Produced by Richard Batchens, Festival Studios Sydney, 1971. B-Side version. | 2:05 |
| 5. | "Listen to the Children" | From *Country Radio Live* | 4:30 |
| 6. | "Last Time Around" | From *Country Radio Live* | 3:32 |
| 7. | "Wintersong" (Quill, Tolhurst, Du Bois) | Produced by John French, TCS Studios, Melbourne, 1972. Single version. | 5:20 |
| 8. | "Singin' the Blues" (Melvin Endsley; arranged by Quill) | Produced and engineered by John French, TCS Studios, Melbourne, 1974. Single version. | 3:53 |
| 9. | "Observations from a Second Storey Window" | From *Country Radio Live* | 5:00 |
| Total length: | | | 35:57 |

* *The Outlaw's Reply*: Greg Quill (studio album, Festival/Infinity 1975, L-35,472)
    + Personnel: Greg Quill – vocals, acoustic guitar; Chris Blanchflower – harmonica; Tony Bolton – drums; John Du Bois – bass guitar; Russell Hinton – acoustic and electric guitars; Peter Jones, keyboards, string arrangements; Barry Leef, harmony vocals, harmony arrangements; Kerryn Tolhurst – lap steel, mandolin, dobro, acoustic and electric guitars; Peter Walker – electric guitar, clavier; Terry Walker – pedal steel.
    + Production work: John Sayers – producer; Charles Fisher – executive producer; recorded at Trafalgar Studios Sydney, November 1974  February 1975

All tracks are written by Greg Quill

| No. | Title | Length |
| --- | --- | --- |
| 1. | "She Do It to Me" | 3:41 |
| 2. | "Terry's Tune" | 3:50 |
| 3. | "Almost Freedom" | 4:07 |
| 4. | "So Now, Lady" | 5:29 |
| 5. | "Where Elephants Go to Die" | 5:18 |
| 6. | "Silence" | 7:09 |
| 7. | "Crazy People" | 4:33 |
| 8. | "The Outlaw's Reply" | 3:49 |
| 9. | "Blackmail" | 5:47 |
| Total length: | | 43:43 |

* *Wintersongs*: Greg Quill and Country Radio (compilation album, Festival File 1992)
    + Production work: Tracks from *Fleetwood Plain*, *Country Radio Live*, *Gypsy Queen*, *The Outlaw's Reply*; Glenn A. Baker – liner notes.

All tracks are written by Greg Quill, unless otherwise shown

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Fleetwood Plain" | 3:30 |
| 2. | "Susannah Lee" | 4:23 |
| 3. | "Listen to the Children" | 4:30 |
| 4. | "Last Time Around" | 3:30 |
| 5. | "Gypsy Queen" (Quill, Kerryn Tolhurst) | 4:00 |
| 6. | "Radio Rag" (Tolhurst) | 2:05 |
| 7. | "Wintersong" (Quill, Tolhurst, John Du Bois) | 5:20 |
| 8. | "Observations from a Second Storey Window" | 5:00 |
| 9. | "Some Lonesome Picker" (John Stewart) | 4:55 |
| 10. | "Never Goin' Back" (Stewart) | 3:47 |
| 11. | "Terry's Tune" | 3:50 |
| 12. | "Silver Spurs" | 4:43 |
| 13. | "Bound for South Australia" (Traditional; arranged by Quill, Tony Bolton, Du Bois, Les Stacpool) | 3:06 |
| 14. | "I Need Women" | 4:31 |
| 15. | "Singin' the Blues" (Melvin Endsley;) | 3:53 |
| 16. | "She Do It to Me" | 3:41 |
| 17. | "Almost Freedom" | 4:07 |
| 18. | "The Outlaw's Reply" | 3:49 |
| Total length: | | 72:40 |

* *so rudely interrupted*: Quill•Tolhurst (studio album, So Rude Records (Australia) 2003 (QTCD001-2), True North Records (Canada) 2003 (TND 309))
    + Personnel: Greg Quill – vocals, acoustic guitar, percussion; Kerryn Tolhurst – acoustic and electric guitars, lap steel, dobro, mandolin, harmonium, banjo, tiple, percussion, bass guitar (except as shown otherwise). Additional personnel: Marco Giovino – drums (tracks 1, 3, 7), Neal Pawley – bass guitar (tracks 1, 7), Anne Lindsay – fiddle (tracks 1, 2, 11), Brad Smith – harmonica (track 1); Adam Armstrong – upright bass (tracks 2, 11); Paul Ossola – upright bass (track 3); Charlie Giordano – accordion (tracks 4, 11); Andrew Swann – drums (tracks 5, 9); The Pigram Brothers – vocals (track 5, 10); Monique Dimantina – piano (track 11).
    + Production work: Kerryn Tolhurst – producer, executive producer, recording engineer, mixer; Greg Quill – executive producer; Joe Johnson – recording engineer, assistant mixer; Julian McBrowne – recording engineer; Dave McNair – mastering; Paul Mills – recording engineer; Studios – Unique Studios, New York City; Studio 900, New York City; The Millstream, Toronto, Canada; Emerald City, Melbourne, Australia; Lapland, Brooklyn, NY; Howland House, Niagara-on-the-Lake, Canada; Pearly Shells Studios, Broome, Western Australia. Mixed at Studio 900, New York City. Mastered at The Engine Room, New York City.
    + Art work: Hugh Syme – cover image, graphics.

