title: Neapolitan campaigns of Louis the Great

abstract: The Neapolitan campaigns of Louis the Great, also called the Neapolitan Adventure, was a war between the Kingdom of Hungary, led by Louis the Great, and the Kingdom of Naples. It was fought from 1347 until 1352.

text:
# Neapolitan campaigns of Louis the Great

The **Neapolitan campaigns of Louis the Great**, also called the **Neapolitan Adventure** (*Nápolyi kaland* in Hungarian), was a war between the Kingdom of Hungary, led by Louis the Great, and the Kingdom of Naples. It was fought from 1347 until 1352.

## Preliminaries

In 1343 Robert I the Sage, King of Naples, died. His only son, Charles of Calabria, had died in 1328, leaving two daughters, one of whom, Joan, had been married to Andrew, son of king Charles I of Hungary. During his time in Naples, Andrew's more refined wife developed a fierce hostility towards him. After her father's death, she received from the Avignonese Pope Clement VI the official investment of the Kingdom, which was then nominally a vassal of the Papal States. Andrew, who also sought the crown, received only the title of Duke of Calabria.

On June 14, 1345, Clement, after a payment of 44,000 marks, agreed to yield to Andrew the title of king, but only as heir in case of Joan's death. Joan, who was suspected of having an affair with Louis of Taranto, was at the time under the strong influence of the latter's mother, Catherine of Valois. On September 19, the day before the investiture of Andrew as King, a conjure led by Catherine's relatives and courtesans had Andrew assassinated during a hunt at Aversa. Bertramo del Balzo, together with Fra Moriale, from the Hospitallers, discovered and punished the assassins, but suspicion of the queen's involvement in the assassination had already become widespread.

In May 1346, Andrew's brother, King Louis of Hungary, sent envoys to Clement to ask for Joan's deposition. Unsatisfied by the Pope's reply, he mustered an army, planning to embark his troops in Zara. However, at the time the maritime city had rebelled against the Venetians, whose ships were blockading its port. After a failed attempt to free it, the King had to postpone his expedition, while Zara returned under Venice's aegis.

## The war

In November 1347, Louis set out for Naples with some 1,000 soldiers (Hungarians and Germans), mostly mercenaries. When he reached the border of Joanna's kingdom, he had 2,000 Hungarian knights, 2,000 mercenary heavy cavalry, 2,000 Cuman horse archers, and 6,000 mercenary heavy infantry. He successfully avoided conflict in northern Italy, and his army was well-paid and disciplined. King Louis forbade plundering, and all supplies were bought from locals and paid for with gold. The Hungarian king marched across the land, announcing he was not going to fight any Italian cities or states, and thus was welcomed by most of them. Joanna in the meantime had married her cousin Louis of Taranto and had signed a peace with Naples' traditional enemy, the Kingdom of Sicily. The army of Naples, 2,700 knights and 5,000 infantrymen, was led by Louis of Taranto. At Foligno a papal legate asked Louis to renounce his enterprise, as the assassins had already been punished, and also in consideration of Naples' status as a papal fief. He did not relent, however, and before the end of the year he crossed the Neapolitan border without meeting any resistance.

On January 11, 1348, in the Battle of Capua he defeated the army of Louis of Taranto. Four days later the queen returned to Provence, while her husband followed soon afterwards. All the kingdom's barons swore loyalty to the new ruler as he marched to Naples from Benevento. While visiting Aversa, where his brother had been murdered, Louis had Charles of Durazzo assassinated in revenge by his condottiero Malatesta Ungaro and others. Once in Naples, Louis released most of his mercenaries and their commander, Werner von Urslingen.

Here, Louis and his men were struck by the arrival of the Black Death. He therefore decided to leave the Kingdom of Naples. The Neapolitans, who had quickly grown unhappy with the severe Hungarian rule, called back Joan, who paid for her return expedition (including the services of Urslingen's mercenaries) by selling her rights on Avignon to the popes. She landed near Naples and easily captured it, but the Hungarian commander Ulrich von Wolfurt commanded a strong resistance in Apulia.

When Urslingen deserted back to the Hungarians, she asked the Pope for help. The latter sent a legate who, after offering a great sum to Urslingen and the Wolfurt brothers, brokered a truce. Joanna and Louis would leave the Kingdom to await a new trial on Andrew's assassination, to be held in Avignon. The verdict was Joanna's acquittal from any charge in January 1352, and a peace treaty was signed with Hungary on March 23, 1352.

## Aftermath

In 1380 a civil war broke out in the Kingdom, with Joan siding with the Avignonese Pope Clement VII, after which Pope Urban VI offered the throne to Charles III. Louis of Hungary sent money and Hungarian armies in aid of Charles, who was able to enter Naples in 1381. On May 22, 1382, at San Fele, four Hungarian mercenaries strangled the queen.

## Further reading

* Bellér, Béla (1986). *Magyarok Nápolyban*. Budapest: Ferenc Móra Publisher. ISBN 9789631150292.
* Rienzo, C. *Regno di Napoli - La Regina Giovanna* (in Italian). `{{cite book}}`: `|work=` ignored (help)

## InfoBox

| Neapolitan Campaigns | |
| --- | --- |
|
Kingdom of Naples and Hungary in around 1360 | |
| Date 1347  1352  Location Kingdom of Naples, South-Italy  Result *Status quo ante bellum* | |
| Belligerents | |
| Kingdom of Hungary
German, Italian and English mercenaries, Hungarian-party Neapolitans, Hungarian knights | Kingdom of Naples
German, Sicilian, Italian, English, Provençal and French mercenaries, French knights |
| Commanders and leaders | |
| Louis I of Hungary
Stephen Lackfi
Andrew Lackfi
Nicholas Kont
Nicholas Toldi | Louis of Taranto |


title: You Know What I Like

abstract: "You Know What I Like" is a song by R&B singer El DeBarge featuring Chanté Moore issued as a single in 1992 on Warner Bros. Records. The single peaked at No. 14 on the Billboard Hot R&B Singles chart.

text:
# You Know What I Like

"**You Know What I Like**" is a song by R&B singer El DeBarge featuring Chanté Moore issued as a single in 1992 on Warner Bros. Records. The single peaked at No. 14 on the Billboard Hot R&B Singles chart.

## Overview

"You Know What I Like" was composed by El DeBarge and produced by Maurice White. Singer Chanté Moore also made her debut as a recording artist on the song.

## Samples

"You Know What I Like" was sampled by hip hop artist Warren G on the track "Keepin' It Strong" off his 2001 album The Return of the Regulator.

## Performances

El DeBarge and Chante Moore performed "You Know What I Like" on an episode of *Soul Train*.

