title: The Centre (Saskatoon)

abstract: The Centre is a major shopping mall located south-east of the junction of Circle Drive and 8th Street in Saskatoon, Saskatchewan in the Wildwood neighbourhood. Sometimes commonly referred to as The Centre At Circle And 8th or The 8th Street Mall It is currently anchored by Sport Chek, Saskatoon Co-op, Rainbow Cinemas, the Centre Cinemas, Shoppers Drug Mart, Best Buy, Indigo Books and Music and Dollarama. Until 2003–2005, Canadian Tire and Walmart were also part of this mall. They both moved to the big box development of Preston Crossing; a Zellers department store that had operated in the west end of the mall since it was built in the early 1970s subsequently relocated from its original location to occupy the vacated Walmart location at the east end. The Zellers has since closed and has been converted into Target, which also subsequently closed. The Centre boasts more than 90 shops and services, several art display spaces in Centre East, and a 2-level temperature-controlled underground parkade.

text:
# The Centre (Saskatoon)

**The Centre** (former branded as The Centre at Circle and 8th) is a major shopping mall located south-east of the junction of Circle Drive and 8th Street in Saskatoon, Saskatchewan in the Wildwood neighbourhood. Sometimes commonly referred to as The Centre At Circle And 8th or The 8th Street Mall It is currently anchored by Sport Chek, Saskatoon Co-op, Rainbow Cinemas, the Centre Cinemas, Shoppers Drug Mart, Best Buy, Indigo Books and Music and Dollarama. Until 2003–2005, Canadian Tire and Walmart were also part of this mall. They both moved to the big box development of Preston Crossing; a Zellers department store that had operated in the west end of the mall since it was built in the early 1970s subsequently relocated from its original location to occupy the vacated Walmart location at the east end. The Zellers has since closed and has been converted into Target, which also subsequently closed. The Centre boasts more than 90 shops and services, several art display spaces in Centre East, and a 2-level temperature-controlled underground parkade.

## History

### Precursors

The Centre was created by the merging of two established shopping centres:

#### Wildwood Mall

Opened on April 25, 1977, Wildwood Mall (now Centre East) was only the second proper enclosed mall on the east side of Saskatoon. Its original anchor tenants were Woolco, a discount department store, and Dominion, a grocery store. The closure of Dominion in the 1980s resulted in a series of unsuccessful renovation attempts. A food court was added but sat mostly vacant (by this time the larger Circle Park Mall had already established its own food court across the street). The remainder of the former Dominion space was initially occupied by a home video rental business (Jumbo Video, which closed after a couple of years), then after 1992 by Pinder's Drugs (later Shopper's Drug Mart; after Shopper's purchased the Pinder's chain there was a period of about a year during which two SDM locations were adjacent to each other, due to there already being one in Circle Park Mall). In 1994, Woolco became Wal-Mart, around the time discussions regarding amalgamation with Circle Park Mall began in earnest. During the mid-1990s, Wildwood Mall had a large number of vacancies and came close to dead mall territory before the two malls were joined. The two movie theatres now situated on the west side of Centre East were built as part of the amalgamation and take up most of the area previously held by Dominion and the later food court/Pinders sites (the section also hosted a Dollarama store until it relocated to Centre West). In the summer of 2004 a new Walmart had started construction in nearby Preston Crossing several kilometres North from Centre Mall. It had completed and opened in January 2005 after the 2004 holiday season. In spring 2006, Zellers had re-located from its original west anchor spot to the Walmart outlet. The older Zellers outlet was vacant but left open to foot traffic for the Safeway store (now Co-op) before it was demolished and re-built as a Best Buy in autumn of 2010. In the holiday season of 2012, Zellers closed its doors for the last time before renovation began in winter of 2013. The renovation took seven months and Target opened in July 2013, then closed in spring of 2015. In 2016 the west quarter portion of the Target was renovated with an Ardene women's clothing outlet taking its place.

#### County Fair Plaza and Circle Park Mall

Centre West first opened in May 1970 as County Fair Plaza. It was not a true shopping mall, but a collection of two major stores, a Zellers department store (which opened on May 28, 1970) and Canada Safeway grocery store (opening date July 14, 1970), that were joined, along with a few smaller shops accessed via a short corridor, including a Pinder's Drug Store (later Shopper's Drug Mart) location and a bank. In 1985-1986 the mall underwent a significant expansion to become a major enclosed shopping centre, with Canadian Tire relocating from Market Mall to become an anchor tenant (that store would close in early 2003 and relocate to Preston Crossing) and a food court, plus an underground parkade. The expanded mall was rebranded Circle Park Mall. In the mid-1990s, Circle Park and Wildwood malls merged to form The Centre.

### Post-merger

In 1995, the two malls were connected by an underground link under Acadia Drive (after the city rejected a proposal for an at-grade extension that would have resulted in Acadia, a major access route into the Wildwood and Lakeview communities, being closed to traffic). The two "sides" of the mall are now known as "Centre East" and "Centre West". Target Canada briefly operated a store at in Centre East, replacing Zellers (which had previously relocated from its longtime position anchoring Centre West after Wal-Mart pulled out of its Centre East location). Its space has since been reallocated to smaller tenants such as clothing chain Ardene and GoodLife Fitness. In the late-2000s, the former Zellers location in Centre West was repurposed for several smaller retailers and a Best Buy anchor store. As part of this renovation, the Canada Safeway, which was previously accessed through Zellers, was converted into a standalone store, no longer joined physically to the mall. Around this time a standalone block of shops including a branch of Indigo Books and Music was constructed along the north side of the property; although not physically connected to the rest of the mall, these retailers are considered part of The Centre.

Following its merger with Sobeys, the Safeway grocery store was divested to Saskatoon Co-op, who moved its 8th Street food store to the mall.

In May 2018, it was announced that Cineplex would open a new seven-screen cinema on the property in 2019, replacing its existing Cineplex Odeon Centre Cinemas location inside the mall. It was concurrently announced that Rainbow Cinemas, the mall's neighbouring second-run cinema, would shut down in 2020, as the mall's owners had declined to renew its lease due to an exclusivity agreement with Cineplex. The new cinema, which maintains a corridor connection to the mall, opened October 25, 2019. In 2019, renovation work began in Centre East (including the tunnel connection under Acadia Drive) in preparation for redevelopment of the soon-to-be-vacated theatres.

## Anchor tenants

## Former anchor tenants

## InfoBox

The Centre
| Centre "East" | |
| --- | --- |
|  | |
| Location | Saskatoon, Saskatchewan, Canada |
| Coordinates | 52°6′48″N 106°35′56″W / 52.11333°N 106.59889°W / 52.11333; -106.59889 |
| Address | 3510 8th Street East |
| Opening date | 1995 |
| Management | Morguard REIT |
| Owner | Ameer Awad |
| No. of stores and services | 89 |
| No. of anchor tenants | 7 - Saskatoon Co-op, Sport Chek, Atmosphere, Shoppers Drug Mart, Centre Cinemas, Rainbow Cinemas, Best Buy, Indigo Books and Music |
| Total retail floor area | 519,347 sq.ft |
| No. of floors | 1 |
| Parking | 2373 including two level free heated underground parking and free above ground parking |
| Website | www.thecentremall.com |


title: The Cool World (novel)

abstract: The Cool World is a novel published 1959 written by American author Warren Miller. Subsequent adaptations for a play and film of the same title were released in 1960 and 1964, respectively. The Cool World was a finalist for the National Book Award in 1960.

text:
# The Cool World (novel)

***The Cool World*** is a novel published 1959 written by American author Warren Miller. Subsequent adaptations for a play and film of the same title were released in 1960 and 1964, respectively. ***The Cool World*** was a finalist for the National Book Award in 1960.

