title: Loremo

abstract: Loremo AG was a German automaker corporation, based in Marl, North Rhine-Westphalia. It was founded in 2000 and went out of business in 2010. Loremo was focused on designing prototypes of cars with very low weight and air resistance, the term "Loremo" is an abbreviation for "Low Resistance Mobile". Initially the car was conceived for emerging markets such as China and India. The project is currently inactive. No plans to restart development are currently known.

text:
# Loremo

**Loremo AG** was a German automaker corporation, based in Marl, North Rhine-Westphalia. It was founded in 2000 and went out of business in 2010. Loremo was focused on designing prototypes of cars with very low weight and air resistance, the term "Loremo" is an abbreviation for "Low Resistance Mobile". Initially the car was conceived for emerging markets such as China and India. The project is currently inactive. No plans to restart development are currently known.

## Gasoline and diesel vehicles

At the 2006 Geneva Auto Show, the company demonstrated its concept car which the company said would become a 157 mpgUS (1.5 L/100 km) turbodiesel car. Two different Loremo models were waiting in the pipeline to be produced: the Loremo LS base model, and the sportier Loremo GT. The Loremo GT would have been based on a three-cylinder turbo diesel engine and with this configuration the vehicle still would have managed to achieve 87 miles per gallon. Both models would have been equipped with a manual transmission and be mid-engined in a 2+2 configuration.

According to the company, the Loremo LS base model would have produced only 50 grams of carbon dioxide per kilometer, which would have been better than any other car on the market in terms of environmental sustainability. By comparison, the next most energy efficient model was the Smart by German automaker Daimler AG which produced 88 grams of carbon dioxide per kilometer.

The presentation of the Loremo during the Geneva Motor Show in 2006 focused on the car's body, as it still lacked an engine. In September 2007, the company successfully accomplished the car's proof of concept in Frankfurt, as part of the annual International Motor Show. In preparation of presenting the first driving prototype, the Loremo L1 was equipped with a turbodiesel motor. However, in light of diminishing fossil fuels, an electric motor was expected to be available in the lineup in addition to the originally planned models.

On 21 January 2009 the company announced that the more powerful version Loremo GT would not be equipped with a 3-cylinder diesel engine but with a more powerful (850 cc, 45 KW) petrol engine.

There were no conventional doors on the Loremo automobile. Getting in and out of the car was done by lifting the front portion of the car, including the windscreen, up and forward. The section was hinged at the front of the car where a radiator would normally sit. This method of entry is unconventional, but Loremo AG says that it is convenient.

The project was in prototype stage; specific plans for mass production had not been made public. An area reserved for setting up a factory in Indupark Dorsten-Marl was on offer to other organisations since the start of 2009.

A boardroom shuffle and a lack of partners and capital financing left the project with an uncertain future. A new entry in the company blog was made in August 2010, claiming "promising discussions with a reputable investor from Asia".

According to *Car and Driver* magazine in August 2010, the Loremo "can't be saved" and "it's over".

## All-electric vehicles

The next step in development would have been an electric-powered car.

According to the company, on 11 April 2009 the electrical version Loremo EV drove for the first time on public roads and reached speeds of up to 100 km/h. A film about this drive was published on YouTube.

## InfoBox

Loremo AG
|
|  |
| Company type | Public company |
| Industry | Automotive industry |
| Founded | 2000 |
| Defunct | 2010 |
| Headquarters | Marl, Recklinghausen (district), Germany |
| Key people | Thomas Zollhoefer |


title: Parauxa alluaudi

abstract: Parauxa alluaudi is a species of beetle in the family Cerambycidae. It was described by Fairmaire in 1895.

text:
# Parauxa alluaudi

***Parauxa alluaudi*** is a species of beetle in the family Cerambycidae. It was described by Fairmaire in 1895.

## InfoBox

| *Parauxa alluaudi* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Cerambycidae |
| Genus: | *Parauxa* |
| Species: | ***P. alluaudi*** |
| Binomial name | |
| ***Parauxa alluaudi***<br>(Fairmaire, 1895) | |
|


title: The Remittance Woman

abstract: The Remittance Woman is a 1923 American silent drama film directed by Wesley Ruggles and starring Ethel Clayton, Rockliffe Fellowes, and Mario Carillo. A remittance man was one sent away from home to avoid shame on the family. The following year a book of the same title appeared, by American pulp author Achmed Abdullah.

text:
# The Remittance Woman

***The Remittance Woman*** is a 1923 American silent drama film directed by Wesley Ruggles and starring Ethel Clayton, Rockliffe Fellowes, and Mario Carillo. A remittance man (or woman) was one sent away from home (usually Britain) to avoid shame on the family. The following year a book of the same title appeared, by American pulp author Achmed Abdullah.

## Cast

## Preservation

With no prints of *The Remittance Woman* located in any film archives, it is a lost film.

## Bibliography

* Goble, Alan. *The Complete Index to Literary Sources in Film*. Walter de Gruyter, 1999.

## InfoBox

| The Remittance Woman | |
| --- | --- |
| Trade advertisement | |
| Directed by | Wesley Ruggles |
| Written by | Achmed Abdullah (novel)
Carol Warren |
| Starring | Ethel Clayton
Rockliffe Fellowes
Mario Carillo |
| Cinematography | Joseph A. Du Bray |
| Production
company | Robertson-Cole Pictures Corporation |
| Distributed by | Film Booking Offices of America |
| Release date | * May 12, 1923 (1923-05-12) |
| Running time | 60 minutes |
| Country | United States |
| Language | Silent (English intertitles) |


title: Loev

abstract: Loev is a 2015 Indian romantic drama film written and directed by Sudhanshu Saria. It stars Dhruv Ganesh and Shiv Panditt as two friends who set off to the Western Ghats for a weekend trip and focuses on their complex emotional and sexual relationship. It was Ganesh's final film, as he died from tuberculosis before its release. Loev also features Siddharth Menon and Rishabh Chaddha in supporting roles. The film's title is a deliberate misspelling of the word "love". Saria wrote Loev's script while he was working on the draft of the unreleased film I Am Here and drew heavily from his personal experiences. It was eventually picked up for production by Arfi Lamba and Katherine Suckale despite Saria's own doubts on its viability. Principal photography took place at Mahabaleshwar, in the Western Ghats in peninsular India, and at Mumbai. The film was shot in the summer of 2014 over the course of sixteen days by the cinematographer Sherri Kauk in 2K resolution. It relied on crowdfunding and cost-cutting measures; its budget was relatively low at US$1 million. Loev had its world premiere at the 2015 Tallinn Black Nights Film Festival in Estonia. It had its North American premiere at the 2016 South By Southwest Film Festival and premiered in India at the 2016 Mumbai International Film Festival. It was released on Netflix on 1 May 2017. The film was well received by critics and audiences during its international premieres at film festivals. Particular praise was given for the script, as well as the performances of Ganesh and Panditt. Commentators were also appreciative of the unconventional and fresh treatment of same-sex relationships in India. The film won the Audience Award for Best Feature Film at the 2016 Tel Aviv International Film Festival.

text:
# Loev

***Loev*** (pronounced *love*) is a 2015 Indian romantic drama film written and directed by Sudhanshu Saria. It stars Dhruv Ganesh and Shiv Panditt as two friends who set off to the Western Ghats for a weekend trip and focuses on their complex emotional and sexual relationship. It was Ganesh's final film, as he died from tuberculosis before its release. *Loev* also features Siddharth Menon and Rishabh Chaddha in supporting roles. The film's title is a deliberate misspelling of the word "love".

Saria wrote *Loev*'s script while he was working on the draft of the unreleased film *I Am Here* and drew heavily from his personal experiences. It was eventually picked up for production by Arfi Lamba and Katherine Suckale despite Saria's own doubts on its viability. Principal photography took place at Mahabaleshwar, in the Western Ghats in peninsular India, and at Mumbai. The film was shot in the summer of 2014 over the course of sixteen days by the cinematographer Sherri Kauk in 2K resolution. It relied on crowdfunding and cost-cutting measures; its budget was relatively low at US$1 million.

*Loev* had its world premiere at the 2015 Tallinn Black Nights Film Festival in Estonia. It had its North American premiere at the 2016 South By Southwest Film Festival and premiered in India at the 2016 Mumbai International Film Festival. It was released on Netflix on 1 May 2017. The film was well received by critics and audiences during its international premieres at film festivals. Particular praise was given for the script, as well as the performances of Ganesh and Panditt. Commentators were also appreciative of the unconventional and fresh treatment of same-sex relationships in India. The film won the Audience Award for Best Feature Film at the 2016 Tel Aviv International Film Festival.

## Plot

Sahil (Dhruv Ganesh), a young Mumbai-based musician, plans a weekend getaway to the Western Ghats with his childhood friend, Jai (Shiv Panditt), a successful businessman who lives in New York, but visits Mumbai for a business meeting. The duo drive to Mahabaleshwar overnight and upon arrival decide to visit the local market. While at a music store, Jai is impressed by Sahil's skill as a guitarist and suggests that he pursue a career as a full-time musician.

Throughout their trip, they argue about their past failure to maintain a relationship. Sahil is irked by Jai's increasingly indifferent behaviour and his workaholic nature. Jai, on the other hand, is disgruntled with Sahil's continuous complaints. One night, Jai makes a pass at Sahil, who is initially hesitant but eventually responds to his advances. The next morning, the two visit the Ghats as Sahil had intended. Sahil takes Jai to an overhanging cliff with a scenic view of Mahabaleshwar, where the two kiss. They later return to a hotel in Mumbai for Jai's scheduled business meeting. At the hotel room, the two admit to their mutual attraction, just before Jai has to leave for his meeting. Sahil interrupts the meeting and embarrasses Jai with a romantic gesture witnessed by everyone present. This leads to a confrontation between the two back in the hotel room, during which Sahil accuses Jai of being scared of coming out. Jai counters by blaming Sahil for not reciprocating his affection from the beginning. The two kiss, but when Sahil tries to pull away, Jai rapes him, only to immediately regret it. Jai apologises and tells Sahil that he need not stay any longer if he doesn't want to. Sahil stays, but refrains from conversing with Jai.

As planned, the two meet Alex (Menon), Sahil's boyfriend, who is accompanied by a friend, Junior (Chaddha). The group discuss their lives over supper, which is cut short by an argument between Alex and Sahil over the former's irresponsible behaviour. The four head back to the hotel room to collect Sahil's belongings, as Jai plans to return to New York later that night. Alex notices the guitar and insists that Sahil play for him; Sahil obliges with an original song. Alex dances with Jai, who is completely smitten by Sahil by this point. Alex offers to take back Sahil's belongings and give the two some more time together. When he leaves, Sahil and Jai embrace, but do not talk about the rape.

At the airport, Jai asks Sahil to leave. He rejects Sahil's efforts at reconciliation, and tells him that they can never be together because they have vastly different lives. When they eventually part ways, Jai writes a text message to Sahil saying he loves him but does not send it. Alex arrives at the airport to pick Sahil up, much to his surprise. He tries to make up for his mistakes by offering Sahil a heartfelt apology as the two drive back to their apartment.

## Cast

## Production

### Development

*Loev*'s script was written by Sudhanshu Saria in the United States when he was working on the screenplay of another film, *I Am Here*. Describing the film as "small, fragile, honest", Saria said that through his endeavours he "tries to capture the silences and the things unsaid in male friendships". He began working on *Loev* because he was unable to manage funds for *I Am Here*. At the time of the script's inception, Saria had no plan of making it into a feature film, as he believed that no investors or actors would want to be associated with a film that he thought would be censored or banned in its home country. The narrative of the production, which is set in Saria's hometown, Mumbai, follows many personal experiences that he himself went through, growing up in the Indian hill town of Darjeeling, and later at the Ithaca Arts College, New York. The dialogue was written in Hinglish, a macaronic hybrid use of English and South Asian languages.