## InfoBox

| "You Know What I Like" | |
| --- | --- |
|  | |
| Single by El DeBarge | |
| from the album  *In the Storm* | |
| Released | 1992 |
| Genre |  |
| Label | Warner Bros. |
| Songwriter(s) | El DeBarge |
| Producer(s) | Maurice White |
| El DeBarge singles chronology | |
| "Real Love"
(1989) "**You Know What I Like**"
(1992) "My Heart Belongs to You"
(1992) | |


title: Long Island (novel)

abstract: Long Island, published in 2024, is a novel by Colm Tóibín.

text:
# Long Island (novel)

***Long Island***, published in 2024, is a novel by Colm Tóibín.

## Reception

According to Book Marks, the book received "rave" reviews based on fifteen critic reviews, with twelve being "rave" and two being "positive" and one being "mixed". On Bookmarks July/August 2024 issue, a magazine that aggregates critic reviews of books, the book received a  (4.00 out of 5) from based on critic reviews with a critical summary saying, "As the *Telegraph* concludes, *Long Island* is a "grand achievement".

## InfoBox

*Long Island*
| Author | Colm Tóibín |
| --- | --- |
| Language | English |
| Publisher | Scribner |
| Publication date | 7 May 2024 |
| Publication place | United Kingdom |
| Pages | 294 |
| ISBN | 9781476785110 |
| Preceded by | *Brooklyn* |


title: Tainus

abstract: Tainus pitreanus is a species of flowering plant in the family Rubiaceae. It is a shrub or tree endemic to southern Hispaniola. It is the sole species in genus Tainus.

text:
# Tainus

***Tainus pitreanus*** is a species of flowering plant in the family Rubiaceae. It is a shrub or tree endemic to southern Hispaniola. It is the sole species in genus ***Tainus***.

## InfoBox

| *Tainus* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Asterids |
| Order: | Gentianales |
| Family: | Rubiaceae |
| Subfamily: | Cinchonoideae |
| Tribe: | Rondeletieae |
| Genus: | *Tainus*
Torr.-Montúfar, H.Ochot. & Borsch (2017) |
| Species: | ***T. pitreanus*** |
| Binomial name | |
| ***Tainus pitreanus***
(Urb. & Ekman) Torr.-Montúfar, H.Ochot. & Borsch (2017) | |
|
| Synonyms | |
| *Rondeletia pitreana* Urb. & Ekman (1929) | |


title: Unplug America

abstract: The "Unplug America - Give Mother Earth a Rest Day" tradition was started in 1992 by Indigenous Peoples and is observed on October 13 each year. It is a day to live simply and off grid, enjoy the nature around you and breathe fresh air. Unplug your TV, computers... and take a walk. The campaign focuses primarily on America because of massively high per capita consumption in the US. In the early 1990s, the UNPLUG from Mother Earth Campaign was initiated by three Indigenous-based organizations. These organizations and leaders were Tom B.K. Goldtooth, Indigenous Environmental Network (IEN); Winona LaDuke, Indigenous Women's Network (IWN)and Christopher Peters, 7th Generation Fund (SGF). Nilak Butler (deceased), member of IEN and IWN also assisted in the development of this UNPLUG Campaign during the 1990s in her capacity as an Indigenous staff organizer within the Indigenous Nuclear Free Campaign of U.S. Greenpeace. Periodically throughout the 1990s and 2000s the UNPLUG from Mother Earth Campaign was initiated by these organizations, expanding to include other organizations such as Honor The Earth and White Earth Land Recovery Project. There is no ownership of the concept of this campaign. It has been the principle of IEN, IWN and SGF for people of the United States, Canada, other industrialized countries and of the world to adopt this campaign.

text:
# Unplug America

The "**Unplug America - Give Mother Earth a Rest Day**" tradition was started in 1992 by Indigenous Peoples and is observed on October 13 each year. It is a day to live simply and off grid, enjoy the nature around you and breathe fresh air. Unplug your TV, computers... and take a walk. The campaign focuses primarily on America because of massively high per capita consumption in the US.

In the early 1990s, the UNPLUG from Mother Earth Campaign was initiated by three Indigenous-based organizations. These organizations and leaders were Tom B.K. Goldtooth, Indigenous Environmental Network (IEN); Winona LaDuke, Indigenous Women's Network (IWN)and Christopher Peters, 7th Generation Fund (SGF). Nilak Butler (deceased), member of IEN and IWN also assisted in the development of this UNPLUG Campaign during the 1990s in her capacity as an Indigenous staff organizer within the Indigenous Nuclear Free Campaign of U.S. Greenpeace. Periodically throughout the 1990s and 2000s the UNPLUG from Mother Earth Campaign was initiated by these organizations, expanding to include other organizations such as Honor The Earth and White Earth Land Recovery Project. There is no ownership of the concept of this campaign. It has been the principle of IEN, IWN and SGF for people of the United States, Canada, other industrialized countries and of the world to adopt this campaign.


title: Montgomery Wings

abstract: The Montgomery Wings were a professional baseball team that represented Montgomery, Alabama in the independent All-American Association and Southeastern League from 2001 to 2003.

text:
# Montgomery Wings

The **Montgomery Wings** were a professional baseball team that represented Montgomery, Alabama in the independent All-American Association and Southeastern League from 2001 to 2003.

## InfoBox

| Montgomery Wings | |
| --- | --- |
|  | |
| Minor league affiliations | |
| League | Southeastern League (2002-2003) |
| Previous leagues | All-American Association (2001) |
| Team data | |
| Previous parks | Paterson Field |


title: Nickelodeon UK Kids' Choice Awards 2012

abstract: The 2012 UK Kids Choice Awards took place on 1 April 2012 at 5:30PM. The show followed a similar format as the one in the United States, with seven unique categories for the UK. Voting started on February 20, 2012. Kids Choice Awards 2012 was viewed by 201,000 people.

text:
# Nickelodeon UK Kids' Choice Awards 2012

**The 2012 UK Kids Choice Awards** took place on 1 April 2012 at 5:30PM. The show followed a similar format as the one in the United States, with seven unique categories for the UK. Voting started on February 20, 2012. Kids Choice Awards 2012 was viewed by 201,000 people.

## Promotional Material

New promos were released early for the 2012 Kids' Choice Awards in the UK, with the first on January 20, 2012 during a new episode of *Supah Ninjas*. Some included scenes with *Big Time Rush* and the cast of *Victorious* explaining how to vote. There was also a promo with Will Smith (this year's host) entering the "Kids' Choice Headquarters". The UK edition included the UK band One Direction talking to Smith. Promos used the same layout and style as Nick in the US. All promotional material was voiced by Peter Dickson, also known as Voiceover Man.