## InfoBox

The Cool World
| First edition | |
| --- | --- |
| Author | Warren Miller |
| Cover artist | Edward Sorel |
| Language | English |
| Publisher | Little, Brown and Company |
| Publication date | 1959 |
| Publication place | United States |
| Media type | Print (Hardcover) |
| Pages | 241 pp |
| OCLC | 710671 |


title: The Cool Stuff Collective

abstract: The Cool Stuff Collective is a British children's television programme, which was produced for three series that aired on ITV and CITV respectively from 13 September 2010 to 24 December 2011. The show featured reviews of the latest and forthcoming video games, gadgets, films and music. CITV also broadcast a similar format programme called "Play The Game" in 2004. Sy Thomas presented the programme for the majority of its run, with Vicky Letch and The Blowfish later taking over for the final series. Each episode primary school aged children, known as the cool stuff committee, would review a range of pop culture items.

text:
# The Cool Stuff Collective

***The Cool Stuff Collective*** is a British children's television programme, which was produced for three series that aired on ITV and CITV respectively from 13 September 2010 to 24 December 2011. The show featured reviews of the latest and forthcoming video games, gadgets, films and music. CITV also broadcast a similar format programme called "Play The Game" in 2004. Sy Thomas presented the programme for the majority of its run, with Vicky Letch and The Blowfish later taking over for the final series. Each episode primary school aged children, known as the cool stuff committee, would review a range of pop culture items.

## Presenters

* **Sy Thomas** (2010–11)
* **Vicky Letch** (2011)
* **Tom "The Blowfish" Hird** (2011)

## Controversy

In 2011, the programme was found to have breached Ofcom's rules on product placement. Ofcom stated that many of the items featured on the show ended with "overt encouragements" to consider purchase of the product.

## Series Guide

| Series | Premiere | Last in series | Episodes |
| --- | --- | --- | --- |
| **1** | 13 September 2010 | 13 December 2010 | 14 |
| **2** | 29 January 2011 | 30 April 2011 | 14 |
| **3** | 15 October 2011 | 24 December 2011 | 11 |

## InfoBox

| *The Cool Stuff Collective* | |
| --- | --- |
|  | |
| Genre | Children's |
| Starring | Sy Thomas
Vicky Letch
The Blowfish |
| Country of origin | United Kingdom |
| Original language | English |
| No. of series | 3 |
| No. of episodes | 39 |
| Production | |
| Running time | 30mins |
| Production company | Archie Productions |
| Original release | |
| Network | ITV (CITV) |
| Release | 13 September 2010 (2010-09-13)
24 December 2011 (2011-12-24) |


title: The Desert Sessions

abstract: The Desert Sessions are a musical collective series, founded by Josh Homme in 1997. Artists such as Brant Bjork, PJ Harvey, Twiggy Ramirez, Dave Catching, Nick Oliveri, Mark Lanegan, John McBain, Ben Shepherd, Josh Freese, Chris Goss, Alain Johannes, Troy Van Leeuwen, Dean Ween, Les Claypool and many others from the Palm Desert Scene have contributed as songwriters and musicians.

text:
# The Desert Sessions

**The Desert Sessions** are a musical collective series, founded by Josh Homme in 1997. Artists such as Brant Bjork, PJ Harvey, Twiggy Ramirez, Dave Catching, Nick Oliveri, Mark Lanegan, John McBain, Ben Shepherd, Josh Freese, Chris Goss, Alain Johannes, Troy Van Leeuwen, Dean Ween, Les Claypool and many others from the Palm Desert Scene have contributed as songwriters and musicians.

## History

### Background

The Desert Sessions began in August 1997 at the Rancho De La Luna in Joshua Tree when Josh Homme brought together musicians from the bands Monster Magnet, Goatsnake, earthlings?, and Kyuss. The ranch, located in the Mojave Desert, has an old house filled with rare and unique recording equipment and instruments, and was owned by Dave Catching and the late Fred Drake. With the large numbers of musicians arriving to the ranch over time, and with many albums having been produced there, the setting has been described as creating a unique "desert sound" comparable to the grunge rock of Seattle in the early 1990s and the acid rock of San Francisco in the 1960s.

The first Desert Session was not actually a "session" *per se*, but Homme and his band at the time (The Acquitted Felons) playing for three days straight on psychedelic mushrooms. Since then, the Desert Sessions have become legendary, growing in intensity and artistic merit. Homme said:

> At Desert Sessions, you play for the sake of music. That's why it's good for musicians. If someday that's not enough anymore, or that's not the reason behind you doing it—that's not your *raison d'être*—then a quick reminder like Desert Sessions can do so much for you, it's amazing. It's easy to forget that this all starts from playing in your garage and loving it.

### Improvisational atmosphere

Desert Sessions songs are written "on the spot," often in a matter of hours. Many stories have sprung from the improvisational atmosphere of the ranch. For example, the song "Creosote" from *Volumes 9 & 10* was written by Dean Ween and Alain Johannes on the ranch's front porch within four minutes of meeting each other. Similarly, Chris Goss and PJ Harvey wrote the song "There Will Never Be A Better Time" for *I See You Hearin' Me* after going out onto the porch of the ranch for four minutes with an acoustic guitar; they re-entered the house and recorded the song in one take, the only time the song was ever played by the collective.

### Homme on project delays

In a 2007 interview with *Rockline*, Homme stated that he was going to be working on a new Desert Sessions album in December 2007, and the first ten will be re-released as a box set. Homme also stated:

> There's nothing going on \[now\]. I wish, but I've run out of time. I'm talking to this one guy about adding four more hours to each day, but he's not real positive about it. Those are never going to end, because there's no reason for them to end. But I'd like to make them more regular. – Josh Homme interview with Billboard.com, April 13, 2007

> The Desert Sessions are gonna go on forever. There's no reason to stop them. No, it wasn't me that said there would be only 12 volumes—I'm gonna do 112! It's just a mix tape—the longest-running mix tape in existence. It's awesome: doing them is just a matter of making the time frame come together. I was really wanting to do one before the new album "Era Vulgaris" came out, but we didn't put a time frame on it and it consumed what would have been that time. I didn't want it to take away from what we were doing. – Josh Homme in May 2007 as recorded by Blabbermouth.net.

After 11 years of inactivity, Homme revealed in October 2014 that he would start working on more Desert Sessions material the following year. Homme added:

> "Because Desert Sessions works best at a certain time of the year, when everything slows and everyone takes a deep breath out. At the end of the year, in that December-January timeframe, everyone has exhaled. And post-exhale is the time to do something like that. So if I miss that window… I miss that window".

### Desert Sessions Volumes 11 & 12

Homme remained silent about the project until May 2019, when he posted an image on Instagram with the hashtags "#Desert, #Sessions, #11, #12".

In September 2019, *Desert Sessions Volumes 11 & 12* were officially announced, along with a comedic promo video featuring Homme and Liam Lynch. The promo includes Homme running through some of the featured artists such as Billy Gibbons, Les Claypool, and Jake Shears.

In October 2019, recordings of the Desert Sessions were released for the first time in sixteen years.

### Live performances

The Desert Sessions have only performed live twice. The live performances, which included Joey Castillo, Troy Van Leeuwen, Brian O'Connor, and Homme, as well as a variety of musicians performing different songs, were performed on an episode of the British music television show *Later... with Jools Holland*, as well as the Coachella Valley Music and Arts Festival in 2004.

## Awards

The art directors for *Desert Sessions Volumes 11 & 12*, Doug Cunningham and Jason Noto, won in the category for "Best Recording Package" at the 2021 Grammy Awards.

## Discography

**Note**

* Desert Sessions 7 & 8, 9 & 10, and 11 & 12 were never released independently of each other. The first two were originally released as two double EPs, and the latter as a single LP.