All tracks are written by Greg Quill and Kerryn Tolhurst, unless otherwise shown

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Back This Way" (Quill) | 4:59 |
| 2. | "Clever Lines" (Quill) | 3:52 |
| 3. | "The Killing Heart" | 4:31 |
| 4. | "The Game" | 3:29 |
| 5. | "Always to the Light" | 5:38 |
| 6. | "Jigalong" (Tolhurst) | 1:57 |
| 7. | "A Tale Too Plain" | 4:30 |
| 8. | "Fleetwood Plain" (Quill) | 3:17 |
| 9. | "Come to Me" (Quill) | 3:52 |
| 10. | "The Boys of Narrabeen" (Quill) | 4:13 |
| 11. | "Lost in a Moment" (Quill) | 4:27 |
| Total length: | | 43:43 |

### Singles

#### Greg Quill and Country Radio

* "Fleetwood Plain" (Quill/Cellar Music) b/w "Song To David" (Quill/Cellar Music) Columbia 1970
* "Listen to the Children" (Quill/Cellar Music) b/w "Last Time Around" (Quill/Cellar Music) Festival/Infinity 1971

#### Country Radio

* "Gypsy Queen" (Quill-Tolhurst/Cellar Music) b/w "Radio Rag" (Tolhurst/Cellar Music) Festival/Infinity 1972, Sweet Plum Records (Canada) 1973
* "Wintersong" (Quill-Tolhurst-Bois/Cellar Music) b/w "Observations From A Second Storey Window" (Quill/Cellar Music) Festival/Infinity 1972
* "Bound For South Australia" (Traditional/Arrangement Quill-Bolton-Bois-Stacpool/Cellar Music) b/w "I Need Women" (Quill/Cellar Music) Festival/Infinity 1973

#### Greg Quill

* "She Do It to Me" (Quill/Cellar Music) b/w "Terry's Tune" (Quill/Cellar Music) Festival/Infinity 1975
* "Blackmail" (Quill/Cellar Music) b/w "The Outlaw's Reply" (Quill/Cellar Music) Festival/Infinity 1975
* "Been So Long" (Quill/Kelly Songs) b/w I "Wonder Why" (Quill/Kelly Songs) Elektra (Canada) 1979

#### Greg Quill and Southern Cross

* "Been So Long" (Quill/Cellar Music) b/w "I Wonder Why" (Quill/Cellar Music) WEA 1978 (Australia)

### Other recordings

* Country Radio: "Silver Spurs" (Quill/Cellar Music), *The Great Australian Rock Festival Sunbury* (Mushroom 1973)

### Recordings by others

* "Gypsy Queen"
    + The Glaser Brothers, MGM Records, USA, 1974 (single)
    + Joe Camilleri, *Earth Music*, Independent, Australia, 1997
    + Adam Harvey, *Sugar Talk*, Warner Music, Australia, 1999
* "Almost Freedom"
    + Company Caine, *The Band's Alright But The Singer Is...*, Reprise RS 4001, Australia, 1973
* "Fleetwood Plain"
    + Reg Lindsay, Festival Records, 1971
    + Creamcheeze Good Time Band, *Home Cookin'*, Dominion/MCA, 1973

