title: Park Chan-kyong

abstract: Park Chan-kyong is a South Korean media artist, filmmaker, and arts critic. Park is known for his advocacy of the revival of minjung art in the 90s through both exhibition organizing and writing. With his first solo show in 1997, Park's career as a media artists working across photography, film, sculpture, and installation art took off, even as he continued to write criticism and curate shows. His multimedia works often deal with traumatic moments in Korean modern and contemporary history, the relevance of tradition in the modern age, and the shifting role of spiritual practices like shamanism in contemporary Korea. After graduating from Seoul National University in 1988, Park was part of several collectives engaged with the legacy of minjung art, including the Art Criticism Research Group, Seongnam Project, and Art Space Pool. He curated exhibitions and collaborated on projects that concerned Korea's rapidly changing urban space, as well as wrote extensively for publications like Forum A on theoretical issues about contemporary Korean art. Park's artistic practice from the late 1990s continued to engage with core questions minjung artists had raised decades prior about the relationship between politics and art. He continued to explore the possibilities of utilizing documentary photography and archival material to examine the effects of Korea's rapid modernization with works like Sindoan (2008) and Manshin: Ten Thousand Spirits (2014). Through his curation of Mediacity Seoul 2014, Park attempted to expand his thinking to consider how artists across Asia utilize similar techniques and imagery to engage with trauma, leading him to continue drawing on the phrase "Asian Gothic" in his writing. Park has exhibited extensively at home and abroad—sometimes together with his brother filmmaker Park Chan-wook under the moniker PARKing CHANce. Together they won the Golden Bear at the Berlin International Film Festival in 2011 for their film Night Fishing (2011). Both brothers were temporarily blacklisted by the South Korean Culture Ministry under president Park Geun-hye's administration. The end of the blacklist has allowed Park Chan-kyong to resume his major film projects. Park will also have his first solo show in the US at the National Museum of Asian Art at the Smithsonian at the end of 2023. Park still lives and works in Seoul.

text:
# Park Chan-kyong

**Park Chan-kyong** (Korean: 박찬경; b. 1965 in Seoul, South Korea) is a South Korean media artist, filmmaker, and arts critic. Park is known for his advocacy of the revival of minjung art in the 90s through both exhibition organizing and writing. With his first solo show in 1997, Park's career as a media artists working across photography, film, sculpture, and installation art took off, even as he continued to write criticism and curate shows. His multimedia works often deal with traumatic moments in Korean modern and contemporary history (e.g. the splitting of the Korean peninsula), the relevance of tradition in the modern age, and the shifting role of spiritual practices like shamanism in contemporary Korea.

After graduating from Seoul National University in 1988, Park was part of several collectives engaged with the legacy of minjung art, including the Art Criticism Research Group, Seongnam Project, and Art Space Pool. He curated exhibitions and collaborated on projects that concerned Korea's rapidly changing urban space, as well as wrote extensively for publications like *Forum A* (which he cofounded) on theoretical issues about contemporary Korean art. Park's artistic practice from the late 1990s continued to engage with core questions minjung artists had raised decades prior about the relationship between politics and art. He continued to explore the possibilities of utilizing documentary photography and archival material to examine the effects of Korea's rapid modernization with works like *Sindoan* (2008) and *Manshin: Ten Thousand Spirits* (2014). Through his curation of Mediacity Seoul 2014, Park attempted to expand his thinking to consider how artists across Asia utilize similar techniques and imagery to engage with trauma, leading him to continue drawing on the phrase "Asian Gothic" (a term he coined in 2007) in his writing.

Park has exhibited extensively at home and abroad—sometimes together with his brother filmmaker Park Chan-wook under the moniker PARKing CHANce. Together they won the Golden Bear at the Berlin International Film Festival in 2011 for their film *Night Fishing* (2011). Both brothers were temporarily blacklisted by the South Korean Culture Ministry under president Park Geun-hye's administration. The end of the blacklist has allowed Park Chan-kyong to resume his major film projects. Park will also have his first solo show in the US at the National Museum of Asian Art at the Smithsonian at the end of 2023. Park still lives and works in Seoul.

## Early life

Park was born and raised in Seoul with older brother Park Chan-wook. They were brought up as Catholic.

## Education

Park received a BFA in Western Painting from the College of Fine Arts at Seoul National University in 1988, and an MFA from the Photography and Media program at the California Institute of the Arts (Valencia, California) in 1995. While at Cal Arts, Park studied with artist Allan Sekula and filmmaker Thom Anderson.

## Work

### Minjung art

Park was closely involved with the efforts in the 90s and early 2000s to revive Minjung art as an artist and critic, leading art historian Shin Chunghoon to declare Park as part of the wave of "post-Minjung art". Park wrote theoretical texts on the relationship between minjung art and modernism, founded publications like *Forum A*, and joined collectives like Art Criticism Research Group all in an effort to revitalize Minjung art.

Akin to earlier minjung artists and critics, Park has criticized Dansaekhwa and accused it of self-Orientalism.

#### Art Criticism Research Group (1989-1993)

Park was a member of the Art Criticism Research Group (미술비평연구회, *Misulbipyeongyeongguhoe*), a collective of critics whom Park described as the fourth generation of the Minjung art movement. Park called for the redeployment of montage and kitsch in an effort to reformulate the techniques and goals of Minjung art during the period of its decline. In addition to writing arts criticism, Park and the other critics organized a series of exhibitions in 1992 focused on Seoul's urban visual culture. Along with Beck Jee-sook, Park curated the show "City Mass Culture (*dosi daejung munhwa*)" in 1992. For the exhibition, Park presented an installation titled *Life and Death of the Images* (1992) composed of newspaper images of self-immolating protesters juxtaposed with souvenir photos of factory workers.

#### *Forum A* (1997-2005)

Park cofounded the monthly magazine *Forum A* in October 1997 with Jeon Yong-suk and a group of artists, curators and critics, whose numbers grew to over sixty over time. The publication printed art criticism and translations of texts on art abroad in an effort to expand art discourse in the country.

#### Seongnam Project (1998-1999)

Park was part of the artist collective Seongnam Project (성남프로젝트, *Seongnampeurojekteu*), whose members included Kim Tae-heon, Kim Hong-bin, Mah In-hwang, Park Yong-seok, Park Hye-yeon, Son Hye-min, Yoo Ju-ho, Cho Ji-eun, and Im Heung-soon. The group focused on the relationship between art and public space in Seongnam, South Korea's first planned city, producing a range of works including documentary photography, a brochure, video, and installation art.

The collective came together when curator Lee Young-chul (who had also been a member of the Art Criticism Research Group) invited Park to participate in his upcoming show "98 City and Media: Clothing, Food House," at the Seoul City Museum of Art. Park proposed to make a collective work, and along with artist Kim Tae-heon, invited the other members, who were graduates from universities in Seongnam and Anywang where Park lectured. The group presented an installation at museum at Seoul, and presented a nearly identical version of the work at the Seongnam City Hall so Seongnam residents could see the installation as well.

#### Art Space Pool (1999-2021)

Park was one of the founding members of Art Space Pool (대안공간 풀, *Daeangonggan pul*). The collective of artists and critics, including those from *Forum A*, ran the alternative exhibition space in Seoul until April 2021.

### Key artworks

#### *Black Box: Memory of Cold War Images* (1997)

For Park's first solo exhibition at the Kumho Museum of Art, the artist focused on representations of the Cold War in Korea. The installation included a slide projector showing a series of mass media images along with his own memories of the Cold War.

#### *Sets* (2000)

*Sets* also featured a slide projection of 160 photographs. The photographs depict three different sets. One was a movie set of Seoul that is actually located in Pyongyang (these images were taken from South Korean journalist Im Jongjin's series from his sanctioned visit to Pyongyang in 2000). Another was a movie set replica of Panmunjom also functioning as a tourist site (Park took these photos). The last was a South Korean military's war simulation set. Park's presentation of "the cultural industry's impulse to fictionalize the 'other' Korea" alongside evidence of the ongoing reality of military and political tensions with the war simulation set explore the shifting national discourse and sentiment on the relationship between North and South Korea.

#### *Koreans Who Went to Germany* (2002-3)

During his residency at Akademie Schloss Solitude in winter 2002–3, Park presented a series of photographs and texts on miners and nurses who migrated to Germany from the 60s to the 80s. Park's writing for the series incorporated interviews from the Korean immigrants, explanations of working conditions, and the broader geopolitical context that brought the laborers there (e.g. the Korean government's history of exporting labor).

#### *Sindoan* (2008)

Park's video integrates archival footage, documentary photography, and first-hand accounts from members from a range of religious groups who were forced out of an area on Gyeryong Mountain by authorities who wanted to make the mountain part of a national park in 1984.

#### *Night Fishing* (2011)

Park worked with Park Chan-wook under the moniker PARKing CHANce to direct, produce, and write the short film shot using an Apple iPhone 4, and starring singer Lee Jung-hyun. The film centers on a shaman who is possessed by the spirit of a fisherman who uses the spiritual medium to speak to his family. The brothers won the Golden Bear at the Berlin International Film Festival in 2011 for the film.

#### *Manshin: Ten Thousand Spirits* (2014)

Park's film focuses on one of Korea's most famous shamans: Kim Keum-hwa. Park sought out Kim after reading her autobiography, wanting to present 20th century Korean history via the perspective of a *mudang*. To create the film, Park wove together documentation on her life and work with archival footage of performances and interviews, but chose not to order scenes in chronological order. In particular, Park sought to highlight how the clash between the Korean spiritual tradition and a modernizing Korea shaped Kim's life as she escaped a police raid when authorities began to crack down on shamanistic practices under President Park Chung Hee's regime, and groups of local Christians sought to interfere with her rituals.