Pre-production work for the film began in February 2014, when Katharina Suckale, Jasleen Marwah, and Arfi Lamba of the Bombay Berlin Film Production showed interest in adapting the script into a full-length feature film. Saria said the screenplay was written out of "deep shame and fear" and on completion was not pitched to any investors, but instead put away into a drawer. The script was picked up by Suckale and Lamba, who agreed to co-produce Saria's directorial debut. The film's title is a deliberate misspelling of the word *love*, though the two are pronounced identically and are essentially synonyms. The misspelling was explained by Saria in an interview with *Gaylaxy*: "no matter how different love may look like compared to convention, i.e. no matter how it is spelt, it is still love". The Supreme Court of India's December 2013 decision to reinstate Section 377 of the Indian Penal Code, which criminalised same-sex relationships in India, had a major bearing on Saria's work. In the film's official release statement Saria talked about the environment that he worked in, saying "It was in this India \[referring to the Supreme Court judgement\] that our actors, technicians, investors and supporters came together to make this film, working in absolute secrecy."

The film stars Shiv Panditt and Dhruv Ganesh; the former came across the film's script during a casual meeting with Saria. In an interview with *Daily News and Analysis*, Panditt discussed the meeting between him and Saria, saying, "he had no desire to cast me, \[...\] because he thought I do only commercial films. I had to force it out of him. But when I heard it I found it interesting and we decided to do it". Saria called Ganesh for the table read for the protagonist of the film, Sahil, and was greatly impressed by his approach to the character. Ganesh was apprehensive about playing the character, but after initial scepticism he agreed to play the role. Siddharth Menon and Rishabh J. Chaddha play supporting roles in the film. *Loev* marked the last film role for Ganesh, as he died of tuberculosis in January 2015, while the film was in post-production. The opening credits in the film's final cut honour his memory.

### Filming and post-production

Principal photography began in the summer of 2014 and took place entirely in Mumbai and Mahabaleshwar, a small hilltown in the UNESCO World Heritage site of the Western Ghats, in peninsular India. American Film Institute alumnus Sherri Kauk served as the director of photography for the film. *Loev* was filmed in a single schedule in a short span of 16 days. Saria said, "We had to plan well, be extremely frugal, count every penny and make sure it all ended up on the screen."

With a modest budget of $1 million, the production of *Loev* was funded partly by the production partners, and by private equity. A crowdfunding campaign was started on the funding portal Indiegogo, raising an amount of approximately US$4,000. In an interview with Manoj Sharma of Pandolin, a digital film magazine, Lamba talked about the struggle of funding the project saying that the investors had backed out at the last-minute at more than one occasion. The film's crew members financed the project from their own salaries to meet the cost of production.

The filming was done discreetly as Saria feared opposition from the local community towards the film's underlying subject of homosexuality. Among the crew members, only a core group were aware of the details of the plot, and to the rest of the crew it was a road trip film, one identical to *Dil Chahta Hai* (2001). Crew members were left surprised while filming the scene where Panditt kisses Ganesh in the outdoors as most of them were unaware of any romantic involvement between the two characters. Panditt found the rape scene difficult to shoot, because of the emotional weight it carried: "What I did to overcome my revulsion was to not stand judgment over my character Jai's action. I just went with how Jai reacted to the given situation."

The film editing process began in June 2015; the team of editors was headed by Nitesh Bhatia, and Pritam Das was the sound mixer. Sweta Gupta was the film's art director, and the costumes were by Rohit Chaturvedi. Tony Kakkar provided the soundtrack for the film. An original track recorded by Kakkar, entitled "Ek Chaand", was released as part of the official soundtrack for the film. It was released on 4 May 2017, under the label of Desi Music Factory on iTunes. A two-and-a-half-minute preview of the song was released on YouTube in the same month.

*Loev*'s entire editing and sound mixing process was completed on 25 November, after four months of post-production work. With a total runtime of 92 minutes, the film was pitched under the labels of Bombay Berlin Film Productions and Four Line Films. Its foreign distribution rights were acquired by Loic Magneron's Wide Management, a Paris-based sales-production-distribution house. The deal was finalised after a meeting between Magneron and Saria at the film's Tallinn premiere. However, the distribution rights were withdrawn when the producers entered into negotiations with Netflix. The worldwide rights of the film were acquired by Netflix in April 2017.

## Themes and influences

> *Loev* isn't a tale of shantytowns like *Slumdog Millionaire* and features none of the exotic imagery seen in Gurinder Chadha's *Bride and Prejudice*. Instead it is a drama that explores the contours of love and friendship \[...\] Their topics of discussion aren't poverty or religion but romantic and professional fulfillment.

Steven Borowiec, *The Los Angeles Times*

The themes of unrequited love and self-acceptance are central to *Loev* as noted by such commentators as Aseem Chhabra, Zack Ford, and Subhash K. Jha. They wrote in their reviews that the theme of sexuality takes a backseat to the aforementioned subjects. Chhabra, a New York-based film writer and director noted that the film beautifully presented an emotional journey of gay characters, who seemed to be comfortable with their identity. Also, as expressed by Saria himself, the film was intended as a "universal story about attraction". He did not want to conform to a single definition for the film or the relationship between two lead characters.

While *Vox*'s Siddharth Naidu thought of the film as politically radical and emotionally raw, Chhabra called it the least bit political in another editorial for Rediff.com. This view was shared by the freelance journalist Steven Borowiec, who wrote that the social context of same-sex relationships in India remained "mostly off-screen". Writing for *ThinkProgress*, Ford also noted that although the socio-political backdrop "is never explicitly mentioned, it's alluded to throughout". Addressing the same issue, Saria said that *Loev* is not a political film, but the act of making it was a political one. He said, "\[W\]hat started out as an intellectual act of protest quickly became something else. Love." Jha believed that it marked "a new beginning for cinema on unconstitutional love in India".

While working in the United States, Saria familiarised himself with independent American cinema, which greatly influenced his work. He also listed such directors as the Dardenne brothers, Éric Rohmer and Hrishikesh Mukherjee as influential during his formative years as a filmmaker. Critics and commentators drew parallels between *Loev* and Ang Lee's *Brokeback Mountain* (2005), with some observing the palpable similarity "in the way the rocky terrain is used to define the theme of forbidden love". The film was also thought to be visually and structurally similar to Andrew Haigh's *Weekend* (2011), and Wong Kar-wai's *Happy Together* (1997). Ford thought that despite being a lot more subtle in its portrayal of same-sex affection in comparison to *Weekend*, *Loev* was still "quite novel for Bollywood".

## Release

*Loev* premiered at the Tallinn Black Nights Film Festival, Estonia on 19 November 2015. The film was then screened at various other film festivals across Europe and Asia, including the Jeonju International Film Festival, South Korea; the Istanbul International Film Festival, Turkey; the Art Film Festival, Slovakia; and the Transilvania International Film Festival, Romania. It had its North American premiere on 12 March, for the "Visions" section at the 2016 South By SouthWest Film Festival. The Tel Aviv International LGBT Film Festival, the BFI Flare: London LGBT Film Festival, and the Frameline Film Festival were among the LGBTQ film festivals that featured the production. The film won the Audience Award for Best Feature Film at the 2016 Tel Aviv International Film Festival.

Upon release in India at the "India Gold" segment of the 2016 Mumbai Film Festival, *Loev* garnered positive response from critics. It was also screened at the 2016 International Film Festival of Kerala, Thiruvananthapuram. *Loev* was released on Netflix on 1 May 2017. A new poster was unveiled for the film's Netflix release. Designed by an Indian-based designing house, Pigeon & Co, it featured the two lead actors. Shortly after the film's release, Rajeev Masand hosted Saria on a talk show on News18 and organised a roundtable discussion for the lead actors, Saria, and the film's producers. In May 2017, the film had a special screening in Mumbai, which was attended by the entire cast and crew along with Bollywood personalities such as Richa Chaddha, Kalki Koechlin, Rannvijay Singh, Bejoy Nambiar, Shruti Seth, and Meiyang Chang among others.

## Critical reception

### Domestic

*Loev* received positive response from critics at the Mumbai Film Festival; Manika Verma from the MAMI Young Critics Lab gave a largely positive review calling the film a "breather", and stating that it "doesn't pander and conform to the stereotypes, a trap very easy to fall into." The view was shared by Namrata Joshi of *The Hindu*, who wrote that the film added a new dimension to gay cinema; she thought the endeavour was "a deceptively simple yet nuanced and heartfelt take on the eternal relationship conundrum." Subhash K. Jha gave the film four stars out of five, defining it not as a gay film but an "unforgettable love story". Applauding the cinematography, direction, and the performances from Ganesh and Panditt, he described the film as one that not only "re-defines love and passion in the context of the Indian reality, it is a new beginning for cinema on unconstitutional love in India." Deepali Singh also praised the film in her review for *Daily News and Analysis*, with particular emphasis on the cinematography and Ganesh's performance. She thought there were several memorable scenes in the film. Praising the chemistry of the leading cast, Joshi said Panditt was "all solidity and strength", and Ganesh "tenderness and vulnerability".

### International

> A wistful, meandering gay love story, *Loev* is very unsensational by the standards of LGBT cinema produced elsewhere in the world. But in India, where homosexuality is punishable by law, this gentle film is quietly revolutionary.

Wendy Ide, *Screen International*

*Loev* garnered praise from critics at many film festivals; commentators were largely laudatory of both the film's sensitive treatment of a homosexuality theme and the performances of the cast. Reviewing the film at Tallinn Black Nights Film Festival, Shelagh Rowan-Legg of *Screen Anarchy* praised the refreshing concept of the film, different from the usual cinema associated with India: "*Loev* examines the personal and the political, \[...\] in a sensitive yet open portrait of love and sexuality." Rowan-Legg further called the cast "tailor-made", lauding Panditt in particular and saying, "Pandit perfectly times the slow release of his frustration, \[...\] is both appalling and believable." Although finding Ganesh to be "a charismatic presence on screen", *Screen International*'s Wendy Ide  otherwise impressed with the cast's performances  stated, "naturalistic acting style notwithstanding, there is something not entirely persuasive about the relationship between Jai and Sahil."

*Loev* was well received in North America. Its screening was the first time an Indian film was shown at the South by Southwest Film Festival; Brooke Corso of *The Macguffin* remarked that the beautiful and heartbreaking film shines when "it focuses on what is said when the characters aren't speaking, and what is avoided when they do." Matt Shiverdecker of *Austin American-Statesman* was largely laudatory of the production at the same event as well, dubbing it as a "small miracle". He praised the film's realism, and attributed its success to the actors and to the beautiful scenery. Siddhant Adlakha of Birth Movies Death called *Loev* a "minuscule film of miraculous construction" and "a melancholy tale where questions have no easy answers, \[...\] but one where bliss, even momentary, feels infinite."