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4. Goddard, Peter (7 May 2013). "Greg Quill Tribute: Star Columnist Was Outstanding Aussie Writer and Musician". *Toronto Star*. Star Media Group (John D. Cruickshank). Retrieved 21 May 2013.
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13. "'Fleetwood Plain' at APRA search engine". Australasian Performing Right Association (APRA). Retrieved 22 May 2013. Note: User may have to click on 'Search again' and then 'Enter a title' to check further tracks.
14. Holmgren, Magnus. "Greg Quill". Australian Rock Database. Passagen (Magnus Holmgren). Archived from the original on 14 May 2011. Retrieved 9 March 2014.
15. Quill, Greg; Marks, Garry. "'Fleetwood Plain' \[music\] / words and music by Greg Quill; arrangement by Garry Marks". Cellar Music. Retrieved 22 May 2013.
16. Whitney, Ross; Sakamoto, John. "Creamcheeze Good-time Band". *The Canadian Pop Encyclopedia*. Jam! (Canoe.ca). Archived from the original on 15 January 2013. Retrieved 22 May 2013.`{{cite encyclopedia}}`: CS1 maint: unfit URL (link)
17. Holmgren, Magnus. "Country Radio". Australian Rock Database. Passagen (Magnus Holmgren). Archived from the original on 25 June 2006. Retrieved 9 March 2014.
18. "'Gypsy Queen' at APRA search engine". Australasian Performing Right Association (APRA). Retrieved 22 May 2013.
19. Nimmervoll, Ed (28 October 1972). "*Go-Set* National Top 40". *Go-Set*. Waverley Press. Retrieved 22 May 2013.
20. Kent, David (1993). *Australian Chart Book 1970–1992*. St Ives, NSW: Australian Chart Book Ltd. ISBN 0-646-11917-6. Note: Used for Australian Singles and Albums charting from 1974 until Australian Recording Industry Association (ARIA) created their own charts in mid-1988. In 1992, Kent back calculated chart positions for 1970–1974.
21. Nimmervoll, Ed (7 April 1973). "*Go-Set* National Top 40". *Go-Set*. Waverley Press. Retrieved 22 May 2013.
22. "'Some Lonesome Picker' at APRA search engine". Australasian Performing Right Association (APRA). Retrieved 22 May 2013.
23. "'Never Goin' Back' at APRA search engine". Australasian Performing Right Association (APRA). Retrieved 22 May 2013.
24. "GTK Episode Guide". *TV Times*. Australian Broadcasting Corporation. May 1971 – April 1973.
25. McFarlane, Ian (1999). "Encyclopedia entry for 'The Dingoes'". *Encyclopedia of Australian Rock and Pop*. St Leonards, NSW: Allen & Unwin. ISBN 1-86508-072-1. Archived from the original on 3 August 2004. Retrieved 21 May 2013.
26. Nowara, Zbigniew (December 2002). "Fairport Convention in Australia: 1973 Tour Dates". UK Rock Festivals. Retrieved 23 May 2013.
27. Quill, Greg (1981). "The runner crosses the finish line". *Music Express*. **5** (47). Library and Archives Canada: 26. Archived from the original on 27 August 2010. Retrieved 25 May 2013.
28. Bon Jovi: Hard Rock for the '80s *(Book, 1988)*. WorldCat. OCLC 18986443.
29. "*Michael Jackson Eectrifying* / Greg Quill". National Library of Australia. Retrieved 24 May 2013.
30. "*The Rolling Stones 25th Anniversary Tour* / Greg Quill; 1989 live reviews by Lenny Stoute". National Library of Australia. Retrieved 24 May 2013.
31. "Quill Tolhurst Biography". MapleMusic. Retrieved 25 May 2013.
32. Condon, Dan (8 May 2013). "Australian Musician and Journalist Greg Quill Passes Away". TheMusic.com.au. Street Press Australia. Retrieved 25 May 2013.
33. "Greg Quill Official Website – News". Archived from the original on 23 July 2012. Retrieved 7 May 2013.
34. Cashmere, Paul (6 May 2013). "Greg Quill of Country Radio Dies". Noise11 (Paul Cashmere, Ros O'Gorman). Retrieved 25 May 2013.
35. "'Wintersong' at APRA search engine". Australasian Performing Right Association (APRA). Retrieved 24 May 2013.
36. "'Bound for South Australia' at APRA search engine". Australasian Performing Right Association (APRA). Retrieved 26 May 2013.
37. "'Radio Rag' at APRA search engine". Australasian Performing Right Association (APRA). Retrieved 26 May 2013.
38. "'Singin' the Blues' at APRA search engine". Australasian Performing Right Association (APRA). Retrieved 26 May 2013.
39. "'Killing Heart' at APRA search engine". Australasian Performing Right Association (APRA). Retrieved 27 May 2013. Note: User may have to click on 'Search again' and then 'Enter a title' to check further tracks or 'Performer' as Quill and Tolhurst.
40. "'Back This Way' at APRA search engine". Australasian Performing Right Association (APRA). Retrieved 27 May 2013.
41. "'Clever Lines' at APRA search engine". Australasian Performing Right Association (APRA). Retrieved 27 May 2013.
42. "'Come to Me' at APRA search engine". Australasian Performing Right Association (APRA). Retrieved 27 May 2013.
43. "'The Boys at Narrabeen' at APRA search engine". Australasian Performing Right Association (APRA). Retrieved 27 May 2013.
44. "'Lost in a Moment' at APRA search engine". Australasian Performing Right Association (APRA). Retrieved 27 May 2013.
45. "Greg Quill: Australian music man has voice as Star writer and critic. (*Toronto Star*) (includes French translation)", *The Canadian Composer* (230), Society of Composers, Authors and Music Publishers of Canada (SOCAN). National Library of Australia: 28(4), 1 May 1988, ISSN 0008-3259