#### *Small Art History* (2014-19)

Park created the installation for his solo show at the Institute of International Visual Arts in London, and then showed it again in 2017 for his exhibition at Kukje Gallery, and in 2019 at MMCA. The changing installation has consisted of reproductions of artworks ranging from the 14th/15th century Chinese painting *Man Sleeping on a Bamboo Couch* to Bahc Yiso's untitled concrete, rebar, and wire sculptures from 1994, images of shrines and temples, and photographs of artists like Lee Ungno. The wide array of images and objects are all accompanied by annotations written by Park.

#### *Citizen's Forest* (2016)

Park presented the black and white video at the Taipei Biennial in 2016, and then Art Basel Unlimited in 2017. Park used the panorama of the three-channel format video to evoke *shanshui* painting, and structured the video to emulate the experience of seeing a landscape painting on a long scroll. Park was inspired by Minjung artist Oh Yoon's painting *The Lemures* (1984), and Kim Soo-young's poem "Colossal Roots" when creating the narrative framework of the piece. The roughly 25-minute-long video references major traumatic events in Korean history, including the Dongak Peasant Revolution (1894–95), the Korean War (1950-53), the Gwangju Uprising (1980), and the sinking of the MV Sewol. The most recent event with the Sewol ferry was what initially motivated Park to make the work.

When asked whether or not the video illustrates a struggle between history and memory, Park responded: "The ghosts appearing in the video don't engage in any particular activities nor do they refer to any specific historical event. It is as if the ghosts are aware of the fact that people today, like us or the viewers, feel indifferent about themselves (ghosts). In such ways, their existence is removed from our memories, affirming once again their abandoned, forgotten presence."

### Curation

#### Mediacity Seoul (2014)

Park was the artistic director of the eighth iteration of Mediacity Seoul, titled "Ghosts, Spies and Grandmothers."

Park included the work of directors like Apichatpong Weerasethakul, Joshua Oppenheimer, and Rithy Panh, whose short films and documentaries on Thailand, Indonesia, and Cambodia respectively expanded the scope of the large-scale exhibition beyond Seoul.

## Major themes

### Historical memory

Park often references modern and contemporary Korean historical events in works like *Citizen's Forest* (2016).

Shin Chunghoon argues that with works like *Black Box: The Memory of Cold War Images* (1997) and *Sets* (2000), Park is less interested in interrogating the actual events of history, and more concerned with how images shape human memory of historical moments.

Scholar Park Sohyun describes Park's approach to the "politics of memory" as that of an "image archaeologist" collecting and sifting through a wide array of archival materials.

Curator Hyunjin Kim asserts that Park delves into traumatic historical moments in order to rethink Asian modernity, and pursue a "hauntological understanding of the extremely violent and oppressive trajectories of East Asia in the twentieth century."

### Kitsch

Shin Chunghoon traces Park's use of kitsch back to techniques used by minjung art groups like Reality and Utterance.

Park acknowledged his use of kitsch elements in video works like *Sindoan* (2008). Park stated that he intentionally incorporated elements of kitsch in the work, seeking to critique urban dwellers who might initially dismiss these images as proof of their superiority over naive rural citizens.

### Tradition

Issues of tradition began to feature more prominently in Park's work with *Sindoan*.

Park distinguishes tradition from traditional culture, making the former "challenging to accurately verbalize in and of itself." Park describes tradition as "fragmented structures of power that have been long-preserved with a society." His sustained interest in questions of tradition has resulted in writing by both the artist and scholars writing on his work, like curator and critic Patrick Flores, on the relationship of tradition to the sublime, colonial history, and the present-day. Park's insistence on the relevance of tradition to the contemporary moment led him to declare with fellow critic Lee Youngwook that "the task before us is, then, to reawaken the tradition that has been severed and oppressed from our memories, and feel it with all our senses, for this is how the future comes into view." This longer chronology for tradition has led him to adopt the term "*longue durée* tradition."

### Religion

In his notes for the catalogue for his exhibition at the National Museum of Modern and Contemporary Art (MMCA) from 2019 to 2020, Park described a theological shift in his artistic practice that he had in the mid-2000s while working on *Sindoan* (2008). He explained that he tried to balance history and religion in the video work *Sindoan*, for which he felt that a Western framework for understanding Korean modernity was insufficient. After making *Sindoan*, Park made several feature films and short films on Korean folk religion and shamanism, including *Anyang, Paradise City* (2010), *Manshin: Ten Thousand Spirits* (2013), and *Citizen's Forest* (2016).

His interest in religion, and more specifically Buddhism, grew after the Fukushima nuclear accident and the sinking of the MV Sewol ferry. Park clarified however, that this turn to religious themes in his work is motivated by his interest in visual and literary culture around Buddhism rather than Buddhist doctrine itself. *Belated Bosal* (2019) is one example of this move in his work towards Buddhism.

Park's exploration of religion in his work is also in part prompted by his observations of the effects of secularization on Korean society, prompting his to ask how they might "restore a sense of community in a completely de-sacred society, regardless of how religious institutions claim and work now."

### Asian Gothic

Park first used the term in 2007 in his essay on *Sindoan*, but only fully explained the concept in a paper he gave in 2014 at the Special Symposium of the Korean Society of Art History in 2014. Park described "Asian Gothic" as referring to "a return of grotesque gothic imagery in contemporary Korean culture" that reflects "local trauma (violence, fear, pain, of Asia's modern project)." He argued that gothic culture generally emerges in "postwar or postcolonial societies when tradition is reconfigured in the contemporary moment," and pointed to other examples in Southeast Asia, Japan, and China.

## Critical reception

Critic Kim Junghyun questioned Park's curation of Mediacity Seoul 2014: "Does one need to be come a shaman to reveal the history of the modern Other? Does the artist have to assume the role of a shaman to achieve this? Furthermore, why should artworks be carried out in the name of 'discovering tradition'? Why does the spiritual medium only insist on modern history rather than contemporary events?"

Critic Tiffany Yeon Chae expressed doubt about the potential for artworks like Park's to draw on Korean shamanism as a way to overcome Korea's traumatic colonial history and division, arguing that Korean society has changed greatly since minjung artists from the 80s had explored this idea.

In a review of Park's show at Kukje Gallery, critic Ye Eun Nam argued that while Park's work reveals a desire to leave behind tradition, his reference to traditional art and spiritual traditions suggests that he will never be able to achieve that goal in spite of his intentions.

Writing on Park's latest show at MMCA in 2019, Andy St. Louis finds Park's work to be "grounded in a rigorous conceptual framework (navigating notions of modernity, tradition, representation and historicization)," while also delivering "on an emotional level by moving beyond polemics of institutional critique and postcolonial discourse to contemplate how individuals in society cope in the aftermath of disaster."

## Blacklist

Park's name was among the list of 9,000 artists blacklisted for being critical of the former president Park Geun-hye. As a result, the Korean Film Council rejected Park's proposal for a horror film before Park's impeachment.

## Select exhibitions

### Solo exhibitions

**2023-24**

* "Park Chan-kyong: Gathering," National Museum of Asian Art, Smithsonian, Washington DC

**2019**

* "MMCA Hyundai Motor Series 2019: Park Chan-kyong – *Gathering*," MMCA Seoul, Seoul

**2018**

* "Citizen’s Forest," Tina Kim Gallery, New York
* "PARKing CHANce 2010-2018," Asia Culture Center, Gwangju

**2017**

* "安寧 Farewell," Kukje Gallery, Seoul

**2016**

* "Park Chan-kyong," Tina Kim Gallery, New York

**2015**

* "Pa-Gyong: Last Sutra Recitation," Iniva, London

**2010**

* "Radiance," PKM Gallery | Bartleby Bickle & Meursault, Seoul

**2008**

* "Sindoan," Atelier Hermès, Seoul

**2003**

* "Koreans Who Went to Germany," Akademie Schloss Solitude, Stuttgart

**2002**

* "Sets," rraum02, Frankfurt

**1997**

* "Black Box: Memory of the Cold War Images," Kumho Museum, Seoul

### Group exhibitions

**2022**

* "Checkpoint. Border Views from Korea," Kunstmuseum Wolfsburg, Wolfsburg
* "Off the Page," Daejeon Art Center, Daejeon

**2020**

* Yokohama Triennale 2020: "Afterglow," Yokohama Museum of Art, Yokohama

**2019**

* 2019 Asian Art Biennial: "The Strangers from beyond the Mountain and the Sea," National Taiwan Museum of Fine Arts, Taipei
* Aichi Triennale 2019: "Taming Y/Our Passion," Aichi Arts Center/Nagoya City Art Museum, Nagoya

**2018**

* 24th Busan International Film Festival, Busan
* "Rituals of Signs and Metamorphoses 仪礼·兆与易," Red Brick Art Museum, Beijing
* "Mise-en-Scène: A History of Images," National Museum of Modern and Contemporary Art, Seoul

**2017**

* "Ghosts and Spectres – Shadows of History," NTU CCA Singapore, Singapore

**2013**

* "Real DMZ Project: From the North," Artsonje Center, Seoul

## Awards

* Hermès Korea Misulsang (2004)
* Golden Bear Prize, Berlin International Film Festival (2011)
* Grand Prize for a Korean Feature Film, 12th Jeonju International Film Festival (2011)

## Collections

## Further reading

* Park Chan-kyong. “Notes on the “Conceptual Realism” – An Editor's Annotation.” *Forum A*, no. 9 (April 16, 2001): 19-24.
* *Seoul: Räume, Menschen*, exh. cat. Stuttgart: ifa; Institut für Auslandsbezeihungen, 2007.
* *Ghosts, Spies, and Grandmothers*, exh. cat. Seoul: SeMA, 2014.
* Park, Bona. "A Study on the Tendency of Mass/Popular Culture in the Contemporary Korean Art: Focus on 1997 to 2003." MA Thesis, Seoul National University, 2014.
* Moon, Young Min. "Situating Contemporary Art of South Korea, 1980 to 2016." In *A Companion to Korean Art*, edited by J.P. Park, Burglind Jungmann, and Juhyung Rhi, 465–497. Hoboken and West Sussex: Wiley Blackwell, 2020.