## Awards and nominations

| Year | Award | Category | Recipient and nominee | Result | Ref. |
| --- | --- | --- | --- | --- | --- |
| 2015 | Tallinn Black Nights Film Festival | Tridents Award (First Feature) | *Loev* | Nominated |  |
| 2016 | Guadalajara International Film Festival | Best Feature Film | *Loev* | Nominated |  |
| | Frameline Film Festival | Best Feature (Jury) | *Loev* | Nominated |  |
| | AT&T Audience Award | *Loev* | Won | |
| | SXSW Film Festival | Visions (Audience Award) | *Loev* | Nominated |  |
| | Tel Aviv Film Festival | Audience Award – Best Feature | *Loev* | Won |  |

## InfoBox

| Loev | |
| --- | --- |
| Netflix release poster | |
| Directed by | Sudhanshu Saria |
| Screenplay by | Sudhanshu Saria |
| Produced by | * Sudhanshu Saria * Arfi Lamba * Katharina Suckale * Jasleen Marwah |
| Starring |  |
| Cinematography | Sherri Kauk |
| Edited by | Nitesh Bhatia |
| Music by | Tony Kakkar |
| Production<br>companies | * Bombay Berlin Film Productions * Four Line Films |
| Distributed by | Netflix |
| Release dates |  |
| Running time | 92 minutes |
| Country | India |
| Languages | * Hindi * English |
| Budget | US$1 million (approximate) |


abstract: The 1966 United States Senate election in Montana took place on November 8, 1966. Incumbent United States Senator Lee Metcalf, who was first elected to the Senate in 1960, ran for re-election. He won the Democratic primary uncontested, and moved on to the general election, where he was opposed by Tim M. Babcock, the Republican nominee and the Governor of Montana. Though the race remained close, Metcalf was able to expand on his 1960 margin of victory, and defeated Babcock to win a second term.

text:
# 1966 United States Senate election in Montana

The **1966 United States Senate election in Montana** took place on November 8, 1966. Incumbent United States Senator Lee Metcalf, who was first elected to the Senate in 1960, ran for re-election. He won the Democratic primary uncontested, and moved on to the general election, where he was opposed by Tim M. Babcock, the Republican nominee and the Governor of Montana. Though the race remained close, Metcalf was able to expand on his 1960 margin of victory, and defeated Babcock to win a second term.

## Democratic primary

### Candidates

### Results

Democratic Party primary results
| Party | | Candidate | Votes | % |
| --- | --- | --- | --- | --- |
|  | **Democratic** | **Lee Metcalf (incumbent)** | **73,975** | **100.00%** |
| Total votes | | | **73,975** | **100.00%** |

## Republican primary

### Candidates

### Results

Republican Primary results
| Party | | Candidate | Votes | % |
| --- | --- | --- | --- | --- |
|  | **Republican** | **Tim M. Babcock** | **54,828** | **100.00%** |
| Total votes | | | **54,828** | **100.00%** |

## General election

### Results

United States Senate election in Montana, 1966
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | **Democratic** | **Lee Metcalf (incumbent)** | **138,166** | **53.17%** | **+2.44%** |
|  | Republican | Tim M. Babcock | 121,697 | 46.83% | −2.44% |
| Majority | | | 16,469 | 6.34% | +4.87% |
| Turnout | | | 259,863 |  |  |
|  | Democratic **hold** | | Swing |  |  |

## InfoBox

1966 United States Senate election in Montana
| --- | |
| --- | --- |
|  | |
| Nominee **Lee Metcalf** Tim Babcock   Party Democratic Republican  Popular vote **138,166** 121,697  Percentage **53.17%** 46.83% | |
| ---  County results
**Metcalf:**      50–60%      60–70%      70–80%
**Babcock:**      50–60%      60–70% | |
| ---  **U.S. senator before election**
Lee Metcalf
Democratic **Elected U.S. Senator**
Lee Metcalf
Democratic | |


title: Poljana, Kamnik

abstract: Poljana is a small settlement above the Črnivec Pass in the Municipality of Kamnik in the Upper Carniola region of Slovenia.

text:
# Poljana, Kamnik

**Poljana** (pronounced \[pɔˈljaːna\]) is a small settlement above the Črnivec Pass in the Municipality of Kamnik in the Upper Carniola region of Slovenia.

## InfoBox

| Poljana | |
| --- | --- |
|  | |
| PoljanaLocation in Slovenia | |
| Coordinates: 46°15′15.66″N 14°42′32.22″E / 46.2543500°N 14.7089500°E / 46.2543500; 14.7089500 | |
| Country | Slovenia |
| Traditional region | Upper Carniola |
| Statistical region | Central Slovenia |
| Municipality | Kamnik |
| Area | |
| Total | 0.42 km2 (0.16 sq mi) |
| Elevation | 911 m (2,989 ft) |
| Population (2002) | |
| Total | 21 |
|  | |


title: Preferential motor reinnervation

abstract: Preferential motor reinnervation (PMR) refers to the tendency of a regenerating axon in the peripheral nervous system (PNS) to reinnervate a motor pathway as opposed to a somatosensory pathway. PMR affects how nerves regenerate and reinnervate within the PNS after surgical procedures or traumatic injuries. It is important to understand in order to further develop axonal regrowth surgical techniques. Further research of preferential motor reinnervation will lead to a better understanding of peripheral nervous system function in the human body regarding cell roles and abilities.

text:
# Preferential motor reinnervation

**Preferential motor reinnervation** (**PMR**) refers to the tendency of a regenerating axon in the peripheral nervous system (PNS) to reinnervate a motor pathway as opposed to a somatosensory pathway. PMR affects how nerves regenerate and reinnervate within the PNS after surgical procedures or traumatic injuries. It is important to understand in order to further develop axonal regrowth surgical techniques. Further research of preferential motor reinnervation will lead to a better understanding of peripheral nervous system function in the human body regarding cell roles and abilities.

## Summary

### Motor vs sensory nerve reinnervation

The peripheral nervous system has the ability to regrow cut nerves. Motor axons preferentially reinnervate motor pathways. The tendency of motor axons to reinnervate motor pathways instead of cutaneous pathways is influenced by a number of factors in the PNS system. Some factors include Schwann cell characteristics, neurotrophic factors, and nerve branch size. These factors influence the pathway preference of the motor neuron. The different nervous systems are illustrated in the image displayed on the right. Preferential motor reinnervation is a tendency that is specifically seen in the peripheral nervous system, which is illustrated in the photos of the bottom of the system shown.

### Regeneration vs reinnervation

When peripheral axons are severed, the distal part of the cut axon degenerates. The only remaining distal parts from the original nerve are the Schwann cells which myelinate the peripheral axons. The basal lamina components that the Schwann cells secrete help to guide axon regeneration. The more precisely the axon stump is able to regrow along its original path, the better the recovery of function – especially when it comes to experiencing fine touch and movements. The growth of the axon stump to its original target is regeneration. Reinnervation on the other hand, is the recovery of function through reestablishing synaptic connections. Even though the original axon degenerates, the Schwann cells and acetylcholine receptors remain in place, allowing for the junction to reestablish the original synapses once the axon stump regenerates. In medical jargon, regeneration and reinnervation are not commonly distinguished. Regardless of the fact that there is a technical difference, many professionals use the terms interchangeably. This is because without regeneration, there would not be a nerve to innervate, but without reinnervation, the nerve would not function.

### PMR relevancy

Knowledge of preferential motor reinnervation is necessary because of how it affects the regeneration of nerves. When a patient loses nerve function, PMR can interfere with (or help) the different methods of repair that physicians use. Physicians understanding of natural nerve repair processes will allow for overall improvement in surgery, because they will be able to better interface their repair efforts with natural ones. Axon reinnervation is greatly affected by the pathway the regenerated nerve has chosen to grow along. The nerves' ability to properly function after damage is very dependent on successful reinnervation, which is why the effects of PMR are so relevant. The success of nerve reinnervation after different grafting attempts is a current research area. Grafting aims to solve the problem of incorrect targeting of regenerating axons, resulting in less-than-perfect reinnervation. PMR effects are being investigated to see how they can help grafting, and ultimately patient recovery.

## How do nerves regrow?

### A cut nerve regenerating

A cut axon in the peripheral nervous system has two parts: a distal and a proximal axon stump. The space in between the two stumps is known as the gap, and it is what the nerve must grow through in order to fully regenerate and reinnervate. The distal axon is degenerated through the body's own mechanisms, mostly macrophage consumption and enzymes breaking it down. The proximal part of the cut axon is often able to regenerate. The regeneration and reinnervation of the cut nerve are affected by multiple factors, including how far the nerve must regrow, what kind of environment it is growing in, and the different Schwann cells and pathway options available. PMR indicates that a regenerating motor neuron will choose a motor pathway Schwann cell over a cutaneous pathway Schwann cell when regenerating.

### The role of Schwann cells

Schwann cells are the myelination cells that surround nerves. When multiple nerves are cut, they must regrow and enter back through one of the Schwann cells that makes up the distal stump of the gap. These Schwann cells support axonal regrowth through their production of trophic factors as well as surface expression of multiple cell adhesion molecules that help influence axonal growth.

### Neurotrophic support

Neurotrophic factors are support proteins and factors that help assist in the growth and maintenance of axons throughout the body. Different cells emanate different proteins, but the ones specific to the peripheral nervous system play a major role in regeneration of cut nerves in the peripheral nervous system. In relation to reinnervation, neurotrophic support is key in assisting with supporting the regeneration of axons. Some discussion has led investigators to believe that neurotrophic factors only led to more axonal sprouting rather than actually influencing the regeneration. The ability of neurotrophic factors to influence the sprouting of axons has been seen with electron microscopic images and in multiple studies extensively detailed in a review of the role of neurotrophic factors in regeneration. In addition to the ability of the factors to influence sprouting, Schwann cells in particular show a significant upregulation of a number of trophic factors after undergoing axotomy. One major difference in motor and sensory pathways is the difference in what trophic factors are upregulated by the Schwann cells of those pathways. Denervenated motor Schwann cells upregulate BDNF and p75, whereas sensory pathway Schwann cells upregulate a number of other varied trophic factors. This difference in trophic factor support is suspected to be a major influencer of preferential motor reinnervation. Though it is a major factor, inherent molecular differences do not alone determine the reinnervation pathway of the motor neurons, as demonstrated in a study done in a mouse femoral nerve, where the size of the pathways were manipulated, leading to incorrect motor axon pathway reinnervation.

## PMR influencing factors

### End organ contact

End-organ contact can also have a major effect on the reinnervation accuracy of the axon. The first two weeks following the damage, it is statistically insignificant, because end-plate reinnervation is just starting. However, after that time period, end-organ contact plays a role in influencing the reinnervation ability of the axon. When the end of the pathway is a muscle contact area, there is a significant difference in the number of motor neurons reinnervating.

### Cellular and molecular mechanisms

These are trophic factors that are discussed in detail in above sections. These factors can influence where an axon grows towards, mostly from chemotaxis effects that the different proteins have on the growing axon's directionality. The trophic factors differ between motor and sensory pathways, which is a major influential factor in preferential motor reinnervation.

### Terminal nerve branch size

The terminal nerve branch size has a lot of influence on the reinnervation pathway of the axon. When two pathways, one cutaneous and one motor, are roughly comparable in size, the motor axons follow preferential reinnervation patterns along the motor pathways. However, enlargement of sensory pathways in the same experiment led to the motor axons to reinnervate those pathways, indicating that trophic factors alone do not cause reinnervation of motor neurons. This is shown because the motoneurons wrongly reinnervate down pathways that are sensory, thus demonstrating that the size of the terminal nerve branch pathway can affect the axonal reinnervation patterns.