## UK Categories

This year the Nickelodeon UK Kids' Choice Awards had 7 unique categories this year, 5 more than previous years. Below is a list of UK categories and their nominees. Bold text represents the winner.

**Favourite UK Band**

**Favourite UK Female Artist**

**Favourite UK Male Artist**

**Favourite UK TV Show**

**Favourite UK Newcomer**

**Favourite UK Actor**

**Favourite UK Actress**

## InfoBox

| 2012 UK Kids Choice Awards | |
| --- | --- |
| Date | April 1, 2012 |
| Hosted by | Will Smith |
| Website | http://kca.nick.co.uk |
| Television/radio coverage | |
| Network | Nickelodeon UK |
|


title: 1971 Argentine Grand Prix

abstract: The 1971 Argentine Grand Prix was a motor race consisting of a Formula One class and a Formula 5000 class, held at the Buenos Aires circuit in Buenos Aires on 24 January 1971. The Formula One class was not part of the FIA Formula One World Championship. This event was held because at that time the FIA regulations required a demonstration race to be held as a quality check, before a Grand Prix could be admitted as part of the World Championship. The race was run over two heats of 50 laps each, the final results being an aggregate of the two. Scuderia Ferrari had entered three cars for this event, but they were withdrawn after the fatal accident suffered by Ignazio Giunti in a sports car race two weeks previously. Jean-Pierre Beltoise was also involved in that accident, and as a consequence had his international license suspended, and was unable to compete.

text:
# 1971 Argentine Grand Prix

The **1971 Argentine Grand Prix** was a motor race consisting of a Formula One class and a Formula 5000 class, held at the Buenos Aires circuit in Buenos Aires on 24 January 1971. The Formula One class was not part of the FIA Formula One World Championship.

This event was held because at that time the FIA regulations required a demonstration race to be held as a quality check, before a Grand Prix could be admitted as part of the World Championship. The race was run over two heats of 50 laps each, the final results being an aggregate of the two.

Scuderia Ferrari had entered three cars for this event, but they were withdrawn after the fatal accident suffered by Ignazio Giunti in a sports car race two weeks previously. Jean-Pierre Beltoise was also involved in that accident, and as a consequence had his international license suspended, and was unable to compete.

## Qualifying

*Note: a blue background indicates a Formula 5000 entrant.*

| Pos | No. | Driver | Constructor | Lap | Gap |
| --- | --- | --- | --- | --- | --- |
| 1 | 18 | Rolf Stommelen | Surtees-Cosworth | 1:15.85 |  |
| 2 | 8 | Chris Amon | Matra | 1:15.88 | +0.03 |
| 3 | 4 | Reine Wisell | Lotus-Cosworth | 1:16.03 | +0.18 |
| 4 | 2 | Emerson Fittipaldi | Lotus-Cosworth | 1:16.28 | +0.43 |
| 5 | 16 | Carlos Reutemann | McLaren-Cosworth | 1:16.49 | +0.64 |
| 6 | 12 | Jo Siffert | March-Cosworth | 1:16.61 | +0.76 |
| 7 | 14 | Henri Pescarolo | March-Cosworth | 1:16.80 | +0.95 |
| 8 | 10 | Derek Bell | March-Cosworth | 1:17.23 | +1.38 |
| 9 | 6 | Wilson Fittipaldi | Lotus-Cosworth | 1:17.90 | +2.05 |
| 10 | 20 | Silvio Moser | Bellasi-Cosworth | 1:19.01 | +3.16 |
| 11 | 22 | David Prophet | McLaren-Chevrolet | 1:20.58 | +4.73 |
| 12 | 26 | Jo Bonnier | Lola-Chevrolet | 1:21.96 | +6.11 |
| 13 | 24 | Gordon Spice | McLaren-Chevrolet | 1:23.45 | +7.60 |
| 14 | 30 | Nestor García-Veiga | Surtees-Chevrolet | 1:26.26 | +10.41 |
| 15 | 28 | Carlos Marincovich | McLaren-Chevrolet | 2:00.06 | +44.15 |
| Sources: | | | | | |

## Heat one

Rolf Stommelen won the first heat, leading from the start, from Jo Siffert in second place. Siffert had held off the rest of the field, with Chris Amon passing Reine Wisell before duelling with Henri Pescarolo for third place. The Frenchman won this battle to take third at the finish, with Amon, Wisell and Carlos Reutemann rounding out the top six. Emerson Fittipaldi lost a nose fin and had to pit for a new one, losing three laps. He eventually finished 10th. The retirements were all F5000 cars, namely Jo Bonnier's Lola, which pulled off with a flat battery, and Marincovich's McLaren and Garcia-Veiga's Surtees, which both suffered mechanical failures. Wisell posted the fastest lap.

## Heat two

The grid for heat two was decided by the finishing order from the first heat, with Greg Young taking over Marincovich's car. At the start, Siffert pulled away from Stommelen to take the lead. Amon quickly passed Reutemann and Pescarolo to move into third place, but he caught Stommelen just as the German was trying to pass Siffert. Amon and Stommelen collided and Stommelen's Surtees went off the track, causing gearbox damage which soon proved to be terminal. Shortly afterwards, Amon passed Siffert for the lead. During the next two laps, Siffert was also passed by Pescarolo, Reutemann, Derek Bell's March and Wilson Fittipaldi's Lotus. Wisell pitted with handling problems, and Silvio Moser finally started the race after extensive engine work being performed in the pits, meaning he missed the start. Wilson Fittipaldi then retired on lap 21 with engine failure, and Wisell and Moser also retired. Bell passed Reutemann but retired after that with another engine failure. Siffert had also retired his March with broken suspension. Amon won the heat by 22 seconds from Pescarolo, and this margin gave him the overall victory, his only win of the season. He also posted the fastest lap of the heat, which was the overall fastest lap.