## Collaborating artists

| Member | Associated acts | 1 & 2 | 3 & 4 | 5 & 6 | 7 & 8 | 9 & 10 | 11 & 12 |
| --- | --- | --- | --- | --- | --- | --- | --- |
| Josh Homme | Queens of the Stone Age, Kyuss, Eagles of Death Metal, Screaming Trees, Them Crooked Vultures, Masters of Reality | X | X | X | X | X | X |
| Fred Drake | earthlings?, Ministry of Fools | X | X | X | X |  |  |
| Dave Catching | Queens of the Stone Age, earthlings?, Mondo Generator, Eagles of Death Metal, Yellow#5, Goon Moon, Peaches | X | X | X |  | X | X |
| Brant Bjork | Kyuss, Fu Manchu, Brant Bjork & The Bros, Fatso Jetson, Mondo Generator, Yellow #5, Vista Chino, Stöner | X |  | X |  |  |  |
| Alfredo Hernández | Kyuss, Queens of the Stone Age, Orquesta del Desierto, Yawning Man, Across the River | X | X |  |  |  |  |
| Pete Stahl | Scream, Wool, Goatsnake, earthlings?, Orquesta del Desierto | X | X |  |  |  |  |
| Ben Shepherd | Soundgarden, Hater, Wellwater Conspiracy | X | X |  |  |  |  |
| John McBain | Monster Magnet, Hater, Wellwater Conspiracy | X | X |  |  |  |  |
| Nick Oliveri | Kyuss, Queens of the Stone Age, Dwarves, Mondo Generator, Vista Chino, Bl'ast, Stöner |  | X | X |  |  |  |
| Mario Lalli | Fatso Jetson, Yawning Man, Across The River |  | X | X |  |  |  |
| Larry Lalli | Fatso Jetson |  | X |  |  |  |  |
| Jesse Hughes | Eagles of Death Metal |  | X |  |  |  |  |
| Craig Armstrong |  |  | X |  |  |  |  |
| Loo Balls |  |  | X |  |  |  |  |
| T. Fresh |  |  | X |  |  |  |  |
| Blag Dahlia | Dwarves, Mondo Generator, Queens of the Stone Age |  |  | X |  |  |  |
| Gene Trautmann | The Miracle Workers, Dig, Queens of the Stone Age, Eagles of Death Metal, Sumo Princess |  |  | X |  |  |  |
| Barrett Martin | Screaming Trees, Mad Season, Queens of the Stone Age |  |  | X |  |  |  |
| Adam Maples | earthlings? |  |  | X |  |  |  |
| Teddy Quinn | Dig Your Own Cactus, Ministry of Fools |  |  | X |  |  |  |
| Tony Mason | Dig Your Own Cactus |  |  | X |  |  |  |
| Chris Goss | Masters of Reality, Goon Moon |  |  |  | X | X |  |
| Alain Johannes | Eleven, What Is This?, Chris Cornell, Queens of the Stone Age, Them Crooked Vultures (live) |  |  |  | X | X |  |
| Natasha Shneider | Eleven, Black Russian, Chris Cornell, Queens of the Stone Age |  |  |  | X |  |  |
| Mark Lanegan | Screaming Trees, Mad Season, Queens of the Stone Age, The Twilight Singers, The Gutter Twins, Isobel Campbell, Soulsavers |  |  |  | X |  |  |
| Brendon McNichol | Rattlebone, Masters of Reality, Queens of the Stone Age |  |  |  | X |  |  |
| Samantha Maloney | Hole, Mötley Crüe, Eagles of Death Metal, Peaches |  |  |  | X |  |  |
| Nick Eldorado | LIKEHELL |  |  |  | X |  |  |
| PJ Harvey | PJ Harvey |  |  |  |  | X |  |
| Troy Van Leeuwen | Failure, A Perfect Circle, Enemy, Gone Is Gone, Queens of the Stone Age, Sweethead |  |  |  |  | X |  |
| Joey Castillo | Zilch, Wasted Youth, Danzig, Goatsnake, Sugartooth, Queens of the Stone Age, Eagles of Death Metal, Bl'ast, California Breed |  |  |  |  | X |  |
| Dean Ween | Ween, Moistboyz |  |  |  |  | X |  |
| Josh Freese | The Vandals, Devo, A Perfect Circle, Nine Inch Nails |  |  |  |  | X |  |
| Jeordie White | Nine Inch Nails, Goon Moon, A Perfect Circle, Marilyn Manson |  |  |  |  | X |  |
| Brian O'Connor | Eagles of Death Metal |  |  |  |  | X |  |
| Christian Grahn | The Hives |  |  |  |  | X |  |
| Sasha Vallely | Spindrift, Lords of Altamont, Mondo Generator, King Adora, Sash The Bash, Midnight Larks, The Mobsters, The Silver Chords |  |  |  |  | X |  |
| Matt Berry |  |  |  |  |  |  | X |
| Billy Gibbons | ZZ Top |  |  |  |  |  | X |
| Stella Mozgawa | Warpaint |  |  |  |  |  | X |
| Jake Shears | Scissor Sisters |  |  |  |  |  | X |
| Mike Kerr | Royal Blood |  |  |  |  |  | X |
| Carla Azar | Autolux, Jack White |  |  |  |  |  | X |
| Les Claypool | Primus, Blind Illusion, the Holy Mackerel, Buckethead, Fearless Flying Frog Brigade, Oysterhead, Colonel Claypool's Bucket of Bernie Brains, The Claypool Lennon Delirium |  |  |  |  |  | X |
| Matt Sweeney | Chavez, Zwan, Skunk |  |  |  |  |  | X |
| Libby Grace |  |  |  |  |  |  | X |
|