### Reinnervation accuracy

The ability of an axon to "choose" the accurate Schwann cell and eventually site of innervation is interconnected to preferential motor reinnervation. The specificity of a motor axon to preferentially choose the motor pathway is the very essence of preferential motor reinnervation. Additionally, it influences whether or not a nerve can truly experience full reinnervation and recovery of function that is likened to what it had before the injury. Thus, this accuracy influences whether or not a motor axon preferentially reinnervates. Different studies are investigating how an axon pathway specificity can be manipulated in order to see what kind of surgical advances can be made regarding neuron repair.

## Use in medicine

The varied accuracy of damaged axons regenerating and reaching their original target end is a large reason that functional recovery of damaged nerves is such a variable in the peripheral nervous system. The understanding of what Schwann cell tube axons tend to reinnervate has implications for whether a nerve will be able to become functional again after damage. If the axon is a subcutaneous axon and ends up in a motor Schwann cell tube, it will not be able to innervate the muscle it ends up connected to. Thus, understanding how axons do reinnervate, and how motor axons can be pushed towards the correct regeneration site is an area of study that is extremely beneficial in helping to advance nerve repair in the PNS system.

In 2004, a study looked at how Lewis rats' sensory vs motor nerve grafts affected the regeneration of a cut mixed nerve system (both motor and sensory nerves). It was noted that after 3 weeks, a mixed nerve defect had undergone substantial regeneration when paired with a motor nerve graft or a mixed nerve graft. In comparison, a sensory nerve graft was statistically less affective in regeneration, looking specifically at nerve fiber count, percent nerve, and nerve densities as the main three comparisons between the different grafts. This means that the best surgical practices in regenerating nerves regarding PMR is using a nerve graft that is either a motor or a combination nerve graft.

In a study published in 2009, the terminal nerve branch size was investigated to see how it affected nerve regeneration. It was discovered that the branches of similar size initially regenerated about equally between cutaneous and muscular pathways, but after a while favored muscle branch paths. The study end results predicted that axonal collateral formation at the injured site being increased could increase regeneration accuracy. Understanding PMR affects would help overall in gaining a better understanding of the forces that influence the neuron repair, which was the overall conclusion of what was needed to help nerves functionally repair. This increasing understanding will overall impact surgical and repair processes with peripheral nerve repair. Though manipulation of axonal collateral formation may help, the further understanding of PMR will allow for the surgical practices and medical advances in nerve repair to continue developing.


title: Walker Creek (Virginia)

abstract: Walker Creek is a creek in the United States state of Virginia.

text:
# Walker Creek (Virginia)

**Walker Creek** is a creek in the United States state of Virginia.

* USGS Geographic Names Information Service
* USGS Hydrologic Unit Map - State of Virginia (1974)
* Salmon, Emily J.; Edward D. C. Campbell, Jr., eds. (1994). *The Hornbook of Virginia History* (4th ed.). Richmond, VA: Virginia Office of Graphic Communications. ISBN 0-88490-177-7.

## InfoBox

| Walker Creek (Virginia) | |
| --- | --- |
| Location | |
| Country | United States |
| Physical characteristics | |
|  | |
| Source |  |
| location | Virginia |
|  | |


title: Vincenzina Cusmano

abstract: Vincenzina Cusmano was an Italian Roman Catholic professed religious from the Sisters Servants of the Poor. Her brother was Giacomo Cusmano; she joined his religious congregation as the two tended to the poor in Palermo. Her original intention was to become a cloistered Carmelite nun though was forced to abandon this desire after her mother died; her mother's death during an epidemic meant that she had to assume care for her siblings since she was the eldest one. Cusmano tended to the poor in Palermo and often worked alongside her brother in this venture until his death in 1888; she continued his work as the Superior General for her order until her own death. Her cause for beatification launched in the late 1990s in the Palermo archdiocese and she became titled as a Servant of God. Pope Francis confirmed her heroic virtue in mid-2017 and named her as Venerable.

text:
# Vincenzina Cusmano

**Vincenzina Cusmano** (6 January 1826 - 2 February 1894) was an Italian Roman Catholic professed religious from the Sisters Servants of the Poor. Her brother was Giacomo Cusmano; she joined his religious congregation as the two tended to the poor in Palermo. Her original intention was to become a cloistered Carmelite nun though was forced to abandon this desire after her mother died; her mother's death during an epidemic meant that she had to assume care for her siblings since she was the eldest one. Cusmano tended to the poor in Palermo and often worked alongside her brother in this venture until his death in 1888; she continued his work as the Superior General for her order until her own death.

Her cause for beatification launched in the late 1990s in the Palermo archdiocese and she became titled as a Servant of God. Pope Francis confirmed her heroic virtue in mid-2017 and named her as Venerable.

## Life

Vincenzina Cusmano was born in Palermo in the Kingdom of the Two Sicilies on 6 January 1826 as the first of five children to Giacomo Cusmano and Maddalena Patti. The Cusmano's lived in the Albergheria which was one of the oldest neighborhoods in Palermo. Her siblings (in order) were:

Her mother died during a cholera epidemic and this forced her to assume care for her siblings since she was the eldest and her father was unable to provide for all their needs on his own. Cusmano studied literature and music at home as was the norm for that time while her spiritual director was Fr. Domenico Turano (the future Bishop of Agrigento). Her timid and reserved nature contributed to her intense desire for deeper contemplation and turned one of the rooms in her home into a small chapel that she could often be found in; she dreamt of becoming a cloistered Carmelite nun despite her extensive domestic duties that wound up preventing her from entering a convent.

Cusmano maintained a deep connection to her priest brother Giacomo and the two together tended to the poor in the streets of the poorer neighborhoods. Her consistent encouragement for his pastoral mission led Giacomo to consider founding a religious congregation dedicating to ministering to the poor in 1878. The Sisters Servants of the Poor was founded on 23 May 1880 and she and five others received the religious habit from her brother; she also was the first Superior General for the order until her death. Cusmano was a prominent figure in her order since she helped to direct their charitable initiatives and their wider apostolate; she was noted for having been like a mother or sister to some of her peers.

Her brother Giacomo died in 1888 and this left her alone to manage the order and its apostolate alone. Cusmano later died on 2 February 1894 in Palermo.

## Beatification process

The beatification process launched on 19 November 1996 after the Congregation for the Causes of Saints provided its assent (issuing a "nihil obstat" decree) to the cause and named her as a Servant of God. The diocesan investigation was conducted in the Palermo archdiocese with Cardinal Salvatore De Giorgi inaugurating it on 27 January 1997 and later closing it on 12 December 2001; the C.C.S. in Rome validated this process on 15 May 2003.

The postulation (the officials coordinating the cause) submitted the official Positio dossier to the C.C.S. for assessment in 2005. Historical consultants met and approved the cause not long after on 15 March 2005. Theologians confirmed their approval at a meeting around a decade later while the C.C.S. cardinal and bishop members approved the cause as well on 2 May 2017. Cusmano became titled as Venerable on 4 May 2017 after Pope Francis signed a decree that acknowledged that Cusmano had practiced heroic virtue throughout her life.

The current postulator for this cause is Archbishop Vincenzo Bertolone.

## InfoBox

| Venerable
Vincenzina Cusmano
S.d.P. | |
| --- | --- |
| Born | (1826-01-06)6 January 1826
Palermo, Kingdom of the Two Sicilies |
| Died | 2 February 1894(1894-02-02) (aged 68)
Palermo, Kingdom of Italy |
| Venerated in | Roman Catholic Church |
| Attributes | Religious habit |


title: Loren A. Smith

abstract: Loren A. Smith is an American jurist and academic. Smith currently serves as a senior judge of the United States Court of Federal Claims. He served as the Chief Judge of the United States Court of Federal Claims from 1986 to 2000 and as Chair of the Administrative Conference of the United States from 1981 to 1985.

text:
# Loren A. Smith

**Loren A. Smith** (born December 22, 1944) is an American jurist and academic. Smith currently serves as a senior judge of the United States Court of Federal Claims. He served as the Chief Judge of the United States Court of Federal Claims from 1986 to 2000 and as Chair of the Administrative Conference of the United States from 1981 to 1985.

## Biography

Smith was born on December 22, 1944, in Chicago and earned his Bachelor of Arts and Juris Doctor from Northwestern University and Northwestern University School of Law, respectively.

Smith worked as a consultant for the Chicago law firm Sidley & Austin from 1972-73. He then worked as an attorney for the Federal Communications Commission (1973) before serving as Assistant to the Special Counsel to the President (1973–74) amid the Watergate Scandal. Smith later served as a Special Assistant U.S. Attorney for the District of Columbia (1974-75) and a professor of law at Delaware Law School (1976-84).

Smith joined the Reagan for President campaign as Chief Counsel (1976) and (1980) and served as director of the Executive Branch Management Office of Presidential Transition (1980–81).

President Reagan appointed Smith Chairman of the Administrative Conference of the United States (1981–85), during which time he was also a member of the president's Cabinet Councils on Legal Policy and on Management and Administration. He also served as the chairman of the Council of Independent Regulatory Agencies.

Smith is an adjunct professor of law at George Mason University School of Law; American University Washington College of Law; Georgetown University Law Center; and the Columbus School of Law at The Catholic University of America. He taught as an adjunct professor of law at The International School of Law (now Antonin Scalia University School of Law) during 1973–74.

### Federal Judicial Service

Smith was appointed a judge of the United States Court of Federal Claims by President Ronald Reagan and confirmed by the Senate on July 1, 1985, and entered duty on September 12, 1985. He was designated Chief Judge on January 14, 1986, also by President Reagan. After serving 15 years as chief judge, Smith took senior status on July 10, 2000.

## Personal life and other activities

He was married to the former Catherine (Kitty) Yore (1944-2024) for 51 years; has two sons, Loren Jr. and Adam (1980–1997). Smith is an amateur magician. One of his signature tricks involves a magic coloring book.

Smith is a longtime member of the University Club of Washington D.C., where is an honorary member. He served as chairman of the Club's Centennial Committee and hosts the annual William Howard Taft Supreme Court Review, named for the Club's founder and 10th Chief Justice of the United States.

Smith has served as an international elections observer in Chile and Serbia. He has spoken and appeared on TV and radio in Estonia, The Republic of South Africa, Zambia, Kenya, The Czech Republic, Hungary, Turkey, Egypt, Pakistan, the Philippines, Singapore, Italy, Germany, England, Canada, Spain, Switzerland, and Ukraine on behalf of the United States Information Agency and other groups. In 2007, Smith traveled to Thailand to advise the writers of the new Thai constitution.

## Awards

### Honorary Degrees and Academic Appointments

### Memberships

* Honorary Member, the University Club of Washington D.C.
* Chairman, WETA Community Advisory Council

### **Bar Admissions**

Smith is a member of the Bars of the Supreme Court of Illinois; U.S. Court of Appeals for the Armed Forces; United States Court of Appeals, D.C. Circuit; United States Supreme Court; United States Court of Appeals for the Federal Circuit; United States Court of Federal Claims. Smith is also an Honorary Member of the Bar Association of the District of Columbia.