1. Shin Chunghoon, "The Artist as Historian in the Postcolonial Era," in *Park Chan-kyong: Red Asia Complex* (Seoul: MMCA, 2019), 11-28.
2. Park Chan-kyong, "On *Sindoan*: Some Scattered Views on Tradition and the 'Sublime,'" translated by Doryun Chong, in *Park Chan-kyong: Red Asia Complex* (Seoul: MMCA, 2019), 157-172.
3. "Park Chan-Kyong | 5 May - 11 June 2016". *Tina Kim Gallery*. Retrieved 2023-11-23.
4. Park Chan-kyong, "The Way to Fukushima from Sindoan," interviewed by Cha Jeamin, translated by Lee Hojong, in *Park Chan-kyong: Red Asia Complex* (Seoul: MMCA, 2019), 259-283.
5. Park Chan-kyong, "Misurundong 4-saedaereul wihan noteu (Notes on the Fourth Generation of the Art Movement)," in *Dosi daejung munhwa* (City Mass Culture) (Seoul: Deokwon Gallery, 1992), 22-5, quoted in Shin Chunghoon, "Reality and Utterance: In and Against Minjung Art, in *Korean Art from 1953: Collision, Innovation, Interaction* (London and New York: Phaidon, 2020), 110.
6. Sohl Lee, "Images of Reality/Ideals of Democracy: Contemporary Korean Art, 1980s-2000s," PhD diss., University of Rochester, 2014, footnote 167.
7. Shin Chunghoon, "Reality and Utterance: In and Against Minjung Art, in *Korean Art from 1953: Collision, Innovation, Interaction* (London and New York: Phaidon, 2020), 98-115.
8. Sohl Lee, "Images of Reality/Ideals of Democracy: Contemporary Korean Art, 1980s-2000s," PhD diss., University of Rochester, 2014.
9. Choi Jong-chul, "Park Chan-kyong's Asian Gothic as 'The Most Sublime Hysteria' in Its Return," *Third Text* 30, no. 5-6 (2016): 456-473.
10. Sohl Lee, "Seoul Tour/Pyongyang Express," in *Being Political Popular: South Korean Art at the Intersection of Popular Culture and Democracy, 1980-2010*, exh. cat. (Seoul: Hyunsil Publishing, 2012), 104-127.
11. Park Chan-kyong and Klaus Fehling, *Koreans Who Went to Germany* (Seoul: Noonbit Publishing Co. and Edition Solitude, 2003).
12. Mark Wilsher, "Park Chan-kyong and Lina Sleander," *Art Monthly*, no. 384 (Mar. 2015), 27-28.
13. "ArtAsiaPacific: Park Chan-kyong Explores History". *artasiapacific.com*. Retrieved 2023-11-23.
14. Jungmin Song, *Review - Manshin: Ten Thousand Spirits*, *Asian Theare Journal* 33, no. 1 (Spring 2016): 203-206.
15. Park Chan-kyong and Lee Jiwon. *MMCA Hyundai Motor Series 2019: Park Chan-kyong - Gathering*, exh. cat. (Seoul: MMCA, 2019).
16. Lorenzo Poggiali, ed., *Slater Bradley, Park Chan-kyong, Grazia Toderi: Making Time*, exh. cat. (Firenze: Galleria Poggiali, 2018).
17. KADIST (2019-03-20), *Park Chan-Kyong*, retrieved 2023-11-23
18. Park Chan-kyong, "Conversation between Park Chan-kyong and Lorenzo Bruni," in *Slater Bradley, Park Chan-kyong, Grazia Toderi: Making Time*, exh. cat. (Firenze: Galleria Poggiali, 2018), 74-103.
19. Keith B. Wagner and Sunjung Kim, "The Gwangju Biennale, Busan Biennale and Mediacity Seoul: Co-Cultural Aspirations and Globalization in Korea, in *Korean Art from 1953: Collision, Innovation, Interaction* (London and New York: Phaidon, 2020), 210-245.
20. Park Sohyun, "Small At HIstory, Colossal Roots," translated by Alice S. Kim, in *Park Chan-kyong: Red Asia Complex* (Seoul: MMCA, 2019), 46-73.
21. Hyunjin Kim, "Colossal Roost, Tradition-Reality, and Contestation of Asian Modernity," *Flash Art*, no. 84, June/July/August 2017, 84-89.
22. Patrick D. Flores, "The Wound of Tradition," in *Park Chan-kyong: Red Asia Complex* (Seoul: MMCA, 2019), 173-184; Park Chan-kyong, "On *Sindoan*: Some Scattered Views on Tradition and 'the Sublime,'" in *Park Chan-kyong: Red Asia Complex* (Seoul: MMCA, 2019), 157-172.
23. Lee Youngwook and Park Chan-kyong, "How to Sit Properly: Tradition and Art," translated by Minna Lee, in *Park Chan-kyong: Red Asia Complex* (Seoul: MMCA, 2019), 205-257.
24. Park Chan-kyong, "Citations and Notes," in *MMCA Hyundai Motor Series 2019: Park Chan-kyong - Gathering*, exh. cat. (Seoul: MMCA, 2019), 211-239.
25. Kim Junghyun, "Midieositiseoul 2014, 'gwisin, gancheop, halmeoni': Midieo damnoneseo yeongmaeui akaibeuro (Mediacity Seoul 2014: 'Ghosts, spies, and grandmothers': from Media Discourse to the Psychic Archive)," in 2016 *SeMA HANA* Art Criticism Award: 2015 Korean contemporary art criticism conference (Seoul: Seoul Museum of Art, 2016), 58-65, quoted in Park Sohyun, "Small Art History, Colossal Roots," translated by Alice S. Kim, in *Park Chan-kyong: Red Asia Complex* (Seoul: MMCA, 2019), 46.
26. Chae, Tiffany Yeon (2017-07-03). "Park Chan-kyong". *Frieze*. No. 190. ISSN 0962-0672. Retrieved 2023-11-23.
27. Ye Eun Nam, "Park Chan-kyong: Farewell," a*rtasiapacific*, no. 105 (Sep/Oct 2017), 136.
28. "Park Chan-kyong at Museum of Modern and Contemporary Art, Seoul". *artreview.com*. Retrieved 2023-11-23.
29. Neuendorf, Henri (2018-01-26). "South Korea's Ex-Culture Minister Sentenced to Jail for Blacklisting 10,000 Artists Who Criticized the President". *Artnet News*. Retrieved 2023-11-23.
30. Chow, Vivienne (2017-07-03). "No Longer Blacklisted, South Korea's Park Chan-kyong Tries Again With Horror Film". *Variety*. Retrieved 2023-11-23.

## InfoBox

| Park Chan-kyong | |
| --- | --- |
| Born | 1965<br>Seoul, South Korea |
| Nationality | South Korean |
| Education | Seoul National University <br>California Institute of the Arts |
| Known for | Media art, Film, Arts criticism |
|  | |
| Korean name | |
| Hangul | 박찬경 |
| Revised Romanization | *Bak Changyeong* |
| McCune–Reischauer | *Pak Ch'an'gyŏng* |
|  | |


title: Varanavasi

abstract: Varanavasi is a village in the Ariyalur taluk of Ariyalur district, Tamil Nadu, India.

text:
# Varanavasi

**Varanavasi** is a village in the Ariyalur taluk of Ariyalur district, Tamil Nadu, India.

## Demographics

As of 2001 census, Varanavasi had a total population of 4,051 with 1,989 males and 2,062 females.

12°50′N 79°53′E / 12.833°N 79.883°E / 12.833; 79.883

## InfoBox

| Varanavasi | |
| --- | --- |
| village | |
| Country | India |
| State | Tamil Nadu |
| District | Ariyalur |
| Population (2001) | |
| Total | 4,051 |
| Languages | |
| Official | Tamil |
| Time zone | UTC+5:30 (IST) |
| Vehicle registration | TN- |
| Coastline | 0 kilometres (0 mi) |
| Sex ratio | 1037 / |
| Literacy | 58.56% |


title: South Greek TV

abstract: A.NET is a television station based in Kalamata. It broadcasts digitally in Peloponnese, in southern Central Greece, in Aetolia, in Kythira, in Phocis, in Corinthian gulf, in islands of Argosaronic, in southern Ionian islands, in Boeotia and in western Attica. It airs programming from New Epsilon TV, the successor of Philippe Briones' Epsilon TV, hence its logo. The station previously had its own radio station, Radio South, which is no longer operational. The original station was called State NET, and it started broadcasting in September 1993 in Kalamata. In March 2001, the ownership and management of the station were changed, and started airing original productions, as well as programming from Channel 9. The channel was temporarily closed due to the ESR's decision on December 4, 2012, which stated that 2003-2006 depreciation was not filed and did not submit the appropriate data to transfer of shares. One and a half year later, on April 7, 2014, a "therapy request" for the station was accepted by The National Television Council, after being rejected once, thus it is able to operate once again. On January 7, 2015, the station's final programming was launched. The new hour-long bulletin would be presented by Eirini Nikolopoulou. The station would initially co-operate with powered by Epsilon TV for its acquired programming and filming of the news bulletin in the latter one's facilities. In between the end of the said co-operation in late 2015 and the overall change of the station to a.NET in late 2018, the station would air programming from Smile TV.

text:
# South Greek TV

**A.NET** (ex. *Action Broadcast Channel* & *NET*) is a television station based in Kalamata. It broadcasts digitally in Peloponnese, in southern Central Greece, in Aetolia, in Kythira, in Phocis, in Corinthian gulf, in islands of Argosaronic, in southern Ionian islands, in Boeotia and in western Attica. It airs programming from New Epsilon TV, the successor of Philippe Briones' Epsilon TV, hence its logo. The station previously had its own radio station, Radio South, which is no longer operational. The original station was called State NET, and it started broadcasting in September 1993 in Kalamata. In March 2001, the ownership and management of the station were changed, and started airing original productions, as well as programming from Channel 9. The channel was temporarily closed due to the ESR's decision on December 4, 2012, which stated that 2003-2006 depreciation was not filed and did not submit the appropriate data to transfer of shares.