## InfoBox

| Greg Quill | |
| --- | --- |
| Born | Gregory Raymond Quill<br>(1947-04-18)18 April 1947<br>Sydney, Australia |
| Died | 5 May 2013(2013-05-05) (aged 66)<br>Hamilton, Ontario, Canada |
| Occupation | Journalist, singer-songwriter, musician |
| Genre | Entertainment |
| Notable works | *Toronto Star* |
| Spouse | Ellen Davidson |
| Website | |
| www.gregquill.com | |


title: Verconia decussata

abstract: Verconia decussata is a species of colourful sea slug, a dorid nudibranch, a shell-less marine gastropod mollusk in the family Chromodorididae.

text:
# Verconia decussata

***Verconia decussata*** is a species of colourful sea slug, a dorid nudibranch, a shell-less marine gastropod mollusk in the family Chromodorididae.

## Distribution

This marine species occurs off New Caledonia.

## Description

## Ecology

## InfoBox

| *Verconia decussata* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Order: | Nudibranchia |
| Family: | Chromodorididae |
| Genus: | *Verconia* |
| Species: | ***V. decussata*** |
| Binomial name | |
| ***Verconia decussata***<br>Risbec, 1928 | |
|
| Synonyms | |
| * *Glossodoris decussata* (Risbec, 1928) * *Noumea decussata* Risbec, 1928 * *Thorunna decussata* (Risbec, 1928) | |


title: Verconia haliclona

abstract: Verconia haliclona is a species of colourful sea slug, a dorid nudibranch, a shell-less marine gastropod mollusk in the family Chromodorididae.

text:
# Verconia haliclona

***Verconia haliclona*** is a species of colourful sea slug, a dorid nudibranch, a shell-less marine gastropod mollusk in the family Chromodorididae.

## Distribution

This marine species is endemic to Australia and occurs at depths between 0–20 m off New South Wales, Queensland, South Australia, Tasmania, Victoria and Western Australia.

## Description

The length of the body varies between 6 mm and 18 mm.

## Ecology

* Burn, R. 1957. *On some Opisthobranchia from Victoria*. Journal of the Malacological Society of Australia 1(1): 11–29
* Burn, R. 1966. *On three new Chromodoridinae from Australia (Opisthobranchia: Nudibranchia)*. The Veliger 8: 191–197
* Burn, R. 2006. *A checklist and bibliography of the Opisthobranchia (Mollusca: Gastropoda) of Victoria and the Bass Strait area, south-eastern Australia*. Museum Victoria Science Report 10: 1-42

## InfoBox

| *Verconia haliclona* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Order: | Nudibranchia |
| Family: | Chromodorididae |
| Genus: | *Verconia* |
| Species: | ***V. haliclona*** |
| Binomial name | |
| ***Verconia haliclona***<br>(Burn, 1957) | |
|
| Synonyms | |
| * *Glossodoris haliclona* Burn, 1957 (original combination) * *Noumea cameroni* Burn, 1966 * *Noumea haliclona* (Burn, 1957) * *Noumea margaretae* Burn, 1966 | |


title: Vere (1811 ship)

abstract: The barque Vere was launched in Chester, England, in 1811 as a West Indiaman. She later traded with Africa and Canada. She was last listed in 1842 as she grounded and was condemned in early 1843.

text:
# Vere (1811 ship)

The barque ***Vere*** was launched in Chester, England, in 1811 as a West Indiaman. She later traded with Africa and Canada. She was last listed in 1842 as she grounded and was condemned in early 1843.

## Career

*Vere* first appeared in *Lloyd's Register* (*LR*) in 1811.

| Year | Master | Owner | Trade | Source & notes |
| --- | --- | --- | --- | --- |
| 1811 | T.Clegg | France & Co. | Liverpool–Jamaica | *LR* |
| 1813 | T.Clegg | Fletcher & Co. | Liverpool–Jamaica | *LR* |
| 1815 | T.Clegg
J.Dawson | Fletcher & Co. | Liverpool–Jamaica
Liverpool–New York | *LR* |
| 1818 | J.Asker
R.Allen | Fletcher & Co. | Liverpool–Jamaica | *LR*; Large repair 1817 |
|

On 26 September 1820, *Vere*, Allen, master, was arriving at Liverpool from Jamaica when she ran ashore on the bank near the Duke's Dock. She was got off the next day after she had discharged part of her cargo, and was brought into the dock.