## Classification

*Note: the classification was determined using the sum of the times obtained in the two heats.*

| Pos | No. | Driver | Entrant | Constructor | Laps | Time/Retired | 1st / 2nd heat |
| --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | 8 | Chris Amon | Equipe Matra Elf | Matra | 100 | 2:08:19.29 | 4th / 1st |
| 2 | 14 | Henri Pescarolo | Frank Williams Racing Cars | March-Cosworth | 100 | \+ 21.86 s | 3rd / 2nd |
| 3 | 16 | Carlos Reutemann | Ecurie Bonnier | McLaren-Cosworth | 100 | \+ 53.31 s | 6th / 3rd |
| 4 | 22 | David Prophet | David Prophet Racing | McLaren-Chevrolet | 96 | \+ 4 Laps | 9th / 4th |
| Ret | 10 | Derek Bell | Tom Wheatcroft Racing | March-Cosworth | 88 | Engine | 7th / Ret |
| Ret | 12 | Jo Siffert | Siffert Racing Team | March-Cosworth | 86 | Suspension | 2nd / Ret |
| Ret | 4 | Reine Wisell | Gold Leaf Team Lotus | Lotus-Cosworth | 84 | Accident | 5th / Ret |
| NC | 24 | Gordon Spice | Gordon Spice | McLaren-Chevrolet | 84 |  | 12th / 5th |
| Ret | 6 | Wilson Fittipaldi | Gold Leaf Team Lotus | Lotus-Cosworth | 71 | Engine | 8th / Ret |
| NC | 26 | Jo Bonnier | Ecurie Bonnier | Lola-Chevrolet | 68 | Battery | Ret / 7th |
| Ret | 20 | Silvio Moser | Jolly Club Switzerland | Bellasi-Cosworth | 66 | Engine | 11th / Ret |
| Ret | 18 | Rolf Stommelen | Team Surtees | Surtees-Cosworth | 60 | Gearbox | 1st / Ret |
| NC | 28 | Carlos Marincovich<br>Greg Young | Luigi Chinetti | McLaren-Chevrolet | 59 | Fuel injection | Ret / 6th |
| Ret | 2 | Emerson Fittipaldi | Gold Leaf Team Lotus | Lotus-Cosworth | 48 | Oil pressure | 10th / Ret |
| Ret | 30 | Nestor García-Veiga | Luigi Chinetti | Surtees-Chevrolet | 11 | Oil leak | Ret / DNS |
| WD |  | Mario Andretti | Scuderia Ferrari | Ferrari |  |  |  |
| WD |  | Jacky Ickx | Scuderia Ferrari | Ferrari |  |  |  |
| WD |  | Clay Regazzoni | Scuderia Ferrari | Ferrari |  |  |  |
| WD |  | Ignazio Giunti | Scuderia Ferrari | Ferrari |  |  |  |
| WD |  | Jean-Pierre Beltoise | Equipe Matra Elf | Matra |  |  |  |
| WD |  | Chris Craft | Alain de Cadenet | Brabham-Cosworth |  |  |  |
| WD |  | Ronnie Peterson | March Racing Team | March-Cosworth |  |  |  |
| Sources: | | | | | | | |

## InfoBox

| 1971 Argentine Grand Prix | | | |
| --- | --- | --- | --- |
| Non-championship race in the 1971 Formula One season | | | |
|  | | | |
| Race details | | | |
| Date | 24 January 1971 | | |
| Official name | VIII Gran Premio de la Republica Argentina | | |
| Location | Autódromo Oscar Alfredo Gálvez, Buenos Aires | | |
| Course | Permanent racing facility | | |
| Course length | 3.41 km (2.12 miles) | | |
| Distance | 50 x 2 laps, 341.045 km (211.9 miles) | | |
| Weather | Fine, cool | | |
| Pole position | | | |
| Driver |  | Surtees-Cosworth |
| Time | 1:15.85 | | |
| Fastest lap | | | |
| Driver | Chris Amon | Matra |
| Time | 1:15.05 | | |
| Podium | | | |
| First |  | Matra |
| Second |  | March-Cosworth |
| Third |  | McLaren-Cosworth |


title: Shoe-banging incident

abstract: The alleged shoe-banging incident occurred when Nikita Khrushchev, First Secretary of the Communist Party of the Soviet Union, pounded his shoe on his delegate-desk in protest at a speech by Philippine delegate Lorenzo Sumulong during the 902nd Plenary Meeting of the United Nations General Assembly held in New York City on 12 October 1960. In 2003, American scholar William Taubman reported that he had interviewed some eyewitnesses who said that Khrushchev had brandished his shoe but not banged it. He also reported that no photographic or video records of the shoe-banging had been found. However, in his biography of Khrushchev, he wrote that he accepted that the shoe-banging had occurred. There is at least one fake photograph, where a shoe was added into an existing photograph.

text:
# Shoe-banging incident

The alleged **shoe-banging incident** occurred when Nikita Khrushchev, First Secretary of the Communist Party of the Soviet Union, pounded his shoe on his delegate-desk in protest at a speech by Philippine delegate Lorenzo Sumulong during the 902nd Plenary Meeting of the United Nations General Assembly held in New York City on 12 October 1960.

In 2003, American scholar William Taubman reported that he had interviewed some eyewitnesses who said that Khrushchev had brandished his shoe but not banged it. He also reported that no photographic or video records of the shoe-banging had been found. However, in his biography of Khrushchev, he wrote that he accepted that the shoe-banging had occurred. There is at least one fake photograph, where a shoe was added into an existing photograph.

## Description

On 12 October 1960, head of the Filipino delegation Lorenzo Sumulong referred to "the peoples of Eastern Europe and elsewhere which have been deprived of the free exercise of their civil and political rights and which have been swallowed up, so to speak, by the Soviet Union". Upon hearing this, Khrushchev quickly came to the rostrum, being recognized on a point of order. There he demonstratively, in a theatrical manner, brushed Sumulong aside, with an upward motion of his right arm—without physically touching him—and began a lengthy denunciation of Sumulong, branding him (among other things) as "a jerk, a stooge, and a lackey", and a "toady of American imperialism" and demanded Assembly President Frederick Boland (Ireland) call Sumulong to order. Boland did caution Sumulong to "avoid wandering out into an argument which is certain to provoke further interventions", but permitted him to continue speaking and sent Khrushchev back to his seat.

According to some sources, Khrushchev pounded his fists on his desk in protest as Sumulong continued to speak, and at one point picked up his shoe and banged the desk with it. Some other sources report a different order of events: Khrushchev first banged the shoe then went to the rostrum to protest. Sumulong's speech was again interrupted. Another point of order was raised by the highly agitated Romanian Foreign Vice-minister Eduard Mezincescu, a member of the Eastern Bloc. Mezincescu gave his own angry denunciation of Sumulong and then turned his anger on Boland, his provoking, insulting, and ignoring of the Assembly President leading to his microphone being eventually shut off. This prompted a chorus of shouts and jeers from the Eastern Bloc delegations. The chaotic scene finally ended when Boland, crimson-faced with frustration, abruptly declared the meeting adjourned and slammed his gavel, named Thor's gavel, down so hard he broke it, sending the head flying.

This incident was reported at the time by a number of newspapers, including *The New York Times*, *The Washington Post*, *The Guardian*, *The Times*, and *Le Monde*. *The New York Times* had a photograph that pictured Khrushchev and Andrei Gromyko, with a shoe on Khrushchev's desk.