1. Appleford, Steve (October 23, 2019). "After 16 years, Josh Homme rekindles the 'Desert Sessions': 'This will outlast everything I do'". *Los Angeles Times*. Retrieved July 17, 2023. (subscription required)
2. "The Desert Sessions". *Discogs*. Archived from the original on July 11, 2023. Retrieved July 18, 2023.
3. Babcock, Jay. "Volume 9: I See You Hearin' Me Volume 10: I Heart Disco". *Ipecac Recordings*. Archived from the original on July 18, 2023. Retrieved July 18, 2023.
4. van Horn, Teri (November 12, 1998). "Queens Of The Stone Age At Home In Desert". *MTV*. Archived from the original on August 12, 2022. Retrieved July 18, 2023.
5. Jenke, Tyler (May 5, 2019). "Josh Homme has teased the return of his legendary Desert Sessions". *The Brag Media*. Archived from the original on November 8, 2020. Retrieved July 18, 2023.
6. McCloskey, Caroline (February 3, 2020). "The Last Stand of the Great Rock & Roll Mother\*ckers". *GQ*. New York City: Condé Nast. Archived from the original on February 4, 2020. Retrieved July 17, 2023.
7. Chelin, Pamela (February 28, 2022). "Rhythm on the Ranch". *Palm Springs Life*. Palm Springs, California: Desert Publications. Archived from the original on July 3, 2022. Retrieved July 17, 2023.
8. Gill, David (October 11, 1998). "Debut Earthlings? Album Blooms In Desert Studio". *MTV*. Archived from the original on May 30, 2023. Retrieved July 18, 2023.
9. McGee, Alan (March 4, 2008). "The Ascent of Homme". *The Guardian*. Archived from the original on October 7, 2014. Retrieved July 22, 2023.
10. Cullen, Kyle (October 26, 2019). "Desert Sessions Debut Animated Music Video for 'Crucifire'". *mxdwn.com*. Archived from the original on September 25, 2021. Retrieved July 18, 2023.
11. "Desert Sessions 7 & 8". *The Line of Best Fit*. February 25, 2010. Archived from the original on July 19, 2023. Retrieved July 17, 2023.
12. Blandford, James (2004). *PJ Harvey: Siren Rising*. London: Omnibus Press. p. 153. ISBN 1-84449-433-0.
13. Newcomb, Ming Lee (May 3, 2019). "Josh Homme hints at new Desert Sessions albums". *Consequence*. Archived from the original on July 14, 2022. Retrieved July 19, 2023.
14. "Josh Homme on the Power of Desert Sessions and Waiting for Them Crooked Vultures". *Rolling Stone* (Interview). Interviewed by Kory Grow. November 2, 2019. Retrieved July 22, 2023. (subscription required)
15. "Creosote". *SonicHits*. Archived from the original on July 18, 2023. Retrieved July 17, 2023.
16. Coburn, Bob; Josh Homme; Troy Van Leeuwen (July 30, 2007). "Queens new material". Rockline radio. Archived from the original (radio interview) on June 20, 2017. Retrieved August 1, 2007.
17. Cohen, Jonathan (April 13, 2007). "Reznor Guest Spot Adds Mystery To QOTSA Album". *Billboard.com*. Archived from the original on June 30, 2022. Retrieved July 19, 2023.
18. "Queens of the Stone Age's Josh Homme Rules Out KYUSS Reunion". *Blabbermouth.net*. May 8, 2007. Archived from the original on May 10, 2007. Retrieved May 8, 2007.
19. Appleford, Steve (October 22, 2014). "Queens of the Stone Age's Josh Homme Is Our Last Real Rock Star". *LA Weekly*. Archived from the original on June 16, 2021. Retrieved July 16, 2023.
20. Jones, Damian (May 3, 2019). "Josh Homme teases new Desert Sessions project". *NME*. Archived from the original on October 26, 2019. Retrieved October 26, 2019.
21. Foulk, Nick (May 2, 2019). "Josh Homme Teases Desert Sessions 11 and 12 on Instagram". *mxdwn.com*. Archived from the original on November 28, 2021. Retrieved July 17, 2023.
22. Young, Alex (September 26, 2019). "Josh Homme announces Desert Sessions Vol. 11 & 12". *Consequence*. Archived from the original on April 21, 2021. Retrieved July 17, 2023.
23. Trendell, Andrew (September 26, 2019). "Josh Homme announces star-studded line-up for 'Desert Sessions' volumes 11 and 12". *NME*. Archived from the original on September 26, 2019. Retrieved July 18, 2023.
24. Jones, Damian (October 16, 2019). "Watch Josh Homme try and perform a Satanic seance in hilarious promo for 'Desert Sessions' Volumes 11 and 12". *NME*. Archived from the original on October 18, 2019. Retrieved July 18, 2023.
25. Moon, Tom; O'Connor, Gabe (November 5, 2019). "Josh Homme's Rotating Supergroup The Desert Sessions Returns For 'Vols. 11 & 12'". *NPR*. Archived from the original on November 6, 2019. Retrieved July 18, 2023.
26. Cooper, Leonie (October 17, 2017). "Josh Homme's 10 finest moments". *NME*. Archived from the original on June 4, 2020. Retrieved July 17, 2023.
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28. Libbey, Peter (March 15, 2021). "2021 Grammy Awards". *The New York Times*. p. C2. Retrieved July 18, 2023. (subscription required)

## InfoBox

| The Desert Sessions | |
| --- | --- |
| Origin | Palm Desert, California, U.S. |
| Genres |  |
| Years active | * 1997–2004 * 2018–present |
| Labels |  |
|  | |
| Website | www.desertsessions.com |


title: The Costa Rica Star

abstract: The Costa Rica Star is an English-language news publication that has been online since late 2011. As of 2014, the focus of this website was to cater to the English-speaking expatriate population in Costa Rica, particularly those living in the Central Valley and in the province of Guanacaste.

text:
# The Costa Rica Star

***The Costa Rica Star*** is an English-language news publication that has been online since late 2011. As of 2014, the focus of this website was to cater to the English-speaking expatriate population in Costa Rica, particularly those living in the Central Valley and in the province of Guanacaste.

## History

The website's About page indicates that *The Costa Rica Star* was founded in December 2011 by a Canadian citizen living in Costa Rica as a full-time legal resident. One of the first articles on the site reported on the death of British political author and thinker Christopher Hitchens, who died on 15 December 2011. The website's Facebook Timeline had more than 90,000 followers as of January 2020

## Style of reporting

Many of the articles published by *The Costa Rica Star* are based on news stories found on Spanish-language media websites of Costa Rica such as *Costa Rica Hoy* and *La Nacion*. The authors add context deemed useful to expatriate readers and foreigners and constantly links to original sources, and Wikipedia seems to be a favorite source for fact checking. *The Costa Rica Star* invites contributions from citizen journalists and has a signup page for this purpose.

### Paul Watson

On May 13, 2012, *The Costa Rica Star* reported on the arrest of Paul Watson, founder of the Sea Shepherd Conservation Society, by German law enforcement officials in Frankfurt. From that day on, it reported extensively on Watson, once eliciting comments from Watson himself through the website's Facebook commenting plugin. On this matter, *The Costa Rica Star* also published press communications written by Paul Watson for the Sea Shepherd Conservation Society, as well as an official response from the International Whale Protection Organization.

### War on drugs reporting

*The Costa Rica Star* routinely reports on matters related to the war on drugs as they affect Costa Rica and Central America. In July 2013, an article entitled "Snow Job: U.S. Air Force Flies Cocaine from Costa Rica to Miami", was the first English-language news report of a cargo airlift operation involving 24 tons of seized cocaine flown out of the Daniel Oduber Quiros International Airport for destruction on U.S. soil. In August 2013, *The Costa Rica Star* reported on the drug interdiction operations of the USS Rentz, which seized 963 kilos of cocaine from a fishing vessel flying the Costa Rican flag near the Galapagos Islands. *The Costa Rica Star* reported that the fishing vessel sank after being taken in two by the USS Rentz, a fact that the U.S. Embassy denied on Twitter; however, ship logs and reports from Costa Rican law enforcement agencies confirmed the sinking.

### Social experiment controversy

In early 2014, *The Costa Rica Star* published an old and inaccurate article about changes to Costa Rica's stance on perpetual tourism, which were purportedly slated to take place in March 2014. The article caused commotion among the expatriate community of Costa Rica, which turned into consternation once it was revealed as old and incorrect. *The Costa Rica Star* claimed that the publication was part of a social experiment to illustrate the dangers of misinformation; one reader who was not amused organized a petition to boycott advertising on the site.

## Recognition

The editor of *The Costa Rica Star* was once interviewed by *El Financiero*, a business weekly published by the leading Spanish daily Grupo Nacion. The publication has also been mentioned by *The Times of Israel*, the Sea Shepherd Conservation Society, BBC News, Quartz, and UNESCO for its coverage of International Jazz Day 2012.

### Brian Pallister investigation

On April 16, 2016, *The Costa Rica Star* heeded a request by Canadian news media outlets to look into the assets owned by Brian Pallister, a conservative politician and the Leader of the Opposition of the Manitoba Legislative Assembly at the time. The investigation revealed that Pallister was president of a Finca Deneter Doce, Sociedad Anónima, a holding company for three pieces of real estate in the highly sought-after coastal district of Tamarindo, in the northwestern province of Guanacaste. Pallister had been under fire for spending too much time in Costa Rica when he should have been minding his legislative duties. The Canadian Broadcasting Corporation and the Winnipeg Free Press cited the investigative work of *The Costa Rica Star*, even as a spokesperson of the Progressive Conservative Party asserted that Pallister did not conduct business or owned properties in Costa Rica, although public records proved otherwise.