On 25 October 1824, *Vere*, Robert Allen, master, imported merchandise with an invoice value of 2115 8 4 to the port of Freetown, Sierra Leone.

| Year | Master | Owner | Trade | Source & notes |
| --- | --- | --- | --- | --- |
| 1828 | R.Allen
Arrowsmith | Fletcher & Co. | Liverpool–Jamaica | *LR*; damages repaired 1820 & small repair 1824 |
| 1829 | J.Cudd | Tobin & Co. | Liverpool–Africa | *LR*; damages repaired 1820 & small repair 1824 |
| 1831 | J.Cudd
J.Griffith | Tobin & Co. | Liverpool–Africa | *LR*; damages repaired 1820 & small repair 1824 and 1830 |
| 1832 | J.Griffith
Hemmingway | Tobin & Co. | Liverpool–Africa | *LR*; damages repaired 1820 & small repair 1824 and 1830 |
|

*Vere*, Hemmingway, master, arrived at Fernando Po on 24 August 1831 from Bonny. She sailed from there on 5 September and arrived back at Liverpool around 24 November. Coming into Fernando Po she struck several times on the bar and was leaky when she left.

| Year | Master | Owner | Trade | Source & notes |
| --- | --- | --- | --- | --- |
| 1834 | Larkman |  |  |  |
| 1839 | Casseidy
J.Wills | G.Castle
Silby & Sons | London
Poole–Quebec | *LR*; large repair 1840 |
|

On 27 October 1840 *Vere* ran aground on Hamilton's Bank, in the Solent. She was on a voyage from Quebec City to Portsmouth, Hampshire. She had to be lightened to be gotten off.

| Year | Master | Owner | Trade | Source & notes |
| --- | --- | --- | --- | --- |
| 1840 | J.Wills | Selby & Son | Poole–Quebec | *LR*; large repair 1840 and damages repaired 1841 |
| 1842 | Badcock | Selby & Son | Poole–Quebec
Poole–New Brunswick | *LR*; large repair 1840 and damages repaired 1841 |
|

## Fate

On 29 March 1843, in a heavy snowstorm, *Vere* ran aground on Herd Harbour Point, Campbell's Islands, New Brunswick. She was refloated but subsequently had to be beached on Sandy Island, where she was condemned. She was on a voyage from Poole, Dorset to Saint John, New Brunswick. Her crew were saved.

## Citations

1. *LR* (1811), Supple. pages "U", Seq.No.U22.
2. "The Marine List". *Lloyd's List*. No. 5529. 29 September 1820. p. 2. hdl:2027/hvd.32044105226344.
3. "Imports: West Indies". *Liverpool Mercury*. No. 487. 29 September 1820. p. 7. Retrieved 23 November 2023  via British Newspaper Archive.
4. "Naval Intelligence". *Liverpool Mercury etc* (Liverpool, England), 25 November 1831; Issue 1073.
5. "Ship News". *The Standard*. No. 5104. London. 28 October 1840.
6. "St. Andrew's, N.B." *Lloyd's List*. No. 9103. London. 15 May 1843. p. 4. Retrieved 26 October 2022  via British Newspaper Archive.
7. "Shipwreck of Thirty-Six Vessels". *The Sun*. No. 15829. London. 17 May 1843. p. 8. Retrieved 26 October 2022  via British Newspaper Archive.

## InfoBox

| *Vere* in a gale off Anglesey, 1833. By Samuel Walters. | |
| --- | --- |
| History | |
| United Kingdom | |
| Name | *Vere* |
| Builder | Chester |
| Launched | 1811 |
| Fate | Grounded and condemned 1843 |
| General characteristics | |
| Class and type | Barque |
| Tons burthen | 440, or 445, or 460 (bm) |


title: Vermillion River Formation

abstract: The Vermillion River Formation is a geological formation in Manitoba, Canada whose strata date back to the Late Cretaceous. Dinosaur remains are among the fossils that have been recovered from the formation.

text:
# Vermillion River Formation

The **Vermillion River Formation** is a geological formation in Manitoba, Canada whose strata date back to the Late Cretaceous. Dinosaur remains are among the fossils that have been recovered from the formation.

## Vertebrate paleofauna

| **Dinosaurs of the Vermillion River Formation** | | | | | | |
| --- | --- | --- | --- | --- | --- | --- |
| Genus | Species | Location | Stratigraphic position | Abundance | Description | Images |
| *Hesperornis* | *H. regalis* |  |  |  |  |  |
||

49°32′N 100°34′W / 49.53°N 100.56°W / 49.53; -100.56

## InfoBox

| Vermillion River Formation | |
| --- | --- |
| Stratigraphic range: Late Cretaceous | |
| Type | Geological formation |
| Location | |
| Region | North America |


title: Versar

abstract: Versar, Inc. is a project management company providing technical and management support to government and companies in the world. The company was founded on July 14, 1969. The company operates in three segments including Engineering and Construction Management, Environmental Services, and Professional Services. It offers project scoping/development, cost estimation, construction oversight through Engineering and Construction Management. The company offers environmental solutions through Environmental Services. The company offers solid waste management, water program management, staff augmentation through Professional Services.

text:
# Versar

**Versar, Inc.** is a project management company providing technical and management support to government and companies in the world. The company was founded on July 14, 1969. The company operates in three segments including Engineering and Construction Management, Environmental Services, and Professional Services. It offers project scoping/development, cost estimation, construction oversight through Engineering and Construction Management. The company offers environmental solutions through Environmental Services. The company offers solid waste management, water program management, staff augmentation through Professional Services.