This incident should not be confused with an earlier one at the General Assembly, on 29 September, when Khrushchev angrily interrupted Harold Macmillan, Prime Minister of the United Kingdom, banging the desk and shouting in Russian, at which Macmillan drily said "I should like that to be translated, if I may".

## Subsequent commentary

Khrushchev was reported to be delighted with his performance, but other members of Eastern Bloc delegations to the UN were embarrassed or displeased. Khrushchev was removed as leader in 1964, and he was criticized for the incident: "a shameful episode that he still presents as an act of valor".

In 1961, Marxist philosopher Frantz Fanon commented: "And when Mr. Khrushchev brandishes his shoe at the United Nations and hammers the table with it, no colonized individual, no representative of the underdeveloped countries laughs. For what Mr. Khrushchev is showing the colonized countries who are watching is that he, the missile-wielding muzhik, is treating these wretched capitalists the way they deserve."

Khrushchev mentioned the shoe-banging in his memoirs, writing that he was speaking strongly against the Franco regime in Spain. A representative of Spain took the floor to reply and, after his speech, the delegates from Socialist countries made a lot of noise in protest. Khrushchev wrote: "Remembering reports I have read about the sessions of the State Duma in Russia, I decided to add a little more heat. I took off my shoe and pounded it on desk so that our protest would be louder." The footnote to this text says that Khrushchev's recollections are mistaken. *The Times*, on 3 October 1960, had reported that Khrushchev launched an "angry tirade" against Franco on 1 October, and the article made no mention of shoe-banging.

Khrushchev's great-granddaughter Nina L. Khrushcheva writes that, after years of embarrassed silence, her family explained their recollection of the event. According to Nina, Khrushchev was wearing new and tight shoes, so he took them off while sitting. He started pounding the table with his fist during his angry response, and his watch fell off. When he was picking it up, his empty shoes caught his eye and he took the opportunity to pick one up and pound the desk with it. She also mentions that many versions of the incident have been in circulation, with various dates and occasions.

Nina's account is very similar to that of Khrushchev's long-time interpreter Viktor Sukhodrev, who sat with him during the event and reported that his boss pounded on his delegate-desk so hard that his watch stopped, which only infuriated him further and prompted the switch to the shoe.

Sergei Khrushchev (Nikita's son) stated that he could not find any photo or video evidence of the incident. Both NBC and CBC ran a search in their archives but were unable to find a tape of the event.

In Sergei's opinion, it would be very unlikely that Nikita Khrushchev intentionally removed his shoe. There was little space under the desk, and the Soviet leader, being somewhat overweight, could not reach his feet. This specific issue was addressed in 2002 by a former UN staffer, who said that Khrushchev could not have spontaneously removed his shoe at his desk but had previously lost it after a journalist stepped on it. The UN staffer then retrieved the shoe, wrapped it in a napkin, and passed it back to Khrushchev, who was unable to put it back on and had to leave it on the floor next to his desk; the same staffer also confirmed that she saw him later bang the shoe on the desk, thus lending credence to the reports by Nina Khrushcheva and Viktor Sukhodrev.

According to German journalist Walter Henkels, a shoe producer in Pirmasens said he had seen a picture of the shoe in a newspaper and recognized it as being from his company. The Federal Ministry of Economics explained that West Germany had sent 30,000 pairs of shoes to the Soviet Union. Among them were 2,000 pairs of good low shoes, and one of them might have found its way to Khrushchev.

For a detailed scholarly analysis of this incident giving the full context, see Thomas M. Prymak, "Cold War Clash, New York City, September-October 1960: Comrade Khrushchev vs 'Dief the Chief'," International History Review vol. 45, no. 1 (2023), 134-51.


title: Sho' Nuff (album)

abstract: Sho' Nuff: The Complete Black Crowes is a five-disc box set from The Black Crowes. It contains their first four studio albums and a bonus live EP. The studio albums were remastered, contain bonus tracks and each include a screen saver and music videos presented in multimedia format. The Sho' Nuff edition of Amorica includes neither 'Tied Up and Swallowed' nor 'Chevrolet'. The EP consists of five tracks recorded live at the Beacon Theatre in New York City, between March 18–22, 1995. The box also includes two Black Crowes stickers. All discs were printed on the American Recordings label.

text:
# Sho' Nuff (album)

***Sho' Nuff: The Complete Black Crowes*** is a five-disc box set from The Black Crowes. It contains their first four studio albums and a bonus live EP. The studio albums were remastered, contain bonus tracks and each include a screen saver and music videos presented in multimedia format. The *Sho' Nuff* edition of *Amorica* includes neither 'Tied Up and Swallowed' (bonus track on the original 1994 CD release) nor 'Chevrolet' (bonus on the Japanese release).

The EP consists of five tracks recorded live at the Beacon Theatre in New York City, between March 18–22, 1995. The box also includes two Black Crowes stickers.

All discs were printed on the American Recordings label (the first two had originally been released on Def American, the label's original name).

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |
| *Kerrang!* |  |

## Album listing

## Personnel

**Production**

## InfoBox

| Sho' Nuff: The Complete Black Crowes | |
| --- | --- |
|  | |
| Box set by The Black Crowes | |
| Released | 1998 |
| Genre |  |
| Length | 116:05 |
| Label | American |


title: Shirley Simons

abstract: Thomas Shirley Simons, Sr., commonly known as Shirley Simons was a prominent architect of Tyler, Texas. He was born in 1897 at Taylor, Texas, and raised in Fort Worth, Texas. He graduated from Rice Institute in 1919 with a Bachelor of Science in architecture. He also served in the field artillery during World War I from September through November 1918. After practicing with William Ward Watkin in Houston, Simons moved to Lufkin, Texas in 1922 where he established his own architecture practice. In the late 1920s, he moved his architectural practice to Tyler, Texas. He remained active as an architect in Tyler until his death in 1963. Shirley's three sons later joined his architectural practice. A number of Simons' works, including the Tyler City Hall, San Augustine County Courthouse and Jail, and Austin Daily Tribune Building, are listed on the National Register of Historic Places.

text:
# Shirley Simons

**Thomas Shirley Simons, Sr.** (March 12, 1897  August 1, 1963), commonly known as **Shirley Simons** was a prominent architect of Tyler, Texas. He was born in 1897 at Taylor, Texas, and raised in Fort Worth, Texas. He graduated from Rice Institute in 1919 with a Bachelor of Science in architecture. He also served in the field artillery during World War I from September through November 1918.