1. "The Costa Rica Star". *The Costa Rica Star*. Retrieved 24 August 2014.
2. "The Costa Rica Star / Guanacaste Section". *The Costa Rica Star - Guanacaste*. Retrieved 24 August 2014.
3. "Costa Rica According to Christopher Hitchens". *The Costa Rica Star*. Retrieved 24 August 2014.
4. "The Costa Rica Star Facebook". Facebook. Retrieved 24 August 2014.
5. "CRHoy". *www.crhoy.com*. Retrieved 24 August 2014.
6. "Become a citizen journalist". *The Costa Rica Star*. Retrieved 24 August 2014.
7. "Paul Watson at the Costa Rica Star". *The Costa Rica Star*.
8. "Response from the International Whale Protection Organization regarding Paul Watson". The Costa Rica Star. 23 May 2012. Retrieved 24 August 2014.
9. Lopez, Jaime. "Snow Job: U.S. Air Force Flies Cocaine from Costa Rica to Miami". The Costa Rica Star. Retrieved 24 August 2014.
10. Lopez, Jaime (23 September 2013). "The US Navy Cocaine Trail, From Costa Rica to Florida". The Costa Rica Star. Retrieved 24 August 2014.
11. Evans, Marcel (12 January 2014). "New Law in Costa Rica for Perpetual Tourists". The Costa Rica Star. Retrieved 24 August 2014.
12. "New Perpetual Tourism Law "Social Experiment"". LowTide Lounge. Facebook. 13 January 2014. Retrieved 24 August 2014.
13. "US Expats CR Petition to Stop Businesses Ads at Costa Rica Star". *Tico Times Directory*.
14. Brenes Quiros, Cesar (June 2012). "Más medios digitales llegan al país". El Financiero. Retrieved 24 August 2014.
15. Ghertt-Zand, Renee (12 June 2012). "Costa Rican customs gives dentist a food carte blanche". The Times of Israel. Retrieved 24 August 2014.
16. "Captain Paul Watson's Arrest Appears to Be Bad News for the Shark Finners of Costa Rica". Sea Shepherd Conservation Society. 27 June 2012. Retrieved 24 August 2014.
17. "Costa Rica: Street dogs 'to join police'". *BBC News*. BBC. 21 October 2013. Retrieved 24 August 2014.
18. Guilford, Gwynn. "The longest living Costa Ricans also happen to be the poorest". *Quartz*.
19. "International Jazz Day 2012" (PDF). *JazzDay.org*. UNESCO. Retrieved 24 August 2014.
20. "Records reveal Brian Pallister's assets in Costa Rica". *Costa Rica Star News*. Retrieved 17 April 2016.
21. "NDP calls on Pallister to 'come clean' with Manitobans about Costa Rica". *www.cbc.ca*. Retrieved 17 April 2016.
22. "Pallister must tell whole truth about Costa Rican holdings: Chomiak". *www.winnipegfreepress.com*. Retrieved 17 April 2016.

## InfoBox

The Costa Rica Star
| Type | Daily newspaper |
| --- | --- |
| Format | Online and Print Publication |
| Owner(s) | Private |
| Founded | December 2011 |
| Language | English |
| Headquarters | San Jose, Costa Rica |
| Sister newspapers | Inside Costa Rica |
| Website | https://news.co.cr/ |


title: The Dancing Class

abstract: The Dancing Class is an oil painting on wood executed ca. 1870 by the French artist Edgar Degas. It was the first of Degas's "ballet pictures". The painting depicts a dancing class at the Paris Opéra. The dancer in the center is Joséphine Gaujelin.

text:
# The Dancing Class

***The Dancing Class*** is an oil painting on wood executed ca. 1870 by the French artist Edgar Degas. It was the first of Degas's "ballet pictures". The painting depicts a dancing class at the Paris Opéra. The dancer in the center is Joséphine Gaujelin (or Gozelin).

* *Impressionism: a centenary exhibition*, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on *The Dancing Class* (p. 94-98)

## InfoBox

| The Dancing Class | |
| --- | --- |
|  | |
| Artist | Edgar Degas |
| Year | c. 1870 |
| Type | oil painting on wood |
| Dimensions | 19.7 cm × 27 cm (7.8 in × 11 in) |
| Location | Metropolitan Museum of Art, New York |


title: The Dancing Couple

abstract: The Dancing Couple is an oil-on-canvas painting that was created by Jan Steen in 1663. It depicts a boisterous party with a dancing couple in the center. This painting is part of the Widener Collection, which currently resides in the National Gallery of Art in Washington, D.C. The setting of the painting is a kermis, which is a local village fair that several Dutch artworks referenced. Kermises were extremely popular in the Bruegel tradition. The Dancing Couple was one of the few paintings which started a new era in Dutch art. Paintings like these depicts a setting which was inspired by the rural working class of the Dutch people. This was a significant change for Dutch art as these settings highlighted a thriving period in their history. A new perspective was shown which changed the way traditional Dutch art was looked at as they focused more on the realistic rural working lifestyle and values of the Dutch people.

text:
# The Dancing Couple

***The Dancing Couple*** is an oil-on-canvas painting that was created by Jan Steen in 1663. It depicts a boisterous party with a dancing couple in the center. This painting is part of the Widener Collection, which currently resides in the National Gallery of Art in Washington, D.C. The setting of the painting is a kermis, which is a local village fair that several Dutch artworks referenced. Kermises were extremely popular in the Bruegel tradition. *The Dancing Couple* was one of the few paintings which started a new era in Dutch art. Paintings like these depicts a setting which was inspired by the rural working class of the Dutch people. This was a significant change for Dutch art as these settings highlighted a thriving period in their history. A new perspective was shown which changed the way traditional Dutch art was looked at as they focused more on the realistic rural working lifestyle and values of the Dutch people.

## Description

Jan Steen depicts a scene that highlights a wide variety of moods and activities, which altogether create an energetic environment. There are more than a dozen subjects in this horizontal painting, all of whom are enjoying themselves. Most of them are dressed in shades of grey, green, and black. Grayish green and yellow floral vines take up the upper portion of this painting, giving it visual depth. In the background stand two men and a woman on the other side of the fence. Their conversation is unknown as they stay huddled together in secrecy. A woman in a greenish-yellow top and grey skirt sits at the very front of the painting, while her child in a bright orange dress stands and gazes at the entertainment with amusement in her eyes. Behind them sits a woman who drinks her wine, meanwhile a man touches her chin while smiling. She wears a black dress with white ruffles, and he wears a brown shirt with a white drape around his neck. Behind the people eating at the table are two couples talking and laughing together and three men who stand and watch the couple in the middle of the room dancing. The woman wears a salmon pink dress and the man next to her wears shades of brown and black. The man next to him sits beside his wife and son while drinking wine and watching the woman in pink lustfully.

## Historical Context

### Kermis

The kermis is a Dutch fair, an important cultural event and social gathering for the people of the Netherlands. The kermis was commonly depicted in numerous paintings in the seventeenth-century. This festival was a period in which people were given the chance to socialize. This tradition began as a social gathering for farmers during the fourteenth-century at harvest season. With the growth of the rural working class, the kermis grew in popularity and became more commonplace as a setting in artwork. Artists such as Jan Steen often painted kermis fairs and the middle-class lifestyle. Painting a kermis fair allowed artists the opportunity to show emotional expressions in their subjects.

### Popularity of Peasant Themes in Seventeenth-Century Dutch Art

Peasant themes became incredibly popular in seventeenth-century Dutch art and were genre scenes. This style was commonly shown throughout genre paintings of everyday, working-class lifestyles. Numerous artists started painting peasant themes as the Dutch Golden Age, which was a period of relative peace and prosperity. Focusing their paintings on these settings highlighted a thriving period in their history. This was an evolutionary change in traditional Dutch art as artists focused more on the realistic rural lifestyle and value of the Dutch people. It was a popular occurrence for the Dutch people to collect paintings that displayed their values, beliefs, and daily activities such as those depicted in *The Dancing Couple.* Some of the activities shown in these artworks are cooking, cleaning, talking, family dinners, farm life, and children playing. Peasant themes in Dutch paintings grew in popularity due it being a new perspective on citizens daily lives, as opposed to the depiction of the wealthy and upper-class lifestyles. It brought an aspect of realism and reality to Dutch art. *The Dancing Couple* is an example of how prevalent the peasant theme was in Dutch art. Peasant themes were important to the everyday people of the Netherlands as this style of art reflected their traditions, cultures, and lifestyles, as shown in *The Dancing Couple.*

### Jan Steen

Jan Steen was a well-renowned artist during the Dutch Golden Age. During this time in the Netherlands, there was a period of great economic and cultural growth. When *The Dancing Couple* was created, Jan Steen had already been well known within the painting community. At the age of 37, his reputation grew due to his affinity to genre scenes such as *The Dancing Couple*.