## History

In 1969, Versar, Inc. was founded in Springfield, Virginia. In January 2014, the company selected Locus Technologies (Locus) Environmental Information Management (EIM) software to be the preferred environmental data management system.

In 1997, the company acquired a majority interest in Science Management Corp.

In February 2014, the Company completed the acquisition of Lime Energy, Inc.'s Facility Repair and Renewal (FRR) business unit.

In November 2017, Versar was acquired by Kingswood Capital Management for $1.6 million.

## InfoBox

Versar, Inc.
| Traded as | NYSE:  VSR |
| --- | --- |
| Industry | Program and Construction Management, Environmental Services, and Security Systems |
| Founded | 1969 |
| Headquarters | Springfield, VA |
| Key people | Dwane Stone<br>(CEO) |
| Revenue | US$ 102.622 million (2013.6) |
| Net income | US$ 2.403 million (2013.6) |
| Total assets | US$57.377  million (2013.6) |
| Total equity | US$37.624  million (2013.6) |
| Number of employees | 400 (2013) |
| Website | www.versar.com |


title: Greenwood–Afton Rural Historic District

abstract: Greenwood–Afton Rural Historic District is a national historic district located at Greenwood, Albemarle County, Virginia. The district encompasses 839 contributing buildings, 55 contributing sites, 68 contributing structures, and 2 contributing objects. The district is characterized by large farms, historic villages, and crossroads communities. Ten properties are separately listed on the National Register of Historic Places. It was added to the National Register of Historic Places in 2011, and enlarged by the addition of two properties in 2016.

text:
# Greenwood–Afton Rural Historic District

**Greenwood–Afton Rural Historic District** is a national historic district located at Greenwood, Albemarle County, Virginia. The district encompasses 839 contributing buildings, 55 contributing sites, 68 contributing structures, and 2 contributing objects. The district is characterized by large farms, historic villages, and crossroads communities. Ten properties are separately listed on the National Register of Historic Places.

It was added to the National Register of Historic Places in 2011, and enlarged by the addition of two properties in 2016.

## InfoBox

|  | |
| --- | --- |
| Greenwood-Afton Rural Historic District | |
| U.S. National Register of Historic Places | |
| U.S. Historic district | |
| Virginia Landmarks Register | |
|  | |
| Afton church and post office | |
|  | |
| Location | Roughly 5 miles (8.0 km) to 7 miles (11 km) north and south of I-64, near Greenwood, Virginia |
| Coordinates | 38°03′21″N 78°46′12″W / 38.05583°N 78.77000°W / 38.05583; -78.77000 |
| Area | 16,300 acres (6,600 ha) |
| NRHP reference No. | 11000258 (original)<br>15001053 (increase) |
| VLR No. | 002-5075 |
| Significant dates | |
| Added to NRHP | May 6, 2011 |
| Boundary increase | February 8, 2016 |
| Designated VLR | December 16, 2010 |


title: Greenwreath

abstract: Greenwreath, also known as the Foreman House, is a historic home located near Greenville, Pitt County, North Carolina. It was built around 1780, and is a 2+1⁄2-story, five bay frame dwelling with beaded siding and a exterior end chimneys. It was built in stages starting with a hall and parlor two room house in 1780, then extended to add a new front room around 1791 forming an L-configuration, and extended again with the federal 2+1⁄2-story structure being built in front of the original house around 1820 and attached to it so that the original house now forms a rear shed wing. Also on the property are the contributing tenant house, outbuilding, and a small Victorian-period brick ice house. It was added to the National Register of Historic Places in 1982.

text:
# Greenwreath

**Greenwreath**, also known as the Foreman House, is a historic home located near Greenville, Pitt County, North Carolina. It was built around 1780, and is a 2+12-story, five bay frame dwelling with beaded siding and a exterior end chimneys. It was built in stages starting with a hall and parlor two room house in 1780, then extended to add a new front room around 1791 forming an L-configuration, and extended again with the federal 2+12-story structure being built in front of the original house around 1820 and attached to it so that the original house now forms a rear shed wing. Also on the property are the contributing tenant house, outbuilding, and a small Victorian-period brick ice house.

It was added to the National Register of Historic Places in 1982.