One and a half year later, on April 7, 2014, a "therapy request" for the station was accepted by The National Television Council, after being rejected once, thus it is able to operate once again. On January 7, 2015, the station's final programming was launched. The new hour-long bulletin would be presented by Eirini Nikolopoulou. The station would initially co-operate with powered by Epsilon TV for its acquired programming and filming of the news bulletin in the latter one's facilities. In between the end of the said co-operation in late 2015 and the overall change of the station to a.NET in late 2018, the station would air programming from Smile TV.

## Timeline

* On April 7, 2014, the TV station was granted the requested treatment, due to receiving all evidence demonstrating the transfer of shares of the station. On the same day, the ESR approved the application of the treatment, and thus the station was able to resume operating normally.
* On June 27, 2014, after digital television became available in the Peloponnese, the station began televising new shows.
* On January 7, 2015, NET began to broadcast telemarketing and various external productions.
* On January 12, 2015, NET aired news presenter Eirini Nikolopoulou.
* On March 13, 2015 George Stephanopoulos of the US ABC network began his career as a news anchor on the station. He currently hosts a Greek cooking show where he prepares Greek specialities such as meat pie, tzatziki sauce, souvlaki and Greek Salad.

## Programming

Original shows it would air, included presentations of Athenian and local press by Georgia Anagnostopoulou, *Edo ston Noto* (presented by Petros Tsonis), *Messiniaki Epikoinonia* (presented by Georgia Markopoulou), *Ta Spor ston Noto* and *Athlitiki Epikairotita* (sport shows; 2000-; presented by Yannis Iliadis), news bulletins and *Evdomada pou Perase* (weekly news coverage), presented by Despina Iliopoulou and Georgia Anagnostopoulou, *Ygeia - Prolipsi - Enimerosi* (medical show; 1997-; presented by Panagiotis Adamopoulos), and *Provoles* (show about political issues and local government ones; 2002-; presented by Panagiotis Kserobasilas). It would also air external productions, video clips, football matches and sport coverages, Greek and foreign films, documentaries, cartoons, the hidden camera reality television series *Cheaters*, and the telenovelas *Tres Mejores* and *Nunca te olvidaré*. From 2007 to at least 2008, it would also air MAD TV shows broadcast live.


title: The Day the World Stood Still (song)

abstract: "The Day the World Stood Still" is a song written by Jerry Foster and Bill Rice, and recorded by American country music artist Charley Pride. It was released in December 1967 as the second single from the album The Country Way. The song was Pride's sixth single and his fourth major hit as a recording artist.

text:
# The Day the World Stood Still (song)

**"The Day the World Stood Still"** is a song written by Jerry Foster and Bill Rice, and recorded by American country music artist Charley Pride. It was released in December 1967 as the second single from the album *The Country Way*. The song was Pride's sixth single and his fourth major hit as a recording artist.

## Background and content

Under the supervision and guidance of Jack Clement, Charley Pride became country music's first commercially-successful African-American recording artist. With his first two singles failing to become successful, Pride finally had his first major hit in 1967 with "Just Between You and Me." He would have several more top ten hits that followed this hit, including "The Day the World Stood Still." The song was co-written by songwriters Jerry Foster and Bill Rice. The song was recorded on July 31, 1967 at the RCA Victor Studio. Two additional tracks were also recorded at the same session, including "Crystal Chandeliers." Jack Clement co-produced the song with Chet Atkins and Felton Jarvis.

## Release and reception

"The Day the World Stood Still" was released as a single via RCA Victor Records in December 1967. It was Pride's sixth single released in his music career. It spent a total of 17 weeks on the *Billboard* Hot Country Songs chart and peaked at number four on the list in March 1968. The song was Pride's fourth major hit and fourth top ten hit in a row. In addition, it also became a hit in Canada, reaching number five on the *RPM* Country Singles chart in 1967. It was later released on Pride's 1967 studio album on RCA titled *The Country Way.*

## Track listings

**7" vinyl single**

* "The Day the World Stood Still" – 2:30
* "Gone, on the Other Hand" – 2:29

## Chart performance

| Chart (1967–1968) | Peak
position |
| --- | --- |
| Canada Country Songs (*RPM*) | 5 |
| US Hot Country Songs (*Billboard*) | 4 |
|

## InfoBox

| "The Day the World Stood Still" | |
| --- | --- |
|  | |
| Single by Charley Pride | |
| from the album  *The Country Way* | |
| B-side | "Gone, on the Other Hand" |
| Released | December 1967 (1967-12) |
| Recorded | July 31, 1967 |
| Studio | RCA Studio A, Nashville, Tennessee |
| Genre |  |
| Length | 2:30 |
| Label | RCA Victor |
| Songwriter(s) |  |
| Producer(s) |  |
| Charley Pride singles chronology | |
| "Does My Ring Hurt Your Finger"
(1967) "**The Day the World Stood Still**"
(1967) "The Easy Part's Over"
(1968) | |


title: Mineral Historic District

abstract: Mineral Historic District is a national historic district located at Mineral, Louisa County, Virginia. It encompasses 222 contributing buildings, 3 contributing sites, and 6 contributing structures in the town of Mineral. It includes a variety of residential, commercial, and institutional buildings built after the town was platted in 1890. Notable buildings include the Gibson House (1915), Turner House, Dr. H. J. Judd House (1906), Odd Fellows Hall (1894), former D.E. Bumpass Department Store, former Mineral Drug Store, Bank of Louisa, C&O railroad depot (1880s), Mineral Crystal Ice Plant, Louisa County Power & Light Plant, Standard Oil Company building (1907), Episcopal Church of Incarnation (1902-1903), Mineral Baptist Church (1906), and the former Mineral School (1927). It was listed on the National Register of Historic Places in 2005.

text:
# Mineral Historic District

**Mineral Historic District** is a national historic district located at Mineral, Louisa County, Virginia. It encompasses 222 contributing buildings, 3 contributing sites, and 6 contributing structures in the town of Mineral. It includes a variety of residential, commercial, and institutional buildings built after the town was platted in 1890. Notable buildings include the Gibson House (1915), Turner House (c. 1915), Dr. H. J. Judd House (1906), Odd Fellows Hall (1894), former D.E. Bumpass Department Store, former Mineral Drug Store, Bank of Louisa (now Town Hall), C&O railroad depot (1880s), Mineral Crystal Ice Plant (c. 1925), Louisa County Power & Light Plant (c. 1925), Standard Oil Company building (1907), Episcopal Church of Incarnation (1902-1903), Mineral Baptist Church (1906), and the former Mineral School (1927).

It was listed on the National Register of Historic Places in 2005.

## InfoBox

|  | |
| --- | --- |
| Mineral Historic District | |
| U.S. National Register of Historic Places | |
| U.S. Historic district | |
| Virginia Landmarks Register | |
|  | |
| C&O Depot in Mineral | |
|  | |
| Location | Roughly along Mineral, Louisa, Lee, Richmond, Albemarle, Pendleton, Piedmon, Old Tolersville, S. Cecilia, et al, Mineral, Virginia |
| Coordinates | 38°00′47″N 77°54′14″W / 38.01306°N 77.90389°W / 38.01306; -77.90389 |
| Area | 120 acres (49 ha) |
| Built | 1890 (1890) |
| Architectural style | Late Victorian, Late 19th And 20th Century Revivals |
| NRHP reference No. | 05000271 |
| VLR No. | 261-0028 |
| Significant dates | |
| Added to NRHP | April 8, 2005 |
| Designated VLR | December 1, 2004 |


title: Token reconfiguration

abstract: In computational complexity theory and combinatorics, the token reconfiguration problem is a reconfiguration problem on a graph with both an initial and desired state for tokens. Given a graph G, an initial state of tokens is defined by a subset V ⊂ V of the vertices of the graph; let n = | V |. Moving a token from vertex v 1 to vertex v 2 is valid if v 1 and v 2 are joined by a path in G that does not contain any other tokens; note that the distance traveled within the graph is inconsequential, and moving a token across multiple edges sequentially is considered a single move. A desired end state is defined as another subset V ′ ⊂ V. The goal is to minimize the number of valid moves to reach the end state from the initial state.

text:
# Token reconfiguration

In computational complexity theory and combinatorics, the **token reconfiguration problem** is a reconfiguration problem on a graph with both an initial and desired state for tokens.

Given a graph $G$, an initial state of tokens is defined by a subset $V\subset V(G)$ of the vertices of the graph; let $n=|V|$. Moving a token from vertex $v\_{1}$ to vertex $v\_{2}$ is **valid** if $v\_{1}$ and $v\_{2}$ are joined by a path in $G$ that does not contain any other tokens; note that the distance traveled within the graph is inconsequential, and moving a token across multiple edges sequentially is considered a single move. A desired end state is defined as another subset $V'\subset V(G)$. The goal is to minimize the number of valid moves to reach the end state from the initial state.