### Other Awards and Honors

* In 1993, Smith was presented with the Presidential Medal by The Catholic University of America.
* In 1997, Smith was presented with The Ronald Reagan Public Service Award at the annual National Property Rights Conference.
* In 1997, Smith was presented with the Judicial Honoree Award by the Bar Association of the District of Columbia.
* Medal of Justice, Ministry of Justice of Romania

## Publications

Smith is author of the following:

* The Morality of Regulation, *William & Mary Environmental Law and Policy Review*, 1998
* The Aging of Administrative Law: The Administrative Conference Reaches Early Retirement, *Arizona State Law Journal*, 1998
* Renovation of an Old Court, Federal Bar News and Journal, September 1993; A Spring Thaw in Estonia, *The Washington Times*, April 11, 1992
* Administration: An Idea Whose Time May Have Passed, in *The Fettered Presidency*, eds. L. Gordon Crovitz & Jeremy A. Rabkin, 1989
* Vision of the Exchange, William & Mary Law Review, 1986
* Judicialization of the Administrative Process: The Fine Print, *National Legal Center for the Public Interest*, 1986
* The End of the Constitution, 4 *Detroit College of Law Review* 1147 (1986)
* Judicialization: The Twilight of Administrative Law, 85 *Duke L.J.* 2 (1985)
* Judicial Review of Administrative Decisions, 7 *Harvard Journal of Law and Public Policy* 61 (1984)
* Business, Buck$ & Bull, The Corporation, The First Amendment & The Corrupt Practice of Law, 4 *Delaware Journal of Corporate Law* 1 (1978)
* He is co-author of Black America and Organized Labor: A Fair Deal?, *The Lincoln Institute for Research and Education* (1979).

## InfoBox

| Loren A. Smith | |
| --- | --- |
| Smith in 2017 | |
|  | |
| Senior Judge of the United States Court of Federal Claims | |
| **Incumbent** | |
| **Assumed office**
July 10, 2000 | |
| Chief Judge of the United States Court of Federal Claims | |
| **In office**
January 14, 1986  July 10, 2000 | |
| Appointed by | Ronald Reagan |
| Preceded by | Alex Kozinski |
| Succeeded by | Lawrence Baskir |
| Judge of the United States Court of Federal Claims | |
| **In office**
July 11, 1985  July 10, 2000 | |
| Appointed by | Ronald Reagan |
| Preceded by | Joseph V. Colaianni |
| Succeeded by | Sarah L. Wilson |
| Chair of the Administrative Conference of the United States | |
| **In office**
1981–1985 | |
| President | Ronald Reagan |
| Preceded by | Reuben B. Robertson |
| Succeeded by | Marshall J. Breger |
|  | |
| Personal details | |
| Born | (1944-12-22) December 22, 1944
Chicago, Illinois, U.S. |
| Spouse | Catherine Yore Smith (1944-2024) |
| Children | Loren Smith Jr.
Adam Smith (1980-1997) |
| Education | Northwestern University (BA, JD) |
|  | |


title: Maine Colony Historic District

abstract: The Maine Colony Historic District is a U.S. historic district located in Sarasota, Florida. The district is bounded by Swift Road, Ashton Road, Portland Way and Grafton Street.

text:
# Maine Colony Historic District

The **Maine Colony Historic District** is a U.S. historic district (designated as such on October 5, 2005) located in Sarasota, Florida. The district is bounded by Swift Road, Ashton Road, Portland Way and Grafton Street.

## InfoBox

|  | |
| --- | --- |
| Maine Colony Historic District | |
| U.S. National Register of Historic Places | |
| U.S. Historic district | |
|  | |
|  | |
|  | |
| Location | Sarasota, Florida |
| Coordinates | 27°16′47″N 82°31′6″W / 27.27972°N 82.51833°W / 27.27972; -82.51833 |
| NRHP reference No. | 05001118 |
| Added to NRHP | October 5, 2005 |


abstract: The Paraguay men's national under-17 basketball team is a national basketball team of Paraguay, administered by the Confederación Paraguaya de Basquetbol. It represents the country in international men's under-17 basketball competitions.

text:
# Paraguay men's national under-17 basketball team

The **Paraguay men's national under-17 basketball team** is a national basketball team of Paraguay, administered by the Confederación Paraguaya de Basquetbol. It represents the country in international men's under-17 basketball competitions.

## FIBA South America Under-17 Championship for Men participations

## InfoBox

Paraguay
|  | |
| --- | --- |
| FIBA zone | FIBA Americas |
| National federation | Confederación Paraguaya de Basquetbol |
| U19 World Cup | |
| Appearances | None |
| U18 AmeriCup | |
| Appearances | None |
| U17 South American Championship | |
| Appearances | 17 |
| Medals | None |


title: The Santa Clause 3: The Escape Clause

abstract: The Santa Clause 3: The Escape Clause is a 2006 American Christmas comedy film directed by Michael Lembeck. It is the third installment in The Santa Clause franchise, following The Santa Clause (1994) and The Santa Clause 2 (2002). The film features Tim Allen returning as Scott Calvin, who must find a way to reverse a spell cast by Jack Frost that caused him to lose his title of Santa Claus. Allen and Short had previously worked together in the 1997 Disney comedy film, Jungle 2 Jungle. Most of the supporting actors from the first two films reprise their roles, with the exception of David Krumholtz. As a result of his absence, Curtis, who was previously the Assistant Head Elf, has now been promoted to Bernard's former position. This was Peter Boyle's final film to be released during his lifetime. Its production was completed in February 2006. The film was theatrically released in the United States on November 3, 2006, and grossed over $110 million worldwide. It received negative reviews from critics, with Rotten Tomatoes calling it "a bag of bland gags and dumb slapstick."

text:
# The Santa Clause 3: The Escape Clause

***The Santa Clause 3: The Escape Clause*** is a 2006 American Christmas comedy film directed by Michael Lembeck. It is the third installment in *The Santa Clause* franchise, following *The Santa Clause* (1994) and *The Santa Clause 2* (2002). The film features Tim Allen returning as Scott Calvin, who must find a way to reverse a spell cast by Jack Frost (Martin Short) that caused him to lose his title of Santa Claus. Allen and Short had previously worked together in the 1997 Disney comedy film, *Jungle 2 Jungle*. Most of the supporting actors from the first two films reprise their roles, with the exception of David Krumholtz. As a result of his absence, Curtis (played by Spencer Breslin), who was previously the Assistant Head Elf, has now been promoted to Bernard's former position. This was Peter Boyle's final film to be released during his lifetime (2008's *All Roads Lead Home* was released posthumously). Its production was completed in February 2006.

The film was theatrically released in the United States on November 3, 2006, and grossed over $110 million worldwide. It received negative reviews from critics, with Rotten Tomatoes calling it "a bag of bland gags and dumb slapstick."

## Plot

Twelve years have passed since Scott Calvin took on the mantle of Santa Claus. He is now married to Carol Newman, who is now a teacher in the North Pole. On Christmas Eve, she tells a group of young elves a story from her life with Scott while expecting their first child. Scott invites his in-laws, Sylvia and Bud Newman, to the North Pole, along with Scott's ex-wife Laura, her husband Neil, their daughter Lucy, and Scott's son Charlie. Meanwhile, he is summoned to a meeting of the Council of Legendary Figures, consisting of Mother Nature, Father Time, the Easter Bunny, Cupid, the Tooth Fairy, and the Sandman, concerning the behavior of Jack Frost, who is jealous that he has no holiday or special occasion in his honor. Because he has been promoting himself during the Christmas season, Mother Nature suggests sanctions against him. As Scott is attempting to get the in-laws to come without revealing that he is Santa, Jack Frost negotiates a light sentence of community service at the North Pole, helping Scott and the elves put up various Canadian-themed paraphernalia, as Carol's parents believe Scott is a toymaker in Canada; Scott consents.

However, Frost's ultimate goal is to trick Scott into renouncing his position as Santa and taking it for himself. After he persuades the Head Elf Curtis to tell him about the "Escape Clause", Frost sneaks into The Hall of Snow Globes and steals Scott's snow globe containing him as Santa. If Scott holds the globe and wishes to have "never been Santa at all," he will go back in time and undo his career as Santa. When Lucy discovers this, Frost freezes her parents and locks her in a closet. He then orchestrates several accidents in order to pressurize Scott to the point where he thinks about resigning to make things better.

This causes Frost to trick Scott into invoking the Escape Clause and both are sent to Scott's front yard in 1994, when Scott caused the original Santa to fall off his roof and had to replace him. Frost causes the original Santa to fall off the roof and grabs Santa's coat before Scott can. Scott is sent to an alternate present, where he has been CEO of his old company for the last twelve years and business takes priority over family. Scott also learns that Laura and Neil divorced and Carol moved away years ago.

Scott goes to find Lucy and Neil, who are vacationing at the North Pole, which is now a theme park opened to visitors from around the world, where Scott learns that Frost has discontinued delivering presents and has instead focused solely on the commercialization of Christmas, the elves are miserable, the reindeer are confined to a petting zoo, and parents can pay for their kids to be placed on the nice list. Scott finds Lucy and questions Neil about Laura; he states that Scott's workaholic absence in Charlie's life put all the pressure on Neil, and Charlie didn't want him to be his father, causing the divorce between him and Laura.

Scott confronts Frost and causes a distraction and convinces Lucy to steal Frost's snow globe for him. Lucy throws the snow globe to Scott, but Frost catches it. Scott plays a recording of Frost saying "I wish I'd never been Santa at all" out of context from a novelty North Pole pen given to him by Curtis earlier, invoking the Escape Clause, sending both Scott and Frost back to 1994. Scott restrains Jack long enough to let his 1994 counterpart to put on the coat, making him Santa Claus again, sending both back to the present in the original timeline.

Scott reconciles with his family and Jack is arrested by elf police. He reveals he cannot unfreeze his victims unless he unfreezes himself, something he says he'll never do. Scott convinces Lucy via a snow globe he had given her earlier of her warmly hugging a snowman, to give Frost a "warm hug" to unfreeze and reform him. It works as Laura and Neil unfreeze and Frost becomes a new person. The "Canada" ruse is dropped and Scott appears as Santa to Carol's parents. With two hours remaining before Santa must leave for his Christmas deliveries, Carol goes into labor.

Months later, while Carol is telling the tale to her students, Scott walks in to reveal their son, Buddy Claus.

## Cast

## Production

The film was shot from December 2005 to February 2006 at Downey Studios in Downey, California, with Elfsburg Village being shot on Stage 1, and the suburban scenes being shot on the studio's backlot.

The looks for Jack Frost and Mrs. Claus were originally different. Frost's initial appearance was more of an English 1960's look that was more impish and elfin, but the threat level was not up to the level that director Michael Lembeck wanted. Costume designer Ingrid Ferrin designed a new costume for Frost with a velvet zoot suit feel. Mrs. Claus's initial appearance was based on her end-credits dance scene in *The Santa Clause 2*. In that scene, Elizabeth Mitchell wore prosthetic makeup that made her appear round and chubby. After the second day of principal photography, Lembeck was not seeing any emotional content in Mitchell's performance due to the amount of makeup applied on her.

## Reception

### Critical response

On Rotten Tomatoes, the film holds an approval rating of 17% based on 66 reviews, with an average rating of 3.8/10. The site's critical consensus reads, "Playing Jack Frost as an evil cross between Liza Minnelli and Liberace, Martin Short is a welcome presence, but this tired series continues drawing from its bag of bland gags and dumb slapstick." On Metacritic, the film has a weighted average score of 32 out of 100, based on 17 critics, indicating "generally unfavorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.

Erid D. Snider wrote that Allen did *The Santa Clause* "The first time with enthusiasm, the second time with affection and the third time for a paycheck". Kyle Smith wrote, "We're getting a turkey and a ham for the holidays. Santa is so dumb he should be demoted to cleaning up after Geoffrey the Giraffe at Toys 'R' Us." Manohla Dargis dismissed the film as "Squeaky clean, but you might die of boredom." Finally, Mark Kermode described it on BBC Radio 5 Live as "the cinematic equivalent of tertiary syphilis".