## InfoBox

|  | |
| --- | --- |
| Greenwreath | |
| U.S. National Register of Historic Places | |
|  | |
|  | |
| Location | West of Greenville, near Greenville, North Carolina |
| Coordinates | 35°40′36″N 77°29′23″W / 35.67667°N 77.48972°W / 35.67667; -77.48972 |
| Area | 1.5 acres (0.61 ha) |
| Built | c. 1780 (1780) |
| NRHP reference No. | 82003498 |
| Added to NRHP | April 29, 1982 |


title: Verneuil method

abstract: The Verneuil method, also called flame fusion, was the first commercially successful method of manufacturing synthetic gemstones, developed in the late 1883 by the French chemist Auguste Verneuil. It is primarily used to produce the ruby, sapphire and padparadscha varieties of corundum, as well as the diamond simulants rutile, strontium titanate and spinel. The principle of the process involves melting a finely powdered substance using an oxyhydrogen flame, and crystallising the melted droplets into a boule. The process is considered to be the founding step of modern industrial crystal growth technology, and remains in wide use to this day.

text:
# Verneuil method

The **Verneuil method** (or **Verneuil process** or **Verneuil technique**), also called **flame fusion**, was the first commercially successful method of manufacturing synthetic gemstones, developed in the late 1883 by the French chemist Auguste Verneuil. It is primarily used to produce the ruby, sapphire and padparadscha varieties of corundum, as well as the diamond simulants rutile, strontium titanate and spinel. The principle of the process involves melting a finely powdered substance using an oxyhydrogen flame, and crystallising the melted droplets into a boule. The process is considered to be the founding step of modern industrial crystal growth technology, and remains in wide use to this day.

## History

Since the study of alchemy began, there have been attempts to synthetically produce precious stones, and ruby, being one of the prized cardinal gems, has long been a prime candidate. In the 19th century, significant advances were achieved, with the first ruby formed by melting two smaller rubies together in 1817, and the first microscopic crystals created from alumina (aluminium oxide) in a laboratory in 1837. By 1877, chemist Edmond Frémy had devised an effective method for commercial ruby manufacture by using molten baths of alumina, yielding the first gemstone-quality synthetic stones. The Parisian chemist Auguste Verneuil collaborated with Frémy on developing the method, but soon went on to independently develop the flame fusion process, which would eventually come to bear his name.

One of Verneuil's sources of inspiration for developing his own method was the appearance of synthetic rubies sold by an unknown Genevan merchant in 1880. These "Geneva rubies" were dismissed as artificial at the time, but are now believed to be the first rubies produced by flame fusion, predating Verneuil's work on the process by 20 years. After examining the "Geneva rubies", Verneuil came to the conclusion that it was possible to recrystallise finely ground aluminium oxide into a large gemstone. This realisation, along with the availability of the recently developed oxyhydrogen torch and growing demand for synthetic rubies, led him to design the Verneuil furnace, where finely ground purified alumina and chromium oxide were melted by a flame of at least 2,000 °C (3,630 °F), and recrystallised on a support below the flame, creating a large crystal. He announced his work in 1902, publishing details outlining the process in 1904.

By 1910, Verneuil's laboratory had expanded into a 30-furnace production facility, with annual gemstone production by the Verneuil process having reached 1,000 kg (2,200 lb) in 1907. By 1912, production reached 3,200 kg (7,100 lb), and would go on to reach 200,000 kg (440,000 lb) in 1980 and 250,000 kg (550,000 lb) in 2000, led by Hrand Djevahirdjian's factory in Monthey, Switzerland, founded in 1914. The most notable improvements in the process were made in 1932, by S. K. Popov, who helped establish the capability for producing high-quality sapphires in the Soviet Union through the next 20 years. A large production capability was also established in the United States during World War II, when European sources were not available, and jewels were in high demand for their military applications such as for timepieces.

The process was designed primarily for the synthesis of rubies, which became the first gemstone to be produced on an industrial scale. However, the Verneuil process could also be used for the production of other stones, including blue sapphire, which required oxides of iron and titanium to be used in place of chromium oxide, as well as more elaborate ones, such as star sapphires, where titania (titanium dioxide) was added and the boule was kept in the heat longer, allowing needles of rutile to crystallise within it. In 1947, the Linde Air Products division of Union Carbide pioneered the use of the Verneuil process for creating such star sapphires, until production was discontinued in 1974 owing to overseas competition.

Despite some improvements in the method, the Verneuil process remains virtually unchanged to this day, while maintaining a leading position in the manufacture of synthetic corundum and spinel gemstones. Its most significant setback came in 1917, when Jan Czochralski introduced the Czochralski process, which has found numerous applications in the semiconductor industry, where a much higher quality of crystals is required than the Verneuil process can produce. Other alternatives to the process emerged in 1957, when Bell Labs introduced the hydrothermal process, and in 1958, when Carroll Chatham introduced the flux method. In 1989 Larry P Kelley of ICT, Inc. also developed a variant of the Czochralski process where natural ruby is used as the 'feed' material.