## Iconography

Seventeenth-century Dutch artworks such as *The Dancing Couple* by Jan Steen are known for the iconography they present that reflect the political, social, and cultural qualities of the Dutch people. *The Dancing Couple* is one of many seventeenth-century Dutch Art pieces which reflected the lifestyle of everyday people. Paintings such as *The Dancing Couple* often contained symbols that convey a moral message to the viewer. Examples of these symbols are flowers, birds, and other animals which usually represent moral and religious beliefs. In *The Dancing Couple*, an example is the fallen bucket of flowers at the bottom of the painting. In this image, the flowers have fallen out, usually representing an absence of morals or loss of innocence. An example of this message is shown through the consumption of alcohol and the flirtation that is seen on the left side of the painting. Other symbols such as the birds and animals are shown in the form of chickens trapped in wooden cages on the top of someone's head and hanging from the ceiling.

## The Five Senses

Jan Steen is commonly known for presenting all five human senses: sound, sight, touch, taste, and smell. His artworks offer a wide variety of moods. This was not an easy feature to depict in artwork as it required the artist to focus on the smaller details of their subjects. In *The Dancing Couple*, Steen depicts the five senses to give his subjects a more humane depiction. Steen shows a common reoccurrence throughout the majority of his paintings where he gives his subjects a “clarity of humanity” within their facial expressions and movement. Jan Steen adds more context and detail to his artwork by focusing on the five senses of humanity. Embodying this technique helps the viewer to get a better understanding of the image. This technique brings life and characteristics to Steen's paintings. This technique also helped with showing a sense of humanity which differs from other paintings during this period.

### Sight

Sight is shown throughout the painting. The people's facial expressions show they are having fun. The child in the orange dress is filled with amusement while looking at the couple. Sight is embodied as everyone is shown to be dancing and having an enjoyable time with each other.

### Sound

Sound is an interesting sense to show in a painting as it is less straightforward. Unlike sight, sound requires the viewer to use the context of the painting. Sound is embodied as there is music being played with flutes and a violin. The footsteps of the people dancing and tapping along while music is played.

### Touch

The element of touch is shown through the clothing material of the people. Many of the women are painted wearing a cotton and silky material. Touch is also shown in the wood of the instruments and the chairs. Touch is embodied as people come together and told the hand of their friends and neighbors while dancing. Women are holding wine glasses and children, while men hold their wine glasses and cigars.

### Taste

Taste is another element that requires the other senses to understand the context of the image. There is food that surrounds every corner of the table. The wine that the people drink to pair their food with. Taste is primarily embodied with the food on the table.

### Smell

*The Dancing Couple* shows people drinking wine. They are in an outdoor environment where flowers are shown scattered on the ground, vines weave in between the wooden panels, and fresh food is served on the table. Tobacco is also being smoked in the open environment.

* Cole, Karl. “Romance Awareness Month 2022.” *Davis Publications*, www.davisart.com/blogs/curators-corner/romance-awareness-month-2022/. Accessed 12 May 2023.
* “Dancing Couple, 1663, 143×103 Cm by Jan Steen: History, Analysis & Facts.” *Arthive*, arthive.com/jansteen/works/253980~Dancing\_couple. Accessed 12 May 2023.
* “Dutch Civilization in the Golden Age (1609–1713).” *Encyclopædia Britannica*, Encyclopædia Britannica, Inc., https://www.britannica.com/place/Netherlands/Dutch-civilization-in-the-Golden-Age-1609-1713.
* “Dutch Golden Age Painting Movement Overview.” *The Art Story*, www.theartstory.org/movement/dutch-golden-age/. Accessed 9 May 2023.
* *Dutch Paintings of the Seventeenth Century*, https://www.nga.gov/research/online-editions/17th-century-dutch-paintings.html.
* Franits, Wayne. “Jan Steen and the Art of History.” *Artibus Et Historiae*, 2011, JSTOR 23217705.
* “‘Jan Steen’ on Rijksmuseum Website.” *Rijksmuseum*, https://www.rijksmuseum.nl/en/search?v=&s=&q=jan%2Bsteen&ii=1&p=0.
* Kweiseyse, Tom. “Jan Steen (1626 – 1679).” *Kweiseye*, 13 May 2016, kweiseye.wordpress.com/2014/07/11/jan-steen-1626-1679/.
* Maslov, V. (n.d.). *Dancing couple, 1663, 143×103 cm by Jan Steen: History, Analysis & Facts*. Arthive. https://arthive.com/jansteen/works/253980~Dancing\_couple
* “The Dancing Couple.” *Art Object Page*, https://www.nga.gov/collection/art-object-page.1220.html#bibliography.
* Wheelock, Arthur K. *"Jan Steen's 'Dancing Couple': The Original Context."*. JSTOR 3050074.
* Wheelock, Arthur K. “The Painter Jan Steen: National Identity, Historical Narrative, and Genre in the Dutch Golden Age.” *The Journal of Interdisciplinary History*, JSTOR 205822.

## References

## InfoBox

| The Dancing Couple | |
| --- | --- |
|  | |
| Artist | Jan Steen |
| Year | 1663 (1663) |
| Medium | Oil on canvas |
| Dimensions | 102.5 cm × 142.5 cm (40.4 in × 56.1 in) |
| Location | National Gallery of Art, Washington, D.C., United States |


title: The Demoniacs

abstract: The Demoniacs, first published in 1962, is a detective story/historical novel by John Dickson Carr set in the London of 1757. This novel is a mystery of the type known as a whodunnit as well as being a historical novel.

text:
# The Demoniacs

***The Demoniacs***, first published in 1962, is a detective story/historical novel by John Dickson Carr set in the London of 1757. This novel is a mystery of the type known as a whodunnit as well as being a historical novel.

## Plot summary

Handsome young Jeffrey Wynne has just rescued pretty young Peg Ralston from a "fate worse than death"; she thought she was going to attend a French acting school, but soon learns that it is the "school for the French King's private brothel". Wynne was hired by Peg's father Sir Mortimer Ralston to retrieve her, possibly without the knowledge of Sir Mortimer's mistress, Lavinia Cresswell (and her brother, dangerous swordsman Hamnet Tawnish), who would like nothing better than to see Peg put in Bedlam. Wynne's ordinary job is somewhat similar; he is a thief-taker under the direction of Sir John Fielding, a real-life personage who was in charge of the Bow Street Runners despite his blindness. Wynne and young Miss Ralston soon become involved in the mysterious murder of an ancient bawd who lives on London Bridge; the old woman seems to have no mark of violence upon her body, but what might be a fortune in jewels is missing. The investigation of the crime leads Wynne through the heights and depths of society, including a bagnio in Covent Garden and a drinking bout with Laurence Sterne, until he perceives the well-hidden truth and solves the crime.

## InfoBox

The Demoniacs
| First edition (US) | |
| --- | --- |
| Author | John Dickson Carr |
| Language | English |
| Genre | Mystery, Detective novel, Historical novel |
| Publisher | Hamish Hamilton (UK) & Harper (US) |
| Publication date | 1962 |
| Publication place | United Kingdom |
| Media type | Print (Hardback & Paperback) |
| Pages | 238 pp (1st US) |


title: The Demon is an Angel

abstract: The Demon is an Angel is a 1949 Venezuelan comedy film directed by Carlos Hugo Christensen and starring Susana Freyre, Juana Sujo and Juan Carlos Thorry.

text:
# The Demon is an Angel

***The Demon is an Angel*** (Spanish:***Un ángel sin pudor***) is a 1949 Venezuelan comedy film directed by Carlos Hugo Christensen and starring Susana Freyre, Juana Sujo and Juan Carlos Thorry.

## Cast

## Bibliography

* Darlene J. Sadlier. *Latin American Melodrama: Passion, Pathos, and Entertainment*. University of Illinois Press, 2009.