In a more positive review, *Variety*'s Justin Chang said *The Santa Clause 3* was "a much cleaner, more streamlined ride than its overstuffed predecessor", adding that "Michael Lembeck directs the action with a surer touch and more consistent tone than he brought to *Santa Clause 2*, and effortlessly pulls off the pic's sentimental, life-affirming moments without tugging too hard."

### Awards and nominations

| Award | Category | Subject | Result |
| --- | --- | --- | --- |
| Golden Raspberry Award | Worst Actor | Tim Allen | Nominated |
| | Worst Screen Couple | | Nominated |
| | Martin Short | Nominated |
| | Worst Supporting Actor | Nominated |
| | Worst Prequel or Sequel | | Nominated |
| | Worst Excuse for Family Entertainment | | Nominated |

### Box office

The first two films had become box-office successes during their opening weekends, but *The Santa Clause 3* was beaten by *Borat* for the No. 1 spot.

*The Santa Clause 3* made $84,500,122 in North America and a worldwide gross of $110,768,122. The first film made $189,833,357 worldwide at the box-office while the second film made $172,855,065.

## Home video

The film was released on DVD and Blu-ray Disc on November 20, 2007.

## Video game

A tie-in video game was released on November 1, 2006, for the Game Boy Advance, developed by 1st Playable Productions and published by Buena Vista Games.

## Sequel television series

A television series serving as a sequel, *The Santa Clauses*, was released on Disney+, with Tim Allen reprising his role as Scott Calvin / Santa Claus and Jack Burditt serving as showrunner and executive producer. Realizing he can't be Santa Claus forever, an aging Scott Calvin sets off to find a suitable replacement, while helping his children get used to a new adventure south of the pole.

1. "The Santa Clause 3: The Escape Clause (2006)". *Box Office Mojo*. Archived from the original on December 26, 2013. Retrieved September 13, 2016.
2. "Former airplane hangars land supporting role in Hollywood". *Chicago Tribune*. 13 September 2006. Archived from the original on 2021-10-24. Retrieved 2020-11-19.
3. "Archived copy". Archived from the original on 2020-11-27. Retrieved 2020-11-19.`{{cite web}}`: CS1 maint: archived copy as title (link)
4. "The Santa Clause 3: The Escape Clause (2006)". *Rotten Tomatoes*. Fandango. Archived from the original on 2019-05-02. Retrieved October 6, 2021.
5. "The Santa Clause 3: The Escape Clause Reviews". *Metacritic*. Archived from the original on November 8, 2016. Retrieved August 23, 2016.
6. "The Santa Clause 3: The Escape Clause – CinemaScore". *CinemaScore*. Archived from the original on February 17, 2015. Retrieved December 15, 2017.
7. David Brown (2011-05-24). "Interview: Kermode and Mayo celebrate a decade of Wittertainment". *Radio Times*. Archived from the original on 2020-12-05. Retrieved 2021-05-20.
8. Chang, Justin (November 2, 2006). "The Santa Clause 3: The Escape Clause". *Variety*. Retrieved June 23, 2022.
9. "Lee's Movie Info". *leesmovieinfo.net*. Archived from the original on 17 July 2014. Retrieved 6 October 2014.
10. "The Santa Clause 3: The Escape Clause". *IGN*. Archived from the original on 2014-06-07. Retrieved 2016-12-26.
11. "JUST ANNOUNCED: Tim Allen Returns to the Red Suit for the Santa Clause, a Limited Series for Disney+". 14 January 2022. Archived from the original on 15 January 2022. Retrieved 14 January 2022.

## InfoBox

| The Santa Clause 3:
The Escape Clause | |
| --- | --- |
| Theatrical release poster | |
| Directed by | Michael Lembeck |
| Written by |  |
| Based on | Characters created
by Leo Benvenuti
Steve Rudnick |
| Produced by |  |
| Starring |  |
| Cinematography | Robbie Greenberg |
| Edited by | David Finfer |
| Music by | George S. Clinton |
| Production
companies |  |
| Distributed by | Buena Vista Pictures Distribution |
| Release date | * November 3, 2006 (2006-11-03) |
| Running time | 92 minutes |
| Country | United States |
| Language | English |
| Box office | $110.8 million |


title: Lomanthus fosbergii

abstract: Lomanthus fosbergii, synonym Talamancalia fosbergii, is a species of flowering plant in the family Asteraceae endemic to Ecuador. Its natural habitat is subtropical or tropical moist montane forests. It is threatened by habitat loss. It was first described by José Cuatrecasas in 1953 as Senecio fosbergii. The genus Lomanthus is placed in the tribe Senecioneae.

text:
# Lomanthus fosbergii

***Lomanthus fosbergii***, synonym ***Talamancalia fosbergii***, is a species of flowering plant in the family Asteraceae endemic to Ecuador. Its natural habitat is subtropical or tropical moist montane forests. It is threatened by habitat loss. It was first described by José Cuatrecasas in 1953 as ***Senecio fosbergii***. The genus *Lomanthus* is placed in the tribe Senecioneae.

## InfoBox

| *Lomanthus fosbergii* | |
| --- | --- |
| Conservation status | |
|
Endangered  (IUCN 3.1) | |
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Asterids |
| Order: | Asterales |
| Family: | Asteraceae |
| Genus: | *Lomanthus* |
| Species: | ***L. fosbergii*** |
| Binomial name | |
| ***Lomanthus fosbergii***
(Cuatrec.) B.Nord. & Pelser | |
|
| Synonyms | |
| * *Senecio fosbergii* Cuatrec. * *Talamancalia fosbergii* (Cuatrec.) B.Nord. | |


abstract: The 1967 III FIBA International Christmas Tournament "Trofeo Raimundo Saporta" was the 3rd edition of the FIBA International Christmas Tournament. It took place at Sports City of Real Madrid Pavilion, Madrid, Spain, on 24, 25 and 26 December 1967 with the participations of Real Madrid, Juventud Kalso, Victoria Melbourne and River Plate.

text:
# 1967 III FIBA International Christmas Tournament

The **1967 III FIBA International Christmas Tournament "Trofeo Raimundo Saporta"** was the 3rd edition of the FIBA International Christmas Tournament. It took place at Sports City of Real Madrid Pavilion, Madrid, Spain, on 24, 25 and 26 December 1967 with the participations of Real Madrid (champions of the 1966–67 FIBA European Champions Cup), Juventud Kalso (champions of the 1966–67 Liga Española de Baloncesto), Victoria Melbourne and River Plate.

## League stage

Day 1, December 24, 1967

| Team 1 | Score | Team 2 |
| --- | --- | --- |
| Real Madrid | 86–69 | Juventud Kalso |
| Victoria Melbourne | 80–56 | River Plate |

Day 2, December 25, 1967

| Team 1 | Score | Team 2 |
| --- | --- | --- |
| Real Madrid | 85–66 | River Plate |
| Juventud Kalso | 82–75 | Victoria Melbourne |

Day 3, December 26, 1967

| Team 1 | Score | Team 2 |
| --- | --- | --- |
| Real Madrid | 91–60 | Victoria Melbourne |
| Juventud Kalso | 84–73 | River Plate |

## Final standings

|  | Team | Pld | Pts | W | L | PF | PA |
| --- | --- | --- | --- | --- | --- | --- | --- |
| 1. | Real Madrid | 3 | **6** | 3 | 0 | 262 | 195 |
| 2. | Juventud Kalso | 3 | **5** | 2 | 1 | 235 | 234 |
| 3. | Victoria Melbourne | 3 | **4** | 1 | 2 | 215 | 229 |
| 4. | River Plate | 3 | **3** | 0 | 3 | 195 | 249 |

| 1967 III FIBA International Christmas Tournament
"Trofeo Raimundo Saporta" Champions |
| --- |
|
**Real Madrid**
**1st title** |

## InfoBox

| 1967 III FIBA International Christmas Tournament "Trofeo Raimundo Saporta" | |
| --- | --- |
| Sport | Basketball |
| Finals champions | Real Madrid |
| Runners-up | Juventud Kalso |


title: Point of subjective simultaneity

abstract: In multisensory integration research, Point of Subjective Simultaneity (PSS), typically measured in milliseconds, is defined as the stimulus onset asynchrony (SOA) at which a pair of signals from different sensory modalities is perceived as most simultaneous or synchronous. In other words, at PSS, an individual is most likely to integrate information from a pair of signals in the two given modalities.

text:
# Point of subjective simultaneity

In multisensory integration research, **Point of Subjective Simultaneity (PSS)**, typically measured in milliseconds, is defined as the stimulus onset asynchrony (SOA) at which a pair of signals from different sensory modalities is perceived as most simultaneous or synchronous. In other words, at PSS, an individual is most likely to integrate information from a pair of signals in the two given modalities.

## PSS Computation

In behavioral experiments, test individuals are usually presented with pairs of signals from different sensory modalities (such as visual and audio) at different SOAs and asked to make either synchrony judgements (i.e. if the pair of signals appears to have come at the exact same time) or temporal order judgements (i.e. which signal appears to have come earlier than the other). Results from an individual's synchrony judgement tasks are typically fitted to a Gaussian curve with average perceived synchrony in percentage (between 0 and 1) on the y-axis and SOA (in milliseconds) on the x-axis, and the PSS of this individual is defined as the mean of the Gaussian distribution. Alternatively, results from an individual's temporal order judgement tasks are typically fitted to an S-shaped logistic psychometric curve, with percentage of trials where the subject responds that signals from one certain modality has come first on the y-axis and SOA (in ms) on the x-axis. In this setting, the PSS is defined as the SOA corresponding to the point at which the percentage on the y-axis is 50%, where this individual is the most unsure about which signal has come first.

## PSS in Autism Research

Studies have suggested that individuals with Autism Spectrum Disorder (ASD) process sensory information differently than their typically developing (TD) peers. Specifically, research has found that two groups exhibit different levels of multisensory temporal recalibration by comparing how much PSS changes in individuals with ASD and TD individuals after presenting them with biased audio-visual stimuli. Temporal recalibration is a phenomenon quantified by the shift in PSS after an individual is exposed to stimuli that are biased towards one particular sensory modality (e.g. only presenting them audio-visual pairs where audio comes before the video). Evidence suggests that after being exposed to bias stimuli, negative correlation can be found between level of temporal recalibration (change in PSS) and subjects’ level of autistic traits, specifically attention to detail. This finding supports the idea that differences in sensory perception in individuals with ASD may be a contributing factor of their autistic behavioral traits.


title: Primate of New Zealand

abstract: Primate of New Zealand is a title held by a bishop who leads the Anglican Church in Aotearoa, New Zealand and Polynesia. Since 2006, the Senior Bishop of each tikanga serves automatically as one of three co-equal Primates-and-Archbishops. Previously, one of these three would be Presiding Bishop and the other two Co-Presiding Bishops; and before that there was only one Primate.

text:
# Primate of New Zealand

**Primate of New Zealand** is a title held by a bishop who leads the Anglican Church in Aotearoa, New Zealand and Polynesia. Since 2006, the Senior Bishop of each *tikanga* (Māori, Pākehā, Pasefika) serves automatically as one of three co-equal Primates-and-Archbishops. Previously, one of these three would be Presiding Bishop and the other two Co-Presiding Bishops; and before that there was only one Primate.