After practicing with William Ward Watkin in Houston, Simons moved to Lufkin, Texas in 1922 where he established his own architecture practice. In the late 1920s, he moved his architectural practice to Tyler, Texas. He remained active as an architect in Tyler until his death in 1963. Shirley's three sons (T. Shirley Simons, Jr., Edwin Simons, and Watson Townes Simons) later joined his architectural practice.

A number of Simons' works, including the Tyler City Hall, San Augustine County Courthouse and Jail, and Austin Daily Tribune Building, are listed on the National Register of Historic Places.

## Works in Tyler, Texas

* Tremont Place (1987), 615 Tremont Place, Tyler, TX 75701 (situated in the Azalea Residential Historic District) (Shirley Simons)
* Bergfeld Park (tennis courts, amphitheater and restrooms), part of the Azalea Residential Historic District, 1400 Block South Broadway, Tyler, Texas
* Robert and Mattie Fair House (1937), 905 South Chilton Avenue, Tyler, Texas (part of the Azalea Residential Historic District) (Shirley Simons, Sr. and Allen Campbell)
* Hanson-Cooper House (1931), 312 E. Charnwood, Tyler, Texas
* W. Howard and Vera Bryant House (1951), 2212 South Chilton Avenue, Tyler, Texas (part of the Azalea Residential Historic District)
* Marvin United Methodist Church (1942 remodel and parsonage), 300 W. Erwin St., Tyler, Texas, NRHP-listed
* Thomas and Edna Pollard House (1935), 801 Troup Highway, Tyler, Texas
* Ramey House (1935 interior remodel), 605 S. Broadway, Tyler, Texas (Simons, Shirley), NRHP-listed
* St. Gregory Elementary School, 400 South College Avenue, Tyler, Texas
* St. John's AF & AM Lodge, 323 W. Front Street, Tyler, Texas (Simons, T. Shirley Sr.), NRHP-listed
* Shirley Simons Residence, 118 West Fourth, Tyler, Texas (part of the Azalea Residential Historic District)
* Tyler City Hall (1938), 212 N. Bonner Avenue, Tyler, Texas (Simons, T. Shirley, Sr.), NRHP-listed
* Tyler Junior College original campus building plan
* Tyler Little Theatre (1939), 1014 W. Houston, Tyler, Texas
* Tyler U.S. Post Office and Courthouse, aka William M. Steger U.S. Courthouse (1934), 211 W. Ferguson Street, Tyler, Texas (Simons, Shirley), NRHP-listed
* White House, aka The Castle (1929), 116 Lindsey Lane, Tyler, Texas
* Willow Brook Country Club, 3205 West Erwin Street, Tyler, Texas
* Witherup Home (1932), 212 West Dobbs Street, Tyler, Texas
* Woman's Building (1931), 911 South Broadway, Tyler, Texas (part of the Azalea Residential Historic District) (Shirley Simons, Sr., and Sam R. Hill)

## Works in Lufkin, Texas

* Angelina Hotel, West Shepherd and South First, Lufkin, Texas
* Bowers-Felts House, 1213 Lotus Lane, Lufkin, Texas (Simons, Shirley), NRHP-listed
* Brookshire, Houston-Yeates House, 304 E. Howe Street, Lufkin, Texas (Simons, Shirley), NRHP-listed
* Central Ward Grammar School, Lufkin, Texas (demolished)
* Everitt-Cox House (1922 remodel), 418 Moore, Lufkin, Texas (Simons, Shirley), NRHP-listed
* First National Bank Building, northeast corner of Lufkin Avenue and First Street, Lufkin, Texas
* Kurth Memorial Library, Cotton Square facing Lufkin Avenue, Lufkin, Texas
* Kurth Ward Grammar School, Lufkin, Texas
* Pines Theatre, 113 South First Street, Lufkin, Texas, NRHP-listed
* School on South Raguet, Lufkin, Texas
* Shands Gymnasium, Lufkin, Texas (demolished)

## Works in other cities


title: Shofuso Cherry Blossom Festival

abstract: The Subaru Cherry Blossom Festival of Greater Philadelphia, at Shofuso Japanese House and Garden, is an annual spring celebration based on the Japanese custom of Hanami. The festival, which is presented by the Japan America Society of Greater Philadelphia, commemorates a 1926 gift of 1,600 cherry blossom trees from Japan to the City of Philadelphia.

text:
# Shofuso Cherry Blossom Festival

The **Subaru Cherry Blossom Festival of Greater Philadelphia**, at Shofuso Japanese House and Garden, is an annual spring celebration based on the Japanese custom of *Hanami* (cherry blossom viewing). The festival, which is presented by the Japan America Society of Greater Philadelphia, commemorates a 1926 gift of 1,600 cherry blossom trees from Japan to the City of Philadelphia.

## History

In honor of the 150th anniversary of American independence and as a gesture of goodwill, the Japanese government donated 1,600 cherry trees and other flowering trees to the City of Philadelphia in 1926.

In 1998, continuing the legacy of the original gift of trees, the Japan America Society of Greater Philadelphia made a 10-year pledge to plant 1,000 new cherry blossom trees in Philadelphia. About 250 people attended a dinner at Fairmount Park's Memorial Hall to help fund the costs of buying and planting the first 100 of Philadelphia's new cherry trees. Following that, there was a tree planting ceremony to celebrate the installation of the new cherry trees.

The cherry tree planting and fundraising continued for a few years at the same modest level, staying mostly within the Japanese and Japanese-American community in Philadelphia. The celebrations were lively but intimate, as the cherry tree planting project had not yet entered the public's awareness.

As the number of cherry blossom trees grew and the tree planting project began to attract more attention, Philadelphia started to become recognized a suitable venue for a Japanese style celebration of spring. In 2003, Subaru of America, Inc., located just across the river in Cherry Hill, NJ, increased its support of the cherry tree planting project with title sponsorship, and the Subaru Cherry Blossom Festival of Greater Philadelphia was born. Two days of events expanded to one full week, and grew again in 2005 to two whole weeks of Japanese cultural festivities.

Having completed the ten-year goal of 1,000 tree plantings in 2007, the Japan America Society of Greater Philadelphia created a new 5-year plan to bring cherry blossom trees to 10 community parks throughout the City of Philadelphia. The Shofuso Cherry Blossom Festival continues as a means of supporting the ongoing tree planting project, and moreover honoring and celebrating the Japanese government's 1926 gift of goodwill and springtime festivity.

2020 saw the first cancellation caused by the COVID-19 pandemic. The festival has been resumed for 2022, and will take place in West Fairmount Park from April 8 to April 10, 2022.

In March 2023, the festival was renamed back as **Subaru Cherry Blossom Festival** of Greater Philadelphia, with title sponsorship from Subaru of America.