## InfoBox

| The Demon is an Angel | |
| --- | --- |
| Film poster | |
| Directed by | Carlos Hugo Christensen |
| Starring | Susana Freyre
Juana Sujo
Juan Carlos Thorry |
| Production
company | Bolívar Films |
| Distributed by | Bolívar Films |
| Release date | * 1949 (1949) |
| Country | Venezuela |
| Language | Spanish |


title: The Countess Cathleen

abstract: The Countess Cathleen is a verse drama by William Butler Yeats in blank verse. It was dedicated to Maud Gonne, the object of his affections for many years.

text:
# The Countess Cathleen

***The Countess Cathleen*** is a verse drama by William Butler Yeats in blank verse (with some lyrics). It was dedicated to Maud Gonne, the object of his affections for many years.

## Editions and revisions

The play was first published in 1892 in *The Countess Kathleen and Various Legends and Lyrics* (the spelling was changed to "Cathleen" in all future editions). Its text underwent many changes until the final version performed in 1911 and published in 1912 ("a complete revision to make it suitable for performance at the Abbey Theatre" and "all but a new play", according to Yeats). The variorum editor, Russell K. Alspach, remarks, "The revision for the second printing, *Poems* (1895), was so drastic that intelligible collation was virtually impossible." The tendency of Yeats's changes between 1892 and 1911 has been summarized as a move "decidedly away from an almost farcical realism and tentatively toward the austere, suggestive mode of the dance plays."

## Synopsis

The play is set ahistorically in Ireland during a famine. The idealistic Countess of the title sells her soul to the devil so that she can save her tenants from starvation and from damnation for having sold their own souls. After her death, she is redeemed as her motives were altruistic and ascends to Heaven.

## Sources

Yeats based the play on a purported Irish legend, "The Countess Cathleen O'Shea", which had been printed in an Anglo-Irish newspaper in 1867. When he later attempted to trace its origins, the story appeared to have been adapted into English from a French story, "Les marchands d'âmes", whose protagonist was named "comtesse Ketty O'Connor". This original French version appeared in the anthology, *Les matinées de Timothée Trimm*, by Léo Lespès without further provenance.

## Performances

The play was first performed on 8 May 1899 as the Irish Literary Theatre's inaugural production, in the Antient Concert Rooms, Great Brunswick Street, Dublin.

On 21 February 1911, Yeats attended an "amateurish" performance of the play by the Dramatic Society of the Norwich High School Old Girls' Association.

The first performance at the Abbey Theatre, in the much-changed final version, took place on 14 December 1911.

It was performed in Frankfurt in a German translation in 1934 staged by Friedrich Bethge and featuring Paul Verhoeven; the city awarded Yeats its Goethe Plaque of the City of Frankfurt for it.

## Reception

### Influence on Joyce

Oona's chanted song from Act II, "Who will go drive with Fergus now?" (removed from the 1911 version) made a deep impression on a seventeen-year-old James Joyce in Anna Mather's 1899 performance. Richard Ellmann reports that Joyce "set the poem to music and praised it as the best lyric in the world." According to Stanislaus Joyce, James sang the song at his dying brother George's request in 1902, to this chant of his own composition. In the opening episode of *Ulysses*, Buck Mulligan chants the song and Stephen Dedalus works several variations on it ("parodically", but "not simply ... parody").

Joyce also has Stephen Dedalus recall Cathleen's dying words ("Bend down your faces, Oona and Aleel...") in *A Portrait of the Artist as a Young Man*.

### Anti-English

Frederick Sefton Delmer described the play in 1911 as anti-English: "The anti-English tendency underlying the play is evident, the merchant-demons being the English landlords."

### Opera

Werner Egk wrote the libretto for his 1955 opera *Irische Legende* based on Yeats's work.

**Sources**

* Clark, David R. (2010). *The Collected Works of W. B. Yeats – Volume II: The Plays*. Simon & Schuster. ISBN 9781439105764.
* Schuchard, Ronald (2008). *The Last Minstrels: Yeats and the Revival of the Bardic Arts*. Oxford.`{{cite book}}`: CS1 maint: location missing publisher (link)


title: The Countess (film)

abstract: The Countess is a 2009 French-German historical crime thriller drama written and directed by Julie Delpy, who also composed its score. It stars Delpy, Daniel Brühl and William Hurt. It is based on the life of the notorious Hungarian countess Elizabeth Báthory. The film is the third directorial effort by Delpy, who has said of the project that "it sounds like a gothic [story] but it's more a drama. It's more focusing on the psychology of human beings when they're given power."

text:
# The Countess (film)

***The Countess*** is a 2009 French-German historical crime thriller drama written and directed by Julie Delpy, who also composed its score. It stars Delpy, Daniel Brühl and William Hurt. It is based on the life of the notorious Hungarian countess Elizabeth Báthory.

The film is the third directorial effort by Delpy, who has said of the project that "it sounds like a gothic \[story\] but it's more a drama. It's more focusing on the psychology of human beings when they're given power."

## Plot

In 1560, Erzsébet Báthory is born into the Hungarian noble Báthory family, the daughter of general George Báthory of Ecsed. From an early age, Erzsébet's parents raise her to accept hardness and cruelty. As a teenager, Erzsébet is impregnated by a young peasant lover and is forced to watch as he is brutally tortured and executed before her eyes; Erzsébet's mother takes the child away from her directly after its birth, ensuring that she never sees him again. Erzsébet is later married to Count Ferenc Nádasdy, with whom she has three children. After Nádasdy's return from the Ottoman-Hungarian Wars, he succumbs to a disease he contracted abroad and dies.

Erzsébet, now the sole heir of her husband's vast estate, seeks recognition from the Hungarian Habsburg Emperor Matthias. Matthias consents reluctantly due to his considerable debt to the Countess. At a ball, she meets Count György Thurzó's 21-year-old son, István, and falls in love with him. After a night together, István is forced by his father to end the relationship and marry the daughter of a wealthy merchant in Denmark. Erzsébet, 39, believes that their age difference is to blame for the failure of the relationship. After an incident in which she is splashed with blood after striking a female servant, Erzsébet starts to believe that bathing in the blood of virgin girls can help her to reach eternal youth and beauty, a belief reinforced by her sycophantic servants who insist her skin is suddenly much smoother. To this end, her staff capture and brutally kill peasant girls to obtain their blood.

It is only when Erzsébet starts to kidnap aristocratic girls that the authorities begin an investigation. Count Thurzó is asked to investigate the incidents, and he thus sends István, now a count himself, to visit Erzsébet. István reluctantly goes to visit her, and they spend a passionate night together. István, despite his affections for the countess, still suspects the countess and when he and one of his companions discover evidence of her crime, they arrest her. During the trial, Erzsébet is found guilty, and, due to her noble origin, she is sentenced to spend the rest of her life walled into her room in Čachtice Castle in total isolation. Erzsébet's staff are also found guilty, but unlike her they are put to death. All of her estate is awarded to the Count Thurzó with the exception of Čachtice, which is given to her children.

Driven by desperation after being walled in, Erzsébet Báthory commits suicide. She is then buried without a coffin in a humble grave, with no funeral ceremony. The film casts doubt on the sentence, suggesting that much of the happenings have been manipulated by Count Thurzó.

## Cast

## Release

The film premiered on 9 February 2009 at the 59th Berlin International Film Festival and was shown at the Cannes Film Festival 2010.

## Critical reception

*The Countess* received negative reviews. Boyd van Hoeij wrote in *Variety*, "Though some individual moments work, Delpy's screenplay lacks psychological connective tissue. It never becomes clear why a powerful and intelligent woman was brought to her knees by a cute kid, only to turn murderous and possibly insane when deprived of her object of affection."

In his review for the Associated Press, Kirk Honeycutt wrote that fans of Delpy and arthouse films would be disappointed: "The film is beautifully and lovingly produced with cool, deeply burnished cinematography inside the palace and out. Costumes, editing and Delpy's music all consistently support the high tone taken toward this bloody tale. One appreciates *The Countess*. But it neither terrifies nor illuminates."