## Bishop and Metropolitan

George Selwyn was consecrated **Bishop of New Zealand** on 17 October 1841: he was the sole bishop over a very large territory, including all New Zealand and very many South Pacific islands. In his lifetime, as the Anglican ministry in New Zealand grew, that one diocese was divided several times: by letters patent dated 22 September 1858, Selwyn was made metropolitan bishop over the other dioceses and called Bishop of New Zealand and **Metropolitan**. By 1868, New Zealand had seven dioceses, Selwyn had come to be referred to as "the Primate", and the General Synod constitution as amended that year used this term.

| Metropolitan of New Zealand | | | |
| --- | --- | --- | --- |
| From | Until | Incumbent | Notes |
| 1858 | 1869 | **George Selwyn** |  |

## Primate and Metropolitan

At the same Synod, Selwyn having announced his intention to resign, a Statute was adopted for the election of the **Primate** (and **Metropolitan**) from among the bishops diocesan (who retained their See) and Harper, Bishop of Christchurch was so elected (to take office upon Selwyn's resignation). The same statute created the role of Senior Bishop — being the bishop consecrated first (excluding any former primate), and Acting Primate in certain circumstances. Primates of this era occasionally used the style Archbishop of New Zealand; and gained the archiepiscopal style *the Most Reverend* between the 5th General Synod (1871) and the 6th (1874). An attempt was made in the 21st Synod (1919) to make the Bishop of Wellington *ex officio* Primate and Metropolitan; this failed in the 22nd Synod (1922), which did, however, amend the Canons and officially grant the title **Primate and Archbishop of New Zealand**.

| Primates of New Zealand | | | |
| --- | --- | --- | --- |
| From | Until | Incumbent | Notes |
| 1869 | 1890 | **Henry Harper** | Bishop of Christchurch, 1856–1890 |
| 1890 | 1893 | **Octavius Hadfield** | Bishop of Wellington, 1870–1893 |
| 1893 | 1902 | **William Cowie** |  |
| 1904 | 1919 | **Samuel Nevill** |  |

## Primate and Archbishop

Throughout the 20th century, the church in New Zealand developed an understanding for the different cultures within it. In 1925, the Diocese of Polynesia began as a missionary diocese of the church. In 1928, the first Bishop of Aotearoa, ministering to the Māori, was consecrated as suffragan bishop to the Bishop of Waiapu. In the 1970s, Melanesia became a separate ecclesiastical province from New Zealand, and the Bishop of Aotearoa became a full-ranking diocesan, with a diocese covering all of New Zealand. Under the primacy of Brian Davis, Polynesia became a fully-fledged diocese and a review of church structures was begun.

In 1992, the General Synod of the church set up five *hui amorangi*, or regional bishoprics, to serve under the Bishop of Aotearoa. The Church of the Province of New Zealand also adopted its current name, the Anglican Church in Aotearoa, New Zealand and Polynesia, to demonstrate its ownership by the three *tikanga*. The same Synod limited the Primate to a ten-year term, with re-election to one further four-year term.

| Primates and Archbishops of New Zealand | | | |
| --- | --- | --- | --- |
| From | Until | Incumbent | Notes |
| 1922 | 1925 | **Churchill Julius** | Bishop of Christchurch, 1890–1925<br>Acting Primate since 1919 |
| 1925 | 1940 | **Alfred Averill** | Bishop of Auckland, 1914–1940 |
| 1940 | 1951 | **Campbell West-Watson** | Bishop of Christchurch, 1926–1951 |
| 1952 | 1960 | **Reginald Owen** | Bishop of Wellington, 1947–1960 |
| 1961 | 1971 | **Norman Lesser** | Bishop of Waiapu, 1947–1971 |
| 1972 | 1980 | **Allen Johnston** | Bishop of Waikato, 1969–1980 |
| 1980 | 1985 | **Paul Reeves** |  |
| 1986 | 1997 | **Brian Davis** | * Bishop of Waikato, 1980–1986 (translated after Primatial election) * Bishop of Wellington, 1986–1997 |
| between Davis' resignation in ill-health (effective 1 July 1997) and the next General Synod (May 1998), Jabez Bryce, Bishop of Polynesia (as senior bishop by consecration) was Acting Primate. | | | |

## Primate with Co-Presiding Bishops

The 53rd General Synod (1998) reduced the Primate's term from five General Synods (i.e. 10 years) to three (i.e. 6 years); removed the additional style "Archbishop" from the Primacy in favour of "Presiding Bishop"; and conferred the style "Co-Presiding Bishops / nga Pīhopa Aporei" on the Senior Bishops of the two *tikanga* besides the Primate's, while enjoining them to work closely with the Primate / te Pīhopa Mātāmua and Presiding Bishop.

The 2004 General Synod passed a further Primacy statute which: reinstated the honorific "Archbishop" (removing "Presiding Bishop") to the Primate; required the elected Primate to resign their other See(s); and, anticipating the coming changes, limited the next Primate's term to two years (renewable once). Whakahuihui Vercoe duly stepped down at the end of that two-year term as Primate in 2006, when the church decided that three bishops shall share the position and style of archbishop, each representing one of the three *tikanga*, or cultural streams of the church: Te Pīhopatanga o Aotearoa (the Bishopric of Aotearoa, serving Māori), the Dioceses in New Zealand (serving Pākehā), and the Diocese of Polynesia.

| Primates / Pīhopa Mātāmua | | | |
| --- | --- | --- | --- |
| From | Until | Incumbent | Notes |
| 1998 | 2004 | **John Paterson** | * Bishop of Auckland, 1994–2010 * Presiding Bishop |
| 2004 | 2006 | **Whakahuihui Vercoe** |  |
| Co-Presiding Bishops / Pīhopa Aporei | | | |
| 1998 | *2006* | Jabez Bryce | * Bishop of Polynesia, 1975–2010 * Co-Presiding Bishop (Pasefika) |
| 1998 | 2004 | Whakahuihui Vercoe | * Te Pīhopa o Aotearoa, 1981–2004 * Pīhopa Aporei (Māori) |
| 2004 | 2006 | George Connor | * Bishop in the Bay of Plenty, 1975–2005 * Bishop of Dunedin, 2005–2009 * Convening Bishop (NZ dioceses), 1998–2006 * and Co-Presiding Bishop (Pākehā) |
| 2005 | 2006 | Brown Turei | * Te Pīhopa o Te Tairāwhiti, 1992–2017 * Te Pīhopa o Aotearoa, 2005–2017 * Pīhopa Aporei (Māori) |

## Shared Primacy

Further changes to the office of primate were its limitation to a two-year term, to allow for greater participation in leadership, and its establishment as a triumvirate of bishops. For the transitional period between the decision at 2006 General Synod and the completion of the necessary legislation, Turei was Primate and Archbishop, and Moxon and Bryce his Co-Presiding Bishops; but they began to act as if co-equal primates, including use of "Archbishop" and *the Most Reverend*. Since 2008, Te Pīhopa o Aotearoa, the diocesan Bishop of Polynesia and the Senior Bishop of the New Zealand (i.e. tikanga Pākehā) Dioceses have each — co-equally — been *ex officio* Primate and Archbishop; each one is elected by a body representing their whole tikanga. Te Hīnota Whānui/General Synod 2020 reaffirmed the three-tikanga and co-primacy arrangements.

| Primates / Pīhopa Mātāmua | | | |
| --- | --- | --- | --- |
| From | Until | Incumbent | Notes |
| 2006 | 2017 | **Brown Turei** | * Te Pīhopa o Te Tairāwhiti, 1992–2017 * Te Pīhopa o Aotearoa, 2005–2017 * sole Primate and Archbishop, until 2008 * retirement announced for 31 March * died in office |
| 2006 | 2010 | **Jabez Bryce** |  |
| 2006 | April 2013 | **David Moxon** | * Bishop of Waikato, 1993–2013 * Senior Bishop of the New Zealand dioceses, 2006–2013 * Co-Presiding Bishop, 2006–2008 |
| 2010 | 2018 | **Winston Halapua** | Bishop of Polynesia, 2010–2018 |
| 1 May 2013 | 2023 | **Philip Richardson** | * Bishop of Taranaki, since 2008 * Bishop of Waikato and Taranaki, since 2018 * Senior Bishop of the New Zealand Dioceses, 2013–2023 |
| 7 April 2018 | present | **Don Tamihere** |  |
| 2019 | 2021 | **Fereimi Cama** | Bishop of Polynesia from 2019–2021, died in office. |
| 2023 | present | **Sione Uluʻilakepa** | Bishop of Polynesia, 2023–present (nominated November 2022; sanctioned December; and consecrated 11 March 2023) |
| 2024 | present | **Justin Duckworth** |  |

1. (Series: Letters patent and other papers)
2. First General Synod of the Branch of the United Church of England and Ireland in New Zealand (p. 78, online at the Kinder Library)
3. "Primates / Directory / Home - Anglican Church in Aotearoa, New Zealand and Polynesia".
4. Proceedings of the Fourth General Synod of the Branch of the United Church of England and Ireland in New Zealand (p. 21, online at the Kinder Library)
5. Proceedings of the Fourth General Synod:
    * Final reading of the statue: pp. 3233
    * Election of the primate: p. 38
    * Statute no. 6: pp. 4043
6. Proceedings of the Fifth General Synod of the Branch of the United Church of England and Ireland (p.1)
7. Proceedings of the Sixth General Synod of the Church of the Province of New Zealand (p. 1)
8. Proceedings of the Twenty-First General Synod of the Church of the Province of New Zealand (p. 26)
9. Proceedings of the Twenty-Second General Synod of the Church of the Province of New Zealand (p. 20, online at the Kinder Library)
10. Proceedings of the Twenty-Second General Synod (p. 74)
11. Proceedings of the Special Session of the Forty-Ninth General Synod — Te Hīnota Whānui & Proceedings of the Fiftieth General Synod — Te Hīnota Whānui (online at the Kinder Library)
12. Proceedings of the Fiftieth General Synod — Te Hīnota Whānui (p. 245)
13. Proceedings of the Twenty-Second General Synod (p. 1)
14. Proceedings of the Fifty-Third General Synod / Hīnota Whānui (p. 6)
15. Proceedings of the Fifty-Third General Synod / Hīnota Whānui (S-8)
16. Proceedings of the Fifty-Sixth General Synod / Hīnota Whānui (S-1)
17. "Primates / Directory / Home - Anglican Church in Aotearoa, New Zealand and Polynesia".
18. Anglican Diocese of Waikato and Taranaki – Meet the Bishops Archived 2015-01-13 at the Wayback Machine (Accessed 5 July 2013)
19. "Weekly News Summary on Tuesday 28 July 2020".
20. Anglican News — Maori Archbishop to retire in March 2017 (Accessed 26 August 2016)
21. Anglican Communion News Service – Williams names Moxon to Holy See (accessed 4 December 2012)
22. Anglican Taonga – New Archbishop 'a community visionary' (Accessed 5 July 2013)
23. Clarke-Morris, Julanne (15 December 2022). "++Philip retires as Synod president". *Anglican Taonga*. Retrieved 24 February 2024.
24. "Anglican Taonga : New Zealand's Anglican News Leader".
25. "Nine go forward for +Polynesia". *Anglican Taonga*. 13 March 2023. Archived from the original on 23 January 2023. Retrieved 17 May 2023.
26. "Polynesia elects new Archbishop". *Anglican Taonga*. 13 March 2023. Archived from the original on 5 February 2023. Retrieved 17 May 2023.
27. "+Sione Polynesia takes the lead". *Anglican Taonga*. 13 March 2023. Archived from the original on 22 March 2023. Retrieved 16 May 2023.
28. "Synod welcomes Archbishop Justin". *Anglican Taonga*. 22 May 2024. Retrieved 22 May 2024.