## Motivation

The problem is motivated by so-called sliding puzzles, which are in fact a variant of this problem, often restricted to rectangular grid graphs with no holes. The most famous such puzzle, the 15 puzzle, is a variant of this problem on a 4 by 4 grid graph such that $n=|V(G)|-1$. One key difference between sliding block puzzles and the token reconfiguration problem is that in the original token reconfiguration problem, the tokens are indistinguishable. As a result, if the graph is connected, the token reconfiguration problem is always solvable; this is not necessarily the case for sliding block puzzles.

## Complexity

Calinescu, Dumitrescu, and Pach have shown several results regarding both the optimization and approximation of this problem on various types of graphs.

### Optimization

Firstly, reducing to the case of trees, there is always a solution in at most $n$ moves, with at most one move per token. Furthermore, an optimal solution can be found in time linear in the size of the tree. Clearly, the first result extends to arbitrary graphs; the latter does not.

A sketch of the optimal algorithm for trees is as follows. First, we obtain an algorithm that moves each node exactly once, which may not be optimal. Do this recursively: consider any leaf of the smallest tree in the graph containing both the initial and desired sets. If a leaf of this tree is in both, remove it and recurse down. If a leaf is in the initial set only, find a path from it to a vertex in the desired set that does not pass through any other vertices in the desired set. Remove this path (it'll be the last move), and recurse down. The other case, where the leaf is in the desired set only, is symmetric. To extend to an algorithm that achieves the optimum, consider any token in both the initial and desired sets. If removing it would split the graph into subtrees, all of which have the same number of elements from the initial and desired sets, then do so and recurse. If there is no such token, then each token must move exactly once, and so the solution that moves all tokens exactly once must be optimal.

While the algorithm for finding the optimum on trees is linear time, finding the optimum for general graphs is NP-complete, a leap up in difficulty. It is in NP; the certificate is a sequence of moves, which is at most linear size, so it remains to show the problem is NP-hard as well. This is done via reduction from set cover.

Consider an instance of set cover, where we wish to cover all elements $v\_{1},v\_{2},\ldots ,v\_{n}$ in a universe $U$ using subsets $S\_{1},S\_{2},\ldots ,S\_{m}$ of $U$ using the minimum number of subsets. Construct a graph as follows:

Make a vertex for each of the elements in the universe and each of the subsets. Connect a subset vertex to an element vertex if the subset contains that element. Create a long path of size $n$, and attach one end to every subset vertex. The initial set is the added path plus every subset vertex, and the final set is every subset vertex plus every element vertex.

To see why this is a reduction, consider the selection of which subset vertex tokens to move. Clearly, we must open up paths to each of the element vertices, and we do so by moving some of the subset vertex tokens. After doing so, each token on the long path must move once. Thus, the optimum cost is equal to the number of selected subsets plus the number of elements (the latter of which is notably a constant). So we have a polynomial-time reduction from set cover, which is NP-complete, to token reconfiguration. Thus token reconfiguration is also NP-complete on general graphs.

### Approximation

The token reconfiguration problem is APX-complete, meaning that in some sense, it is as hard to approximate as any problem that has a constant-factor approximation algorithm. The reduction is the same one as above, from set cover. However, the set cover problem is restricted to subsets of size at most 3, which is an APX-hard problem.

Using exactly the same structure as above, we obtain an L-reduction, as the distance of any solution from optimum is equal between the set cover instance and the transformed token reconfiguration problem. The only change is the addition of the number of elements in the universe. Furthermore, the set cover optimum is at least 1/3 of the number of elements, due to the bounded subset size. Thus, the constants from the L-reduction are $\alpha =1/4,\beta =1$.

One can, in fact, modify the reduction to work for labeled token reconfiguration as well. To do so, attach a new vertex to each of the subset vertices, which is neither an initial nor desired vertex. Label the vertices on the long path 1 through $n$, and do the same for the element vertices. Now, the solution consists of 'moving aside' each chosen subset vertex token, correctly placing the labeled vertices from the path, and returning the subset vertex tokens to the initial locations. This is an L-reduction with $\alpha =1/5,\beta =2$.

Calinescu, Dumitrescu, and Pach have also shown that there exists a 3-approximation for unlabeled token reconfiguration, so the problem is in APX as well and thus APX-complete. The proof is much more complicated and omitted here.


title: The Heart Specialist

abstract: The Heart Specialist is a 2006 American romantic comedy-drama film written, produced and directed by Dennis Cooper, and starring Wood Harris, Zoe Saldana, Brian J. White and Mýa. Originally released under the title Ways of the Flesh, the film premiered at the 2006 Boston Film Festival and remained unreleased until 2011, when it was granted a limited theatrical release by Freestyle Releasing.

text:
# The Heart Specialist

***The Heart Specialist*** is a 2006 American romantic comedy-drama film written, produced and directed by Dennis Cooper, and starring Wood Harris, Zoe Saldana, Brian J. White and Mýa. Originally released under the title ***Ways of the Flesh***, the film premiered at the 2006 Boston Film Festival and remained unreleased until 2011, when it was granted a limited theatrical release by Freestyle Releasing.

## Plot

A modern comedy about the everyday perils of first year medical residents at a shabby south Florida hospital. Wood Harris is the Chief Resident, who teaches the trainees how to save lives and not take themselves too seriously, all the while hiding a chilling secret of his own.

## Cast

## Reception

*The Heart Specialist* ranked premiered nineteenth at the box office grossing $581,516 over the four-day Martin Luther King Jr. holiday weekend.

## InfoBox

| The Heart Specialist | |
| --- | --- |
| Theatrical release poster | |
| Directed by | Dennis Cooper |
| Written by | Dennis Cooper |
| Produced by | * Dennis Cooper * Kristin Overn |
| Starring |  |
| Cinematography | Yasu Tanida |
| Edited by | Jonathan Schwartz |
| Music by | * Tree Adams * Christopher Faizi |
| Distributed by | Freestyle Releasing |
| Release dates | * September 13, 2006 (2006-09-13) (Boston) * January 14, 2011 (2011-01-14) |
| Running time | 99 minutes |
| Country | United States |
| Language | English |
| Budget | $3 million |
| Box office | $1.1 million |


title: Tunnel Through the Deeps

abstract: Tunnel Through the Deeps is a 1972 alternate history/science fiction novel by American writer Harry Harrison. It was serialized in Analog magazine beginning in the April 1972 issue. The title refers to the construction of a submerged floating-tube pontoon bridge/tunnel across the Atlantic Ocean in the novel.

text:
# Tunnel Through the Deeps

***Tunnel Through the Deeps*** (also published as ***A Transatlantic Tunnel, Hurrah!***) is a 1972 alternate history/science fiction novel by American writer Harry Harrison. It was serialized in *Analog* magazine beginning in the April 1972 issue.

The title refers to the construction of a submerged floating-tube pontoon bridge/tunnel across the Atlantic Ocean in the novel.

## Plot summary

In an alternative history, the United States lost the American Revolutionary War and George Washington was executed for treason. Thus, America in 1973 is still under the control of the British Empire. The divergence point between this world and our own occurred far earlier, however, when the Moors won the Battle of Las Navas de Tolosa on the Iberian Peninsula, on July 16, 1212. Thus it was that Spain was unable to become unified, owing to the survival of an Islamic presence in its territory, and therefore could not finance the expedition of Christopher Columbus in 1492. Instead, it was John Cabot who discovered America, just a few years later.

The protagonist, Captain Augustine Washington, is a direct descendant of George Washington, and labors in his 'traitorous' shadow. Captain Washington and Sir Isambard Brassey-Brunel (descendant of Isambard Kingdom Brunel) get together to link the heart of the British Empire with its far-flung Atlantic colony in North America, although they fall out over Augustine's wooing of Isambard's young daughter, Iris, and as a result of disputes over engineering techniques. However, after a number of adventures the two are reconciled on Sir Isambard's deathbed, and the lovers later marry. After the completion of the tunnel, the American colonies are granted their independence.

Detective Richard Tracy also makes an appearance, as do 'Lord' Amis and 'Reverend' Aldiss. An appearance in connection with a suborbital rocket is also made by an expert (who prefers a mechanical Babbage machine for computing to the electronic kind) named Arthur C. Clarke.

## InfoBox

Tunnel Through the Deeps
| First book edition | |
| --- | --- |
| Author | Harry Harrison |
| Cover artist | Richard M. Powers |
| Language | English |
| Genre | Alternate history/Science fiction |
| Set in | United States, England |
| Publisher | Putnam |
| Publication date | 1972 (1972) |
| Publication place | United States |
| Media type | print |
| Pages | 174 |
| ISBN | 0425025659 |


abstract: The West Asian Billiard and Snooker Federation abbreviated as WABSF, founded in 2010, is an association of the billiard and snooker playing nations in West Asia. Its founding members and competing nations are 13 West Asian nations, namely Saudi Arabia, Bahrain, Iraq, Iran, Lebanon, Syria, Oman, Jordan, Palestine, Qatar, Kuwait, UAE, and Yemen. They organize the West Asian Championship for Billiard Sports annually, alongside other occasional tournaments.

text:
# West Asian Billiards & Snooker Federation

The **West Asian Billiard and Snooker Federation** abbreviated as **WABSF**, founded in 2010, is an association of the billiard and snooker playing nations in West Asia. Its founding members and competing nations are 13 West Asian nations, namely Saudi Arabia, Bahrain, Iraq, Iran, Lebanon, Syria, Oman, Jordan, Palestine, Qatar, Kuwait, UAE, and Yemen.

They organize the West Asian Championship for Billiard Sports annually, alongside other occasional tournaments.