## InfoBox

| The Countess | |
| --- | --- |
| Theatrical release poster | |
| Directed by | Julie Delpy |
| Written by | Julie Delpy |
| Produced by | Andro Steinborn
Christopher Tuffin
Julie Delpy
Matthew E. Chausse |
| Starring | Julie Delpy
Daniel Brühl
William Hurt
Anamaria Marinca |
| Cinematography | Martin Ruhe |
| Edited by | Andrew Bird |
| Music by | Julie Delpy |
| Production
companies | X Filme International
Social Capital Films
EMC Filmproduktion
Fanes Film
The Steel Company
Tempête Sous un Crâne
X-Filme Creative Pool |
| Distributed by | X-Verleih (Germany)
BAC Films (France) |
| Release date |  |
| Running time | 98 min. |
| Countries | France
Germany |
| Language | English |


title: The Cyclone Rider

abstract: The Cyclone Rider is a 1924 American silent adventure film directed by Tom Buckingham. Prints of the film survive in the Czech Film Archive.

text:
# The Cyclone Rider

***The Cyclone Rider*** is a 1924 American silent adventure film directed by Tom Buckingham. Prints of the film survive in the Czech Film Archive.

## Cast

## InfoBox

| The Cyclone Rider | |
| --- | --- |
| Directed by | Tom Buckingham |
| Written by | Lincoln J. Carter |
| Starring | Reed Howes |
| Cinematography | Sidney Wagner |
| Distributed by | Fox Film Corporation |
| Release date | * September 14, 1924 (1924-09-14) |
| Running time | 7 reels |
| Country | United States |
| Language | Silent |


title: Solina Nyirahabimana

abstract: Solina Nyirahabimana is a Rwandan diplomat and politician who has served as the Minister of State in Charge of Constitution and Legal Affairs since 2020. She was previously appointed cabinet Minister of Gender and Family Promotion in the Rwandan cabinet on 18 October 2018. Nyirahabimana served as Rwanda's Ambassador to Switzerland, before she was recalled in 2013. She represented Rwanda at the third summit of Women7 which occurred at Unesco in Paris in May 2019.

text:
# Solina Nyirahabimana

**Solina Nyirahabimana** is a Rwandan diplomat and politician who has served as the Minister of State in Charge of Constitution and Legal Affairs since 2020. She was previously appointed cabinet Minister of Gender and Family Promotion in the Rwandan cabinet on 18 October 2018.

Nyirahabimana served as Rwanda's Ambassador to Switzerland, before she was recalled in 2013.

She represented Rwanda at the third summit of Women7 which occurred at Unesco in Paris in May 2019.

## InfoBox

| Solina Nyirahabimana | |
| --- | --- |
|  | |
| Born | Rwanda |
| Nationality | Rwandan |
| Citizenship | Rwandan |
| Occupation(s) | Diplomat, politician |
| Years active | 2000–present |
| Known for | Politics |
| Title | Cabinet Minister of Gender and Family Promotion in the Cabinet of Rwanda |


title: The Fast Carriers

abstract: The Fast Carriers, subtitled "Air-Sea Operations, 1941–77" is a board wargame published by Simulations Publications Inc. (SPI) in 1975 that simulates naval combat involving aircraft carriers from 1941 to the mid-1970s.

text:
# The Fast Carriers

***The Fast Carriers***, subtitled "Air-Sea Operations, 1941–77" is a board wargame published by Simulations Publications Inc. (SPI) in 1975 that simulates naval combat involving aircraft carriers from 1941 to the mid-1970s.

## Description

*Fast Carriers* is a two-player game in which both players control fleets centered on aircraft carriers and their combat aircraft. The game has strategic, operational and tactical aspects, with only the tactical game involving direct ship-to-ship or air-to-ship combat.

### Components

The game includes:

* 22" x 34" paper hex grid tactical map
* 800 die-cut counters
* rule book
* 16 task force displays
* small six-sided die

### Scenarios

The game comes with nine scenarios:

1. Attack on Pearl Harbor: a solitaire game designed to teach the rules
2. WW2 Pacific: Battle of Coral Sea
3. WW2 Pacific: The Battle of Midway
4. WW2: Battle of the Eastern Solomons
5. WW2 Pacific: Battle of the Santa Cruz Islands
6. WW2 Pacific: Battle of the Northern Solomons: a non-historical hypothetical scenario
7. Korean War
8. Vietnam War: Gulf of Tonkin incident
9. WW2 North Sea: Battle of the Denmark Strait

## Publication history

*Fast Carriers* was designed by Jim Dunnigan, with graphic design by Redmond A. Simonsen, and was published by SPI in 1975. It was a reasonably popular game; after its publication, *Fast Carriers* premiered at No. 2 on SPI's Top Ten Bestseller list, and remained on the list for eight months. In a 1977 poll undertaken by SPI to determine the most popular wargames on the market in North America, *Fast Carriers* placed a respectable 80th out of 202 games.

## Reception

In the March 1976 edition of *Airfix Magazine*, Bruce Quarrie liked the game, saying, "*Fast Carriers* is an excellent simulation of the organisational planning required for successful carrier warfare, and should have strong appeal for those who enjoy games demanding forethought and a clear methodical mind. Muddled thinkers won't stand a chance!"

In the 1977 book *The Comprehensive Guide to Board Wargaming*, game critic Charles Vasey called *Fast Carriers* a "Very big game \[...\] Very accurate if rather slow." He noted the game's "Many counters, complex system" but noted that the game was "cleanly designed." Nevertheless, he found the game overly complex and concluded, "Only for the real naval buff."

In *Moves* No. 26, Christopher Perleberg noted that large parts of the game were essentially administrative, and admitted that "The game can be 'long hours of boredom followed by a few minutes of sheer terror.'" He also warned that "The game requires a lot of space; each Player can have up to eight task forces, and each TF \[task force\] requires its own operational card." He also didn't like the lack of fog of war, pointing out that during the search phase, the players always know what they are looking for, unlike historical combat, when admirals had very little idea of what they would be facing. Perleberg had issues with some of the scenarios; for example, in the scenario simulating the famous Battle of Midway, where three Japanese carriers were sunk by dive bombers, Perleberg pointed out that the game rules only allowed a 0.05% chance of recreating that event. He spent some time suggesting a multitude of revisions to several scenarios. Perleberg concluded by admitting that random chance did play some part in the game, but "when one gets'right down to it, the winner in *Fast Carriers* is the one who knows his die and plays the 'percentages;' a Player can plan and plan and have his strikes miss, or find dummies or fail to inflict damage. So it's not to say that the game is all luck. *Fast Carriers* can teach a lot about carrier warfare in World War Two if one takes the time to learn and play it well."

In *The Guide to Simulations/Games for Education and Training*, Martin Campion warned teachers looking to use this game in the classroom that "The rules for manipulating all of this equipment are fairly complex but the whole game is rendered much easier than usual, for the complexity of the rules, by a set of players' aids \[...\] The game system requires the players to make many small decisions and leaves a lot of room for assigning multiple players to each side." Campion concluded, "This is a fast-moving, generally accurate game, which shows particularly the devastating effect of the use of aircraft and carriers in World War II."

## Other reviews and commentary


title: Waitangi Day Acts

abstract: There have been two Waitangi Day acts passed by the New Zealand Parliament: the Waitangi Day Act 1960 and the Waitangi Day Act 1976. Neither made 6 February a public holiday; this was done by the New Zealand Day Act 1973. The first Waitangi Day act acknowledged the Treaty of Waitangi. The second changed the name of the day from New Zealand Day back to Waitangi Day.

text:
# Waitangi Day Acts

There have been two Waitangi Day acts passed by the New Zealand Parliament: the **Waitangi Day Act 1960** and the **Waitangi Day Act 1976**. Neither made 6 February (Waitangi Day) a public holiday; this was