## Events

The Shofuso Cherry Blossom Festival of Greater Philadelphia features many cultural events such as music performances, workshops, online concerts and lectures to explore Japanese culture.

**Sakura Sunday**, an outdoor Japanese cultural fair that takes place at the Horticulture Center in Fairmount Park, is the festival's largest event. Family and friends come together under the blossoms to experience performances, meet visitors from Japan, and watch the Festival tree planting ceremony.


title: Saskia Slegers

abstract: Saskia Slegers, known professionally as Miss Djax, is a Dutch DJ and producer who has run the influential music label Djax since 1989.

text:
# Saskia Slegers

**Saskia Slegers** (born c. 1962), known professionally as **Miss Djax**, is a Dutch DJ and producer who has run the influential music label Djax since 1989.

## Career

Based in Eindhoven, Slegers started to DJ, make and release dance music in the 1980s. She set up the label Djax in 1989, investing 10,000 guilders. Her first release of 1,000 records sold out in a week, so she pressed up more copies and immediately recouped her start up costs. Looking back in 2009, she said "It was a question of the right time, the right decision and the right product". Another early success was signing the Amsterdam hip hop group Osdorp Posse in 1991. In the early 1990s, Slegers started to put on techno parties at the Effenaar in Eindhoven. As well as techno and hip hop, Slegers made and released breakcore. She was voted Best DJ by the German magazine *Frontpage* in 1992.

## Label

Slegers' record label Djax and its subsidiaries played a large role in introducing Chicago-style techno to the Netherlands and promoting it around the world. It has released artists such as Armando, Robert Armani and Mike Dearborn. After ten years, she produced a book entitled *1989 – 1999 Djax Records*. To celebrate thirty years of the label, Slegers organised a twelve-hour party at Elementenstraat in Amsterdam in late 2019. The label has over 400 releases.

## InfoBox

| Saskia Slegers | |
| --- | --- |
| Miss Djax | |
| Nationality | Dutch |
| Occupation(s) | DJ, music producer |


title: Show Me the Monet (painting)

abstract: Show Me the Monet is a 2005 oil on canvas painting by graffiti artist Banksy. The work is an appropriation of Claude Monet’s Water Lilies series. Banksy has appropriated Monet’s paintings to now depict a traffic cone and two shopping carts polluting and submerging into Monet's pond at Giverny. The work is believed to be a commentary on the negative impacts of capitalism and consumerism within society. Show Me the Monet exists within Banksy’s Crude Oil series. The work was sold in October 2020 by Sotheby’s. The work was sold for £7.5 million.

text:
# Show Me the Monet (painting)

***Show Me the Monet*** is a 2005 oil on canvas painting by graffiti artist Banksy. The work is an appropriation of Claude Monet’s *Water Lilies* series. Banksy has appropriated Monet’s paintings to now depict a traffic cone and two shopping carts polluting and submerging into Monet's pond at Giverny. The work is believed to be a commentary on the negative impacts of capitalism and consumerism within society. *Show Me the Monet* exists within Banksy’s *Crude Oil* series. The work was sold in October 2020 by Sotheby’s. The work was sold for £7.5 million.

## Analysis

*Show Me the Monet* is a part of the series and exhibition *Crude Oils*, an extremely rare segment of Banksy's body of work, as the canvas is entirely hand painted by him. The work was created during a period when Banksy had to remain indoors, in which he began oil painting, then adding his traditional environmental disruption learnt through his pre-existing practice of graffiti. The work cemented his importance as a controversial and socio-political commentator and satirist.

*Show Me the Monet* is an appropriation or vandalization of Claude Monet's *Water Lilies* series, specifically his series of twelve paintings that depict a Japanese footbridge over a water lily pond. Banksy chose to scale up the painting (143 x 143cm) compared to Monet's smaller compositions. The composition and colouring of the painting is believed to be an amalgamation of three of Monet's water lily paintings: *Le Bassin Aux Nymphéas*, *Water Lilies* and *Japanese Bridge and The Water-Lily Pond*.

Banksy has appropriated the image into a waste-site, adding in two shopping carts and an orange traffic cone half submerged into the water. Through the addition of these objects, he reimagines the original painting to convey the impact of consumption and consumerism on the natural environment, and the sacrifices taken to maintain and advance humans' lifestyles. The iconic image of Monet's *Water Lilies* is a strategic choice. This is one of Monet's most universally recognisable series of paintings and exists within the peak of artistic achievement within the last 100 years of art history. It is a quintessential image within the western canon. Through the selective use and repurposing of Monet's *Water Lilies*, Banksy tackles and criticises one of the perceived heights of human civilisation.

Banksy strategically chose shopping carts to subvert Monet's original image. The shopping cart has evolved from the centrepiece of shopping into a representation of subculture. It now symbolises the height of consumer culture and a way of life under anglophone capitalism. Either full or abandoned, it symbolises consumerism. Through the disruption of the tranquil environment by the contrasting shopping carts Banksy directly challenges a throw-away wasteful society driven by capitalist greed and corporate business.

There is an initial surface level criticism of laziness evoking imagery of consumers who have discarded their shopping carts on land strips or other natural areas such as green spaces or lakes. The laziness depicted within the work can be understood as a symptomatic result of consumption and consumerism in which a lack of personal responsibility prevails. The statement of the shopping cart in the river reads to a much larger ongoing criticism within Banksy’s artworks. *Show Me the Monet* presents a tipping point within society. Disrupted is the idyllic state Monet originally depicted. Now unsettled by waste the work communicates the destruction of Earth as shopping mania prevails.

The title employs a double entendre; Banksy has changed the sentence "show me the money" to reference the artist whose work he is appropriating. The reference could be interpreted as a critique of the traditional gallery institution, and its wealth and elitism. "Show me the money" is often said in movies and television, notably in the movie *Jerry Maguire*. The slogan has now become synonymous with a capitalist society driven by fast earnings through any means. The painting's title suggests the problematic commodification of artworks, and that high claimed artworks such as *Water Lilies* have been reduced to purely a decorative role. Moreover, such works are now being sold in gallery gift shops on various different consumer goods such as t-shirts, tote bags, and mugs. Banksy puts forth a criticism in which timeless artworks have been dismounted from this acclaim. Now these works are reduced to a product driven by a capitalist consumerist society.

A secondary interpretation of the title pertains to the changing dreams and motivations under a consumerist society. Analysed at the artwork contextually with the title Banksy refers to Monet's idyllic 19th century scene as "outdated". Nature originally held advertising and literary connotation of enlightenment, romance, and an attainable end goal within society. Through the title of the work and the visual destruction of the landscape a secondary interpretation suggests that contemporary ideals have shifted towards a "hedonistic, pleasure-oriented consumer culture".