## Member Associations

WABSF has 13 member associations. All of them are members of the Asian Billiard Confederation.

| Association | Joining year | Nation |
| --- | --- | --- |
| Bahrain | 2010 | Bahrain |
| Iraq | 2010 | Iraq |
| Iran | 2010 | Iran |
| Lebanon | 2010 | Lebanon |
| Jordan | 2010 | Jordan |
| Kuwait | 2010 | Kuwait |
| Oman | 2010 | Oman |
| Palestine | 2010 | Palestine |
| Qatar | 2010 | Qatar |
| Saudi Arabia | 2010 | Saudi Arabia |
| Syria | 2010 | Syria |
| United Arab Emirates | 2010 | United Arab Emirates |
| Yemen | 2010 | Yemen |

## Events

WABSF runs the West Asian Billiard and Snooker Championship annually, of which these listed are the editions;

West Asian Billiard and Snooker Championship:

| # | Host | Year |
| --- | --- | --- |
| 1 | Saudi Arabia | 2011 |
| 2 | United Arab Emirates | 2012 |
| - | not held | 2013 |
| 3 | Qatar | 2014 |
| 4 | United Arab Emirates | 2015 |
| 5 | {{}} | 2016 |
| 6 | {{}} | 2017 |
| 7 | {{}} | 2018 |
| 8 | {{}} | 2019 |
| - | not held | 2020 |
| - | not held | 2021 |
| 9 | Bahrain | 2022 |
| 10 | {{}} | 2023 |
| 11 | Bahrain | 2024 |
| 12 | Saudi Arabia | 2025 |
| 13 | Iran | 2026 |

## Presidents

| President | Years |
| --- | --- |
| Hassan Mohammed Abu Ish | 2010 - |

## Footnotes

## InfoBox

West Asian Billiards and Snooker Federation
| Formation | 2 June 2010 |
| --- | --- |
| Type | Sports organization |
| Headquarters | Riyadh, Saudi Arabia |
| Membership | 13 member associations |
| President | Hassan Mohammed Abu Ish |
| Website | http://www.wabsf.net/en/index.php |


title: What Investment

abstract: What Investment was a British magazine last published monthly by Bonhill Group plc. The magazine was established in 1982. The publication is distributed through branches of W H Smith as well as directly to subscribers. The magazine also has an online presence in the form of a website which provides news for retail investors on funds, stocks, shares, and markets. The online magazine has two weekly newsletters: What Investment Trader - which is sent to digital readers on a Monday focussing on direct equity investment, large cap stocks, and day trading. The traditional What Investment Newsletter concentrates on unit trusts, investment trusts, and exchange traded products. What investment was created by Gregory Thain, who was also the original publisher. It was an essential source of investment news to the small/medium size investor prior to internet. The magazine launched the extremely successful "joe blogs" column that was often the top performing share tipster in the'80.

text:
# What Investment

***What Investment*** was a British magazine last published monthly by Bonhill Group plc. The magazine was established in 1982. The publication is distributed through branches of W H Smith as well as directly to subscribers. The magazine also has an online presence in the form of a website which provides news for retail investors on funds, stocks, shares, and markets.

The online magazine has two weekly newsletters: *What Investment Trader* \- which is sent to digital readers on a Monday focussing on direct equity investment, large cap stocks, and day trading (shares, spread betting, CFDs, Forex margin trading, and covered warrants). The traditional *What Investment Newsletter* concentrates on unit trusts, investment trusts, and exchange traded products. *What investment* was created by Gregory Thain, who was also the original publisher. It was an essential source of investment news to the small/medium size investor prior to internet. The magazine launched the extremely successful "joe blogs" column that was often the top performing share tipster in the'80.

## Previous editors

The following persons have been editor of *What Investment*:

* 2021-2022 Rory Palmer
* 2018-2022 Lawrence Gosling
* 2017-2018 Ingrid Smith
* 2017 (acting) Ben Rossi
* 2015-2017 David Thorpe
* 2011-2015 Nicholas Britton
* 2009-2011 Joe McGrath
* 2009 (acting) Jennifer Lowe
* 1990-2009 Keiron Root
* 1982-1989 Christopher Gilchrist

## InfoBox

*What Investment*
|  | |
| --- | --- |
| Editor | Lawrence Gosling |
| Categories | Personal finance |
| Frequency | Monthly |
| Total circulation<br>(June 2016) | 7,240 |
| Founded | 1982 |
| Country | United Kingdom |
| Based in | London |
| Language | English |
| Website | www.whatinvestment.co.uk |
| ISSN | 0263-953X |
| OCLC | 54507305 |


title: West Maple Omaha Rock

abstract: The West Maple Omaha Rock is a boulder located in a parking lot at the corner of West Maple Road and North 156th Street in north-western Omaha, Nebraska, in the United States. It became the subject of significant online discourse as well as a local tourist attraction in late 2019 after over a dozen vehicle owners drove on top of it. This included at least six that had to be towed within six weeks. The rock was originally placed on a curb to prevent people from driving over it; however, it was sloped such that it was often not visible to taller automobiles and would get stuck between their wheels. A Facebook group dedicated to the rock, "The W Maple Omaha Rock", was created by employees of a nearby UPS Store and had over 25,000 followers in November 2019; a subreddit and Google Maps listing were also created. In January 2021, the rock was repositioned such that it was no longer sloped towards the road and a tree was planted near it to catch drivers' attention.

text:
# West Maple Omaha Rock

41°17′26″N 96°09′32″W / 41.290605°N 96.159025°W / 41.290605; -96.159025 The **West Maple Omaha Rock** (nicknamed **Rocko**, also referred to as the **west Omaha rock** and similar names) is a boulder located in a parking lot at the corner of West Maple Road and North 156th Street in north-western Omaha, Nebraska, in the United States. It became the subject of significant online discourse as well as a local tourist attraction in late 2019 after over a dozen vehicle owners drove on top of it. This included at least six that had to be towed within six weeks. The rock was originally placed on a curb to prevent people from driving over it; however, it was sloped such that it was often not visible to taller automobiles and would get stuck between their wheels. A Facebook group dedicated to the rock, "The W Maple Omaha Rock", was created by employees of a nearby UPS Store and had over 25,000 followers in November 2019; a subreddit and Google Maps listing were also created.

In January 2021, the rock was repositioned such that it was no longer sloped towards the road and a tree was planted near it to catch drivers' attention.


title: West Virginia's 10th Senate district

abstract: West Virginia's 10th Senate district is one of 17 districts in the West Virginia Senate. It is currently represented by and Republicans Jack Woodrum and Vince Deeds. All districts in the West Virginia Senate elect two members to staggered four-year terms.

text:
# West Virginia's 10th Senate district

**West Virginia's 10th Senate district** is one of 17 districts in the West Virginia Senate. It is currently represented by and Republicans Jack Woodrum and Vince Deeds. All districts in the West Virginia Senate elect two members to staggered four-year terms.

## Geography

District 10 covers all of Fayette, Greenbrier, Monroe, and Summers Counties in Southern West Virginia. Communities within the district include Alderson, Hinton, Lewisburg, Ronceverte, White Sulphur Springs, Rainelle, Fairlea, Montgomery, Mount Hope, Oak Hill, Ansted, and Fayetteville.

The district is located entirely within West Virginia's 3rd congressional district, and overlaps with the 28th, 32nd, 41st, and 42nd districts of the West Virginia House of Delegates. It borders the state of Virginia.

## Recent election results

### 2022

2022 West Virginia Senate election, District 10
| Primary election | | | | |
| --- | --- | --- | --- | --- |
| Party | | Candidate | Votes | % |
|  | **Republican** | **Vince Deeds** | **4,924** | **48.9** |
|  | Republican | Mike Steadham | 4,228 | 42.0 |
|  | Republican | Thomas Perkins | 920 | 9.1 |
| Total votes | | | **10,072** | **100** |
| General election | | | | |
|  | **Republican** | **Vince Deeds** | **18,954** | **58.7** |
|  | Democratic | Stephen Baldwin (incumbent) | 12,250 | 37.9 |
|  | Independent | Aaron Ransom | 1,085 | 3.4 |
| Total votes | | | **32,259** | **100** |
|  | Republican **gain** from Democratic | | | |

## Historical election results

### 2020

2020 West Virginia Senate election, District 10
| Primary election | | | | |
| --- | --- | --- | --- | --- |
| Party | | Candidate | Votes | % |
|  | **Republican** | **Jack Woodrum** | **6,832** | **62.3** |
|  | Republican | Dan Hill | 4,127 | 37.7 |
| Total votes | | | **10,959** | **100** |
| General election | | | | |
|  | **Republican** | **Jack Woodrum** | **25,315** | **58.6** |
|  | Democratic | William Laird IV | 17,895 | 41.4 |
| Total votes | | | **43,210** | **100** |
|  | Republican **hold** | | | |

### 2018

Democrat Stephen Baldwin was appointed in 2017 to serve the remaining term of Ronald F. Miller, who had resigned to take a position in the administration of Governor Jim Justice.