## Process

One of the most crucial factors in successfully crystallising an artificial gemstone is obtaining highly pure starting material, with at least 99.9995% purity. In the case of manufacturing rubies, sapphires or padparadscha, this material is alumina. The presence of sodium impurities is especially undesirable, as it makes the crystal opaque. But because the bauxite from which alumina is obtained is most likely by way of the Bayer process (the first stage of which introduces caustic soda in order to separate the Al2O3) particular attention must be paid to the feedstock.

Depending on the desired colouration of the crystal, small quantities of various oxides are added, such as chromium oxide for a red ruby, or ferric oxide and titania for a blue sapphire. Other starting materials include titania for producing rutile, or titanyl double oxalate for producing strontium titanate. Alternatively, small, valueless crystals of the desired product can be used.

This starting material is finely powdered, and placed in a container within a Verneuil furnace, with an opening at the bottom through which the powder can escape when the container is vibrated. While the powder is being released, oxygen is supplied into the furnace, and travels with the powder down a narrow tube. This tube is located within a larger tube, into which hydrogen is supplied. At the point where the narrow tube opens into the larger one, combustion occurs, with a flame of at least 2,000 °C (3,630 °F) at its core. As the powder passes through the flame, it melts into small droplets, which fall onto an earthen support rod placed below. The droplets gradually form a sinter cone on the rod, the tip of which is close enough to the core to remain liquid. It is at that tip that the seed crystal eventually forms. As more droplets fall onto the tip, a single crystal, called a *boule*, starts to form, and the support is slowly moved downward, allowing the base of the boule to crystallise, while its cap always remains liquid. The boule is formed in the shape of a tapered cylinder, with a diameter broadening away from the base and eventually remaining more or less constant. With a constant supply of powder and withdrawal of the support, very long cylindrical boules can be obtained. Once removed from the furnace and allowed to cool, the boule is split along its vertical axis to relieve internal pressure, otherwise the crystal will be prone to fracture when the stalk is broken due to a vertical parting plane.

When initially outlining the process, Verneuil specified a number of conditions crucial for good results. These include: a flame temperature that is not higher than necessary for fusion; always keeping the melted product in the same part of the oxyhydrogen flame; and reducing the point of contact between the melted product and support to as small an area as possible. The average commercially produced boule using the process is 13 mm (0.51 in) in diameter and 25 to 50 mm (0.98 to 1.97 in) long, weighing about 125 carats (25.0 g). The process can also be performed with a custom-oriented seed crystal to achieve a specific desired crystallographic orientation.

Crystals produced by the Verneuil process are chemically and physically equivalent to their naturally occurring counterparts, and strong magnification is usually required to distinguish between the two. A telltale characteristic is the Verneuil crystal is curved growth lines (curved striae) form, as the cylindrical boule grows upwards in an environment with a high thermal gradient, while the equivalent lines in natural crystals are straight. Another distinguishing feature is the common presence of microscopic gas bubbles formed due to an excess of oxygen in the furnace; imperfections in natural crystals are usually solid impurities.

## InfoBox

| Crystallization | |
| --- | --- |
|  | |
| Fundamentals | |
|  | |
| Concepts | |
|  | |
| Methods and technology | |
|  | |
|  | |


title: Moyon people

abstract:
The Moyon people, also known as Bujuur people or the Moyon Naga, are a Tibeto-Burmese ethnic group predominantly resides in the Northeast Indian state of Manipur and, some in Sagaing Region in Myanmar. Moyons share similar ancestry with Monsang Nagas, Moyon origins can be traced back to ancient times of Moirang Kingdom, as they were contemporary, the Moyon King "Kuurkam" also known as "Shamshangba Ningthou" by meities is well recorded in Meitei Chronicles. Kungjuur is an important Historical place for the Moyons. They are listed as a Scheduled Tribe (STs) by India.
They use Meitei language as their second language (L2) according to the Ethnologue.

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# Moyon people

The **Moyon people**, also known as **Bujuur people** or the **Moyon Naga**, are a Tibeto-Burmese ethnic group predominantly resides in the Northeast Indian state of Manipur and, some in Sagaing Region in Myanmar. Moyons share similar ancestry with Monsang Nagas, Moyon origins can be traced back to ancient times of Moirang Kingdom, as they were contemporary, the Moyon King "Kuurkam" also known as "Shamshangba Ningthou" (Long hair king) by meities is well recorded in Meitei Chronicles. Kungjuur is an important Historical place for the Moyons. They are listed as a Scheduled Tribe (STs) by India. They use Meitei language as their second language (L2) according to the Ethnologue.

## InfoBox

Moyon
(Moyon Naga)
| "Moyon" written in Meitei script | |
| --- | --- |
| Total population | |
| 2,516 approx, Manipur | |
| Languages | |
| Moyon language (L1) <br>Meitei language (L2) | |
| Religion | |
| Christianity | |
| Related ethnic groups | |
| Meitei people, Monsang people, other Naga people | |