## Auction

The painting was initially expected to have a sale price between £3.5 and £5m. It was eventually sold for £7,551,600 after a nine-minute skirmish between five different potential buyers. The buyer of this work was unknown, but bought it through telephone bidding which was handled by Patti Wong of Sotheby's . At the time of the auction, *Show Me the Monet* had the second-highest auction price for a Banksy artwork, with the most expensive being *Devoted Parliament*.

The painting was put up for auction through Sotheby's auction house and was sold on 21 October 2020. It was included in the Modernités/Contemporary auction lot and was lot number 106. It was put up for sale by Steve Lazarides, Banksy's first agent. He acquired the painting in 2005 directly from Banksy.

The auction of *Show Me the Monet* was highly revered and very public. Due to the direct connection to Monet's *Water Lilies*, Banksy's appropriated painting was considered to be a "holy grail" and something serious collectors would be very interested in acquiring. The auction of the work was highly publicised with Alex Branczik (Sotheby's head of contemporary art) confirming the work was considered to be one of the "strongest and most iconic" works done by Banksy to appear at auction.

Banksy released a statement on Instagram regarding the painting's auction. He posted a quote by art critic Robert Hughes, acknowledging the record breaking sale and stating it was a "shame" he still didn't own the work.

## Exhibition

*Show Me the Monet* has been shown in two official exhibitions and one unofficial one. Within the auction information of the painting Sotheby's provided a comprehensive list of all past exhibitions of the work:

* London, 100 Westbourne Grove, Crude Oils: A Gallery of Re-mixed Masterpieces, Vandalism and Vermin, October 2005
* London, Lazinc Sackville, Banksy, Greatest Hits: 2002-2008, July - September 2018 (unofficial exhibition)
* Denmark, Silkeborg, Museum Jorn, Art Strikes Back: From Jorn to Banksy, September - December 2019, p. 13, illustrated, p. 40, illustrated in colour (installation view, Crude Oils, 100 Westbourne Grove, 2005) and p. 41, no. 7, illustrated in colour

## *Crude Oils* exhibition

*Show Me the Monet* was first exhibited at the *Crude Oils* exhibition, marking Banksy's second gallery exhibition at the disused shop space. The used shop was at 100 Westbourne Grove in Notting Hill, West London. The press release accompanying the exhibition labelled it as a "gallery of remixed masterpieces, vandalism and vermin". The exhibition contained 22 artworks. Prior to the public opening of the exhibition half of the works were sold, for between £10,000 and £22,000. It is unclear whether this sum is the collective total of the paintings sold or individual values.

Banksy publicised the private viewing prior to the public opening of the exhibition on his website. He warned of the gallery's limited space and noted there would be only 40 bottles of cheap wine at the private viewing. He advised that if patrons wanted a serious viewing of the paintings, they should come the following day on the public opening. This statement has been perceived to be a warning to potential scroungers not interested in the art.

The exhibition had entry limitations on the patrons' arrival. This was caused by Banksy's addition of live black rats who lived within the exhibition space. Approximately two hundred rats were loose on the floor, which their faeces adorned. Banksy hired the rats from a film and theatre company. Before entering the gallery space, patrons had to sign a disclaimer. What the disclaimer contained is unknown, but it is generally presumed that Banksy wouldn't be liable for any risks pertaining to the rats. The exhibition also contained a deceased gallery attendant dressed in a suit shirt, tie, coat and hat. The rats crawled around his skeleton, in between his shirt collar and vertebrae, and in and out of his exposed ribcage.

Neighbouring businesses threatened legal action towards the exhibition due to the live rats and permeating faecal smells. However, the show was cleared by the Environmental Health Services. The rats would go on to live in the glass front of the shop for the two-week duration of the exhibition.

The exhibition was considered to test the "critics' mettle" whilst also providing a deeper contextual investigation to the works presented. The rats living within the exhibition connected to a long existing motif within Banksy's work. He has continuously used rats to provide a symbolic representation within his work. Much like Banksy, the rat is known as a trickster in Chinese mythology. However, within a western context, rats have represented a lowly unwanted animal, containing disease and filth. They have become a significant part of Banksy's identity, drawing a parallel with graffiti artists' unwanted nature but their perseverance to persist in society. Banksy stated his fantasy for "all the little powerless losers" to "gang up together".

The rats also connect to the idea of a rat race or rat society in which people's qualities and way of living have something in common with rats. The symbolic representation of the rat connects to large themes within the exhibition and specifically the painting *Show Me the Monet*. This links to ideas of consumerism and capitalism for no greater good.

## Criticism

There has been limited criticism to the painting *Show Me the Monet*. There is initial criticism to the works perception and then a secondary criticism to the high selling price of the painting.

The initial criticism of the work pertains to Banksy’s continual discussion of socio-political issues that pertain to a cliché of the progressive left. The main centric criticism concerns that Banksy’s use of imagery and ideas are repetitive and uninteresting. Specifically with *Show Me the Monet* these criticisms specially relate to Banksy’s exploration of capitalism as a social exploiter or Monet’s masterful fine art is state or inaccessible to contemporary audiences. *Show me the Monet* was criticised to be “schoolboy stuff” lacking conceptual range and ambiguity, nothing more than a one liner.

A secondary criticism of the work is surrounding the conceptuality of the work and then the eventual high selling price of the painting. The auction of the work presented to be a point of criticism of the artworks statement when presented in conjunction with the sale price. As the painting deals with themes of capitalism and consumerism. There was question as to if the exurbian sale price undermined the message and concept of the work. The critique centres around the idea due to the high selling price the initial message of the work is overshadowed. Due to the themes of the painting the high auction price of the work invalidates the criticisms presented by Banksy. Moreover there is thought to be a mocking by the elite art buyers towards Banksy as their purchase shows little care towards the social message his work contains. The criticism of *Show me the Monet* is further extended to Banksy’s purchasable body of work; centred on the idea that while Banksy’s work continues to have monetary value his message would become “lost in the noise”.

This criticism was soon dismissed as it conversely added to the meaning. Art dealer Michael Reid confirmed the sale prices addition to the painting's meaning. Reid states that Banksy’s success comes from his “inversion of popular culture” at the expense of the upper class and high culture. The financial success at a public auction will also deeply cement the artwork into a cultural and art historical landscape.

## InfoBox

| Show Me the Monet | |
| --- | --- |
| Artist | Banksy |
| Year | 2005 (2005) |
| Medium | Oil painting on canvas |
| Subject | Consumerism, capitalism and pollution |
| Dimensions | 143 cm × 143 cm (56 in × 56 in) |
| Location | Privately owned |