2018 West Virginia Senate election, District 10
| Primary election | | | | |
| --- | --- | --- | --- | --- |
| Party | | Candidate | Votes | % |
|  | **Republican** | **George Ambler** | **4,169** | **56.5** |
|  | Republican | Dan Hill | 3,216 | 43.5 |
| Total votes | | | **7,385** | **100** |
| General election | | | | |
|  | **Democratic** | **Stephen Baldwin (incumbent)** | **17,495** | **53.2** |
|  | Republican | George Ambler | 15,421 | 46.8 |
| Total votes | | | **32,916** | **100** |
|  | Democratic **hold** | | | |

### 2016

2016 West Virginia Senate election, District 10
| Primary election | | | | |
| --- | --- | --- | --- | --- |
| Party | | Candidate | Votes | % |
|  | **Republican** | **Kenny Mann** | **4,343** | **47.1** |
|  | Republican | Tom Ewing | 3,444 | 37.3 |
|  | Republican | Dan Hill | 1,443 | 15.6 |
| Total votes | | | **9,230** | **100** |
| General election | | | | |
|  | **Republican** | **Kenny Mann** | **21,148** | **54.7** |
|  | Democratic | Dave Perry | 17,494 | 45.3 |
| Total votes | | | **38,642** | **100** |
|  | Republican **gain** from Democratic | | | |

### 2014

2014 West Virginia Senate election, District 10
| Party | | Candidate | Votes | % |
| --- | --- | --- | --- | --- |
|  | **Democratic** | **Ronald F. Miller (incumbent)** | **13,776** | **53.8** |
|  | Republican | Duane Zobrist | 11,815 | 46.2 |
| Total votes | | | **25,591** | **100** |
|  | Democratic **hold** | | | |

### 2012

2012 West Virginia Senate election, District 10
| Party | | Candidate | Votes | % |
| --- | --- | --- | --- | --- |
|  | **Democratic** | **William Laird IV (incumbent)** | **26,819** | **100** |
| Total votes | | | **26,819** | **100** |
|  | Democratic **hold** | | | |

### Federal and statewide results

| Year | Office | Results |
| --- | --- | --- |
| 2020 | President | Trump 70.6 – 27.9% |
| 2016 | President | Trump 69.4 – 25.8% |
| 2014 | Senate | Capito 56.6 – 39.5% |
| 2012 | President | Romney 61.9 – 35.7% |
| | Senate | Manchin 62.7 – 33.2% |
| | Governor | Tomblin 50.6 – 44.5% |

## Historical district boundaries

## InfoBox

| West Virginia's 10th
State Senate district | |
| --- | --- |
| --- | |
|  | |
| Senator | Vince Deeds
Renick  Jack Woodrum
Hinton
 |
| Demographics | 93% White
4% Black
1% Hispanic
0% Asian
2% Other |
| Population (2017) | 106,852 |


abstract: West Vincent Highlands Historic District is a national historic district located in Upper Uwchlan Township and West Vincent Township, Chester County, Pennsylvania.

text:
# West Vincent Highlands Historic District

**West Vincent Highlands Historic District** is a national historic district located in Upper Uwchlan Township and West Vincent Township, Chester County, Pennsylvania.

## History

The district includes 147 contributing buildings, seven contributing sites, and six contributing structures in a rural area of Chester County. It includes a variety of early- to mid-19th century vernacular farmhouses and related outbuildings. Other buildings include a stone grist mill (1808) and woolen mill (1813).

It was added to the National Register of Historic Places in 1998.

## InfoBox

|  | |
| --- | --- |
| West Vincent Highlands Historic District | |
| U.S. National Register of Historic Places | |
| U.S. Historic district | |
|  | |
| Barn and House in the West Vincent Highlands Historic District, March 2011 | |
|  | |
| Location | Birchrun Road, Pennsylvania Route 401, Fellowship Road, Horshoe Tr., Hollow Road, and Davis, Jaine, Green, Bartlett, and Mill Lns., Upper Uwchlan Township and West Vincent Township, Pennsylvania |
| Coordinates | 40°07′37″N 75°40′17″W / 40.12694°N 75.67139°W / 40.12694; -75.67139 |
| Area | 1,986.4 acres (803.9 ha) |
| NRHP reference No. | 98000400 |
| Added to NRHP | May 7, 1998 |


title: Western tussock moth

abstract: Orgyia vetusta, also known as the western tussock moth, formerly Hemerocampa vetusta, is a moth found in the Pacific States and British Columbia. The species is dimorphic; the females are flightless. The Western tussock moth is reported on virtually all California oak species as well as various fruit and nut trees, ceanothus, hawthorn, manzanita, pyracantha, toyon, walnut, and willow. There is an isolated population in Boise County, Idaho. This species has also been seen in U.S. gulf coast states such as Louisiana.

text:
# Western tussock moth

***Orgyia vetusta***, also known as the **western tussock moth**, formerly *Hemerocampa vetusta*, is a moth found in the Pacific States and British Columbia. The species is dimorphic; the females are flightless.

The Western tussock moth is reported on virtually all California oak species as well as various fruit and nut trees, ceanothus, hawthorn, manzanita, pyracantha, toyon, walnut, and willow. There is an isolated population in Boise County, Idaho. This species has also been seen in U.S. gulf coast states such as Louisiana.

## Additional images

## InfoBox

| Western tussock moth | |
| --- | --- |
|  | |
| Western Tussock Moth caterpillar on madrone or manzanita, San Mateo County, California, 2022 | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Superfamily: | Noctuoidea |
| Family: | Erebidae |
| Genus: | *Orgyia* |
| Species: | ***O. vetusta*** |
| Binomial name | |
| ***Orgyia vetusta***<br>Boisduval, 1852 | |
|


title: Westnewton, Northumberland

abstract: Westnewton is a small hamlet comprising around 8 houses and a manse to the west of the village of Kirknewton, in the civil parish of Kirknewton, in the county of Northumberland, England. In 1951 the civil parish had a population of 42.

text:
# Westnewton, Northumberland

**Westnewton** is a small hamlet comprising around 8 houses and a manse to the west of the village of Kirknewton, in the civil parish of Kirknewton, in the county of Northumberland, England. In 1951 the civil parish had a population of 42.

## Governance

Westnewton is in the parliamentary constituency of Berwick-upon-Tweed. Westnewton was formerly a township in the parish of Kirknewton, in 1866 Westnewton became a civil parish, on 1 April 1955 the parish was abolished and merged with Kirknewton.

## InfoBox

| Westnewton | |
| --- | --- |
|  | |
| WestnewtonLocation within Northumberland | |
| OS grid reference | NT905305 |
| Civil parish |  |
| District |  |
| Shire county |  |
| Region |  |
| Country | England |
| Sovereign state | United Kingdom |
| Post town | WOOLER |
| Postcode district | NE71 |
| Dialling code | 01668 |
|  | |
| Police | Northumbria |
| Fire | Northumberland |
| Ambulance | North East |
|  | |
| UK Parliament |  |
|


title: Wetwang railway station

abstract: Wetwang railway station (SE933596) was a railway station on the Malton & Driffield Railway in the East Riding of Yorkshire, England. It served the village of Wetwang, opened on 19 May 1853, and closed for passengers on 5 June 1950 and goods on 20 October 1958. For passenger traffic, Wetwang was the busiest station on the MDR.

text:
# Wetwang railway station

**Wetwang railway station** (SE933596) was a railway station on the Malton & Driffield Railway in the East Riding of Yorkshire, England. It served the village of Wetwang, opened on 19 May 1853, and closed for passengers on 5 June 1950 and goods on 20 October 1958. For passenger traffic, Wetwang was the busiest station on the MDR.

### Sources

* Burton, Warwick (1998). *Malton & Driffield Junction Railway*. Martin Bairstow. ISBN 1-871944-16-3.
* Butt, R. V. J. (October 1995). *The Directory of Railway Stations: details every public and private passenger station, halt, platform and stopping place, past and present* (1st ed.). Sparkford: Patrick Stephens Ltd. ISBN 978-1-85260-508-7. OCLC 60251199. OL 11956311M.
* "Station Name: Wetwang". *Disused Stations*. Subterranea Britannica. 2 July 2010. Retrieved 10 December 2011.

| Preceding station |  | Disused railways |  | Following station |
| --- | --- | --- | --- | --- |
| Sledmere & Fimber |  | North Eastern Railway
Malton & Driffield Railway |  | Garton |

## InfoBox

| Wetwang | |
| --- | --- |
| Site of the former station in February 2008 | |
| General information | |
| Location | Wetwang, East Riding of Yorkshire
England |
| Coordinates | 54°01′28″N 0°34′36″W / 54.024413°N 0.576540°W / 54.024413; -0.576540 |
| Grid reference | SE933596 |
| Platforms | 1 |
| Other information | |
| Status | Disused |
| History | |
| Original company | Malton and Driffield Railway |
| Pre-grouping | North Eastern Railway |
| Post-grouping | London and North Eastern Railway |
| Key dates | |
| 19 May 1853 | Opened |
| 5 June 1950 | Closed for passengers |
| 20 October 1958 | Closed for goods |
|  | |
|  | |
|  | |


title: Whitsunday Transit

abstract: Whitsunday Transit is an Australian bus and coach operator services in the Whitsunday Region. It operates 1 service under contract to the Queensland Government under the Translink banner.

text:
# Whitsunday Transit

**Whitsunday Transit** is an Australian bus and coach operator services in the Whitsunday Region. It operates 1 service under contract to the Queensland Government under the Translink banner.

## History

Whitsunday Transit for formed by Sydney bus proprietor Colin Crossley in 1998, after he purchased Sampson's Buses from founder George Sampson and the Proserpine-based company Daly's Bus Service.

## Services

Whitsunday Transit operates services from Proserpine to Shute Harbour via Airlie Beach.

It also operates a service from Proserpine station to Shute Harbour that connects with Traveltrain's *Spirit of Queensland* service which is not operated under the Translink banner.

| **Route** | **From** | **To** | **Via** |
| --- | --- | --- | --- |
| 860 | Proserpine | Shute Harbour | Airlie Beach, Whitsunday Plaza, Cannonvale |

## Fleet

As at December 2022, the fleet composed of 40 buses and coaches. Under Sampson ownership, fleet livery was cream offset by blue and red. When Colin Crossley purchased the business, he introduced the two blue and yellow carried by his Sydney operation. In 1998, a blue waves livery was introduced. This later gave way to a predominantly white livery.