abstract: This is a list of members of the Australian Senate from 1959 to 1962. Half of its members were elected at the 10 December 1955 election and had terms starting on 1 July 1956 and finishing on 30 June 1962; the other half were elected at the 22 November 1958 election and had terms starting on 1 July 1959 and finishing on 30 June 1965. The process for filling casual vacancies was complex. While senators were elected for a six-year term, people appointed to a casual vacancy only held office until the earlier of the next election for the House of Representatives or the Senate.

text:
# Members of the Australian Senate, 1959–1962

> **Senate composition at 1 July 1959**
> **Government (32)** \- (1 seat majority)
> Liberal (25)
> Country Party (7)
> **Opposition (26)**
> Labor (26)
> **Crossbench (2)**
> DLP (2)

This is a list of **members of the Australian Senate** from 1959 to 1962. Half of its members were elected at the 10 December 1955 election and had terms starting on 1 July 1956 and finishing on 30 June 1962; the other half were elected at the 22 November 1958 election and had terms starting on 1 July 1959 and finishing on 30 June 1965. The process for filling casual vacancies was complex. While senators were elected for a six-year term, people appointed to a casual vacancy only held office until the earlier of the next election for the House of Representatives or the Senate.

| Senator | Party | | State | Term ending | Years in office |
| --- | --- | --- | --- | --- | --- |
| Stan Amour |  | Labor | New South Wales | 1965 | 1938–1965 |
| Ken Anderson |  | Liberal | New South Wales | 1965 | 1953–1975 |
| John Armstrong |  | Labor | New South Wales | 1962 | 1938–1962 |
| James Arnold |  | Labor | New South Wales | 1965 | 1941–1965 |
| Bill Aylett |  | Labor | Tasmania | 1965 | 1938–1965 |
| Archie Benn |  | Labor | Queensland | 1962 | 1950–1968 |
| George Branson |  | Liberal | Western Australia | 1965 | 1958–1971 |
| Gordon Brown |  | Labor | Queensland | 1965 | 1932–1965 |
| Nancy Buttfield |  | Liberal | South Australia | 1962, 1965 | 1955–1965, 1968–1974 |
| Don Cameron |  | Labor | Victoria | 1962 | 1938–1962 |
| Harry Cant |  | Labor | Western Australia | 1965 | 1959–1974 |
| George Cole |  | Democratic Labor | Tasmania | 1965 | 1950–1965 |
| Joe Cooke |  | Labor | Western Australia | 1965 | 1947–1951, 1952–1965 |
| Walter Cooper |  | Country | Queensland | 1962 | 1928–1932, 1935–1968 |
| Ben Courtice |  | Labor | Queensland | 1962 | 1937–1962 |
| Gordon Davidson |  | Liberal | South Australia | 1961, 1962 | 1961, 1962, 1965–1981 |
| Felix Dittmer |  | Labor | Queensland | 1965 | 1959–1971 |
| Tom Drake-Brockman |  | Country | Western Australia | 1965 | 1958, 1959–1978 |
| Arnold Drury |  | Labor | South Australia | 1965 | 1959–1975 |
| John Gorton |  | Liberal | Victoria | 1965 | 1950–1968 |
| Clive Hannaford |  | Liberal | South Australia | 1962 | 1950–1967 |
| George Hannan |  | Liberal | Victoria | 1965 | 1956–1965, 1970–1974 |
| Bert Hendrickson |  | Labor | Victoria | 1965 | 1947–1971 |
| Denham Henty |  | Liberal | Tasmania | 1962 | 1950–1968 |
| Roy Kendall |  | Liberal | Queensland | 1965 | 1950–1965 |
| Pat Kennelly |  | Labor | Victoria | 1965 | 1953–1971 |
| Keith Laught |  | Liberal | South Australia | 1965 | 1951–1969 |
| Elliot Lillico |  | Liberal | Tasmania | 1965 | 1959–1974 |
| Ted Maher |  | Country | Queensland | 1965 | 1950–1965 |
| John Marriott |  | Liberal | Tasmania | 1965 | 1953–1975 |
| Ted Mattner |  | Liberal | South Australia | 1962 | 1944–1946, 1950–1968 |
| John McCallum |  | Liberal | New South Wales | 1962 | 1950–1962 |
| Colin McKellar |  | Country | New South Wales | 1962 | 1958–1970 |
| Nick McKenna |  | Labor | Tasmania | 1962 | 1944–1968 |
| Frank McManus |  | Democratic Labor | Victoria | 1962 | 1956–1962, 1965–1974 |
| Alister McMullin |  | Liberal | New South Wales | 1965 | 1951–1971 |
| Theo Nicholls |  | Labor | South Australia | 1962 | 1944–1968 |
| Justin O'Byrne |  | Labor | Tasmania | 1965 | 1947–1981 |
| Sid O'Flaherty |  | Labor | South Australia | 1962 | 1944–1962 |
| James Ormonde |  | Labor | New South Wales | 1965 | 1958, 1959–1970 |
| Neil O'Sullivan |  | Liberal | Queensland | 1962 | 1947–1962 |
| Shane Paltridge |  | Liberal | Western Australia | 1962 | 1951–1966 |
| Rex Pearson |  | Liberal | South Australia | 1965 | 1951–1961 |
| Bob Poke |  | Labor | Tasmania | 1962 | 1956–1974 |
| Dame Annabelle Rankin |  | Liberal | Queensland | 1962 | 1947–1971 |
| Albert Reid |  | Country | New South Wales | 1962 | 1950–1962 |
| Clem Ridley |  | Labor | South Australia | 1965 | 1959–1971 |
| Agnes Robertson |  | Country | Western Australia | 1962 | 1950–1962 |
| Charles Sandford |  | Labor | Victoria | 1962 | 1947–1956, 1957–1966 |
| Malcolm Scott |  | Liberal | Western Australia | 1965 | 1950–1971 |
| Jim Sheehan |  | Labor | Victoria | 1962 | 1938–1940, 1944–1962 |
| Bill Spooner |  | Liberal | New South Wales | 1962 | 1950–1965 |
| Dame Dorothy Tangney |  | Labor | Western Australia | 1962 | 1943–1968 |
| Jim Toohey |  | Labor | South Australia | 1965 | 1953–1971 |
| Seddon Vincent |  | Liberal | Western Australia | 1962 | 1950–1964 |
| Harrie Wade |  | Country | Victoria | 1962 | 1956–1964 |
| Robert Wardlaw |  | Liberal | Tasmania | 1962 | 1953–1962 |
| Dame Ivy Wedgwood |  | Liberal | Victoria | 1965 | 1950–1971 |
| Don Willesee |  | Labor | Western Australia | 1962 | 1950–1975 |
| Ian Wood |  | Liberal | Queensland | 1965 | 1950–1978 |
| Reg Wright |  | Liberal | Tasmania | 1962 | 1950–1978 |

1. "The Biographical Dictionary of the Australian Senate 1959". Parliament of Australia. Retrieved 21 March 2017.
2. Evans, H. "Filling Casual Vacancies before 1977" (PDF). *The Biographical Dictionary of the Australian Senate, Volume 3*. Parliament of Australia. Retrieved 24 February 2017.


title: Vincenzio Vangelisti

abstract:
Vincenzio Vangelisti was an Italian engraver. He was born at Florence. He visited Paris when young, where he became a pupil of Ignazio Hugford and Johann Georg Wille. Emperor Leopold II of Austria invited him in 1766 to Milan, where he became professor in the Brera Academy, and in 1790 first director of the School of Engraving instituted by that prince. He committed suicide, after having defaced his remaining copper plates. Among engravers, who studied under him, were Giuseppe Longhi, who succeeded him as professor, and Faustino and Pietro Anderloni. Among his engravings are:
  - Pyramus and Thisbe from a picture by Laurent de La Hyre.
  - Portraits of Armand de Bourbon, Prince de Conde. Georges Louis, Comte de Buffon; all after Abel de Pujol.
  - Satyr and Nymph after one of the Van Loo artists.
  - Virgin and Child after Raphael.
  - Venus chastising Cupid after Agostino Carracci.

text:
# Vincenzio Vangelisti

**Vincenzio Vangelisti** (c. 1740–1798) was an Italian engraver. He was born at Florence. He visited Paris when young, where he became a pupil of Ignazio Hugford and Johann Georg Wille. Emperor Leopold II of Austria invited him in 1766 to Milan, where he became professor in the Brera Academy, and in 1790 first director of the School of Engraving instituted by that prince. He committed suicide, after having defaced his remaining copper plates. Among engravers, who studied under him, were Giuseppe Longhi, who succeeded him as professor, and Faustino and Pietro Anderloni.

Among his engravings are:

* Bryan, Michael (1889). Walter Armstrong; Robert Edmund Graves (eds.). *Dictionary of Painters and Engravers, Biographical and Critical*. Vol. II L-Z. London: George Bell and Sons. p. 632.


title: Loremil Machado

abstract: Loremil Machado was a teacher and performer of Afro-Brazilian dance. He and fellow dancer, Jelon Vieira, are considered to be responsible for the introduction of capoeira to the United States.

text:
# Loremil Machado

**Loremil Machado** (born 1953 or 1954; died March 11, 1994) was a teacher and performer of Afro-Brazilian dance. He and fellow dancer, Jelon Vieira, are considered to be responsible for the introduction of capoeira to the United States.

## Career

Machado and Vieira, both natives of Bahia, Brazil, came to New York City in 1975, to perform in a production of the play *Parto* by Brazilian playwright Gilda Grillo and Maria Isabel Barreno. Having decided to stay, they began to teach and perform in venues around the city. Notably, Machado and Vieira performed capoeira demonstrations at public schools in the Bronx. Master capoeira teacher Mestre Acordeon has said "\[These\] demonstrations by Mestre Jelon \[Vieira\] and Loremil Machado are considered by many to be responsible for the incorporation of capoeira movements into breakdancing". And author Matthias Röhrig Assunção says "many people believe \[their\] performances inspired the break dance craze of the 1980s."

The pair also taught at the Clark Center for the Performing Arts and for "four of five years" performed a weekly show of capoeira set to jazz music at the Cachaça nightclub on East 62nd Street. Machado formed his own group, the *Loremil Machado Afro-Brazilian Dance Company*, and was a featured dancer in Vieira's *Capoeiras of Bahia*, later renamed *DanceBrazil*.

Award-winning playwright and poet Ntozake Shange was one of his students, recalling "Where else to be on New Year's Eve? In a lover's arms, you say. Or, maybe at a fabulous champagne New Year's Eve party. No, the place for me was Loremil Machado's class for the end of the year. It was as important as a midnight mass. The class was full to the corners and we were all ready for our athletic, jumping, twirling, kicking, giving much quick knees and feet..."

Pioneering Black filmmaker Warrington Hudlin produced and directed a 1980 documentary short, *Capoeira of Brazil*, featuring Vieira, Machado, Eusebio da Silva, and their students.

## Death

When Machado died in 1994, the New York Times said of him: "Mr. Machado was known for the intensity of his dancing even in styles like the Brazilian martial arts form Capoeira, which calls as much for reckless daring as for skill and training." His longtime friend, writer and dancer Barbara Browning, said that the cause of death was AIDS.

## Further reading

## InfoBox

| Loremil Machado | |
| --- | --- |
| Born | 1953 or 1954
Salvador, Bahia |
| Died | March 11, 1994 (aged 40)
New York, New York |
| Nationality | Brazilian |
| Occupation(s) | Dancer, choreographer, percussionist |
| Known for | Mestre Capoeira |