## InfoBox

Whitsunday Transit
| Parent | Colin Crossley |
| --- | --- |
| Headquarters | Proserpine |
| Service area | Whitsunday Region |
| Service type | Bus & coach operator |
| Depots | 2 |
| Fleet | 40 (December 2022) |
| Website | www.whitsundaytransit.com.au |


title: Why Me? (Kierra Sheard song)

abstract: "Why Me" is the lead single off Kierra "Kiki" Sheard's This Is Me.

text:
# Why Me? (Kierra Sheard song)

"**Why Me**" is the lead single off Kierra "Kiki" Sheard's *This Is Me*.

## Chart performance

Do to a success album, the single became successful as well. ***Why Me*** worked its way up the *Top Gospel* charts to number 6. The song has no official music video except her performance at 2007 Gospel Stellar Awards.

## Charts

| Chart | Peak
position |
| --- | --- |
| *Hot Gospel* | 6 |
|

## Track listing

1. Why Me- 3:26
2. Yes-2:56

## InfoBox

| "Why Me?" | |
| --- | --- |
| Single by Kierra "Kiki" Sheard | |
| from the album  *This Is Me* | |
| Released | May 23, 2006 |
| Recorded | 2006 |
| Genre | Gospel |
| Label | EMI Gospel |
| Songwriter(s) | Fred Jerkins III, Rodney Jerkins, Lashawn Daniels, Keyetta Jerkins |
| Producer(s) | Fred Jerkins III, Rodney Jerkins |
| Kierra "Kiki" Sheard singles chronology | |
| "Let Go"
(2005) "**Why Me?**"
(2006) "Yes"
(2006) | |


title: Why Me? (1990 film)

abstract: Why Me? is a 1990 American caper comedy film directed by Gene Quintano and starring Christopher Lambert, Kim Greist, Christopher Lloyd, and J. T. Walsh. The screenplay is credited to Donald E. Westlake and Leonard Maas Jr., and is based on the fifth book in Westlake's series of John Dortmunder novels.

text:
# Why Me? (1990 film)

***Why Me?*** is a 1990 American caper comedy film directed by Gene Quintano and starring Christopher Lambert, Kim Greist, Christopher Lloyd, and J. T. Walsh. The screenplay is credited to Donald E. Westlake and Leonard Maas Jr. (a pseudonym of David Koepp), and is based on the fifth book in Westlake's series of John Dortmunder novels.

## Plot

The Byzantine Fire, a sacred ruby on loan from Turkey to the United States for exhibition, no sooner arrives in Los Angeles than it is stolen by Eastern religious extremists and hidden inside the safe of a local jewelry store. When professional burglar and jewel thief Gus Cardinale (Christopher Lambert) breaks into the store and inadvertently steals the Byzantine Fire, he finds himself being chased around Los Angeles by the LAPD, the entire Los Angeles criminal element (whom the police have been mercilessly harassing in order to find the thief), two less-than-competent CIA agents, Turkish government agents and a not-too-tightly wrapped female Armenian terrorist. Now Gus, with the help of his wacky partner Bruno (Christopher Lloyd) and his girlfriend June (Kim Greist), must figure out a way to not only return the Byzantine Fire without getting caught but also stay alive long enough to do so and just maybe make a profit out of the whole deal.

## Cast

## Release

The film was released on April 20, 1990 in the United States.

## InfoBox

| Why Me? | |
| --- | --- |
| Original theatrical poster | |
| Directed by | Gene Quintano |
| Written by | Donald E. Westlake
David Koepp |
| Based on | *Why Me?*
by Donald E. Westlake |
| Produced by | Marjorie Israël
Irwin Yablans |
| Starring |  |
| Cinematography | Peter Deming |
| Edited by | Alan Balsam |
| Music by | Phil Marshall |
| Production
company | Epic Productions |
| Distributed by | Triumph Films |
| Release date | * April 20, 1990 (1990-04-20) |
| Running time | 87 minutes |
| Country | United States |
| Language | English |
| Box office | $83,882 |


title: White Americans in Louisiana

text:
# White Americans in Louisiana

White Americans make up 57.1% of Louisiana’s population according to the official 2020 census. White Americans are the largest ethnic group in Louisiana. Many are of French and Cajun ancestry. Germans also settled in New Orleans and Louisiana. Many whites are also of British and Irish ancestry in Louisiana. Irish, Germans, and Italians are more recent European immigrants in Louisiana.

## History

The first Europeans to explore Louisiana were the Spanish. European explorers first encountered Louisiana in the 1500s and 1600s. Europeans didn’t start settling the land until the 1700s. The earliest known explorers in Louisiana were Alonso Alverez de Piñeda in 1519 and Alvar Nuñez Cabeza de Vaca in 1528, who possibly crossed present-day Louisiana or possibly floated by Louisiana's coastline. Moscoso de Alverdo of Hernando de Soto's crew sailed by the future site of New Orleans on his way to Mexico, although de Soto had died. The Frenchmen were the first Europeans to claim the land.

## Further reading

* *Louisiana Beyond Black and White: New Interpretations of Twentieth-century Race and Race Relations*.
* Virginia R. Domínguez (1986). *White by Definition: Social Classification in Creole Louisiana*.

## InfoBox

White Americans in Louisiana
| Total population | |
| --- | --- |
| 2.857 million (2020) | |
| Regions with significant populations | |
| North Louisiana | |
| Languages | |
| Southern American English, Louisiana French, Cajun English, Spanish, German, Italian | |
| Religion | |
| Christianity | |


abstract: Wierzchowiska is a village in the administrative district of Gmina Witkowo, within Gniezno County, Greater Poland Voivodeship, in west-central Poland.

text:
# Wierzchowiska, Greater Poland Voivodeship

**Wierzchowiska** \[vjɛʂxɔˈviska\] is a village in the administrative district of Gmina Witkowo, within Gniezno County, Greater Poland Voivodeship, in west-central Poland.

## InfoBox

| Wierzchowiska | |
| --- | --- |
| Village | |
| Wierzchowiska | |
| Coordinates: 52°28′48″N 17°47′17″E / 52.48000°N 17.78806°E / 52.48000; 17.78806 | |
| Country | Poland |
| Voivodeship | Greater Poland |
| County | Gniezno |
| Gmina | Witkowo |


title: Wieleń Zaobrzański

abstract: Wieleń Zaobrzański is a village in the administrative district of Gmina Przemęt, within Wolsztyn County, Greater Poland Voivodeship, in west-central Poland. It lies approximately 12 kilometres (7 mi) south-west of Przemęt, 20 km (12 mi) south of Wolsztyn, and 71 km (44 mi) south-west of the regional capital Poznań.

text:
# Wieleń Zaobrzański

**Wieleń Zaobrzański** \[ˈvjɛlɛɲ zaɔˈbʐaɲski\] is a village in the administrative district of Gmina Przemęt, within Wolsztyn County, Greater Poland Voivodeship, in west-central Poland. It lies approximately 12 kilometres (7 mi) south-west of Przemęt, 20 km (12 mi) south of Wolsztyn, and 71 km (44 mi) south-west of the regional capital Poznań.

## InfoBox

| Wieleń Zaobrzański | |
| --- | --- |
| Village | |
| Wieleń Zaobrzański | |
| Coordinates: 51°56′57″N 16°10′52″E / 51.94917°N 16.18111°E / 51.94917; 16.18111 | |
| Country | Poland |
| Voivodeship | Greater Poland |
| County | Wolsztyn |
| Gmina | Przemęt |
| Population | 200 |
| Website | http://www.wielen.up.pl |


title: Why Should I Love You?

abstract: "Why Should I Love You?" is a song written by American singer-songwriter R. Stevie Moore, released as the ninth track of his album Glad Music (1986). It was announced in May 2012 that the track would also appear on Lo Fi Hi Fives...A Kind Of Best Of, a hits collection from Moore; scheduled for a release on August 5, 2012.

text:
# Why Should I Love You?

"**Why Should I Love You?**" is a song written by American singer-songwriter R. Stevie Moore, released as the ninth track of his album *Glad Music* (1986). It was announced in May 2012 that the track would also appear on *Lo Fi Hi Fives ...A Kind Of Best Of*, a hits collection from Moore; scheduled for a release on August 5, 2012.

## The Vaccines version

| "Why Should I Love You?" | |
| --- | --- |
|  | |
| Single by The Vaccines | |
| Released | 21 April 2012 |
| Recorded | 2012 |
| Genre | Indie rock |
| Length | 3:14 |
| Label | O Genesis Recordings |
| Songwriter(s) | R. Stevie Moore |
| The Vaccines singles chronology | |
| "Wetsuit / Tiger Blood"
(2011) "**Why Should I Love You?**"
(2012) "No Hope"
(2012) | |

"**Why Should I Love You?**" was covered by London-based quartet The Vaccines. The track was released in the United Kingdom on 21 April 2012 as a double A-side with Moore's cover of "Post Break-Up Sex" (2011); and was limited to 500 copies in accordance with Record Store Day 2012. The band's cover of "Why Should I Love You?" received its first play on 4 April 2012, when it featured as BBC Radio 1 DJ Zane Lowe's *Hottest Record in the World*.

**Track listing**

7" vinyl
| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Why Should I Love You?" (R. Stevie Moore) | R. Stevie Moore | 3:14 |
| 2. | "Post Break-Up Sex" (The Vaccines) | The Vaccines | 2:39 |

**Release history**

| Region | Date | Format |
| --- | --- | --- |
| United Kingdom | 4 April 2012 | Radio airplay |
| | 21 April 2012 | Vinyl |

## InfoBox

| "Why Should I Love You?" | |
| --- | --- |
| Song by R. Stevie Moore | |
| from the album  *Glad Music* | |
| Released | February 21, 1986 |
| Genre | Power pop, lo-fi |
| Length | 3:23 |
| Label | New Rose |
| Songwriter(s) | R. Stevie Moore |
| Producer(s) | R. Stevie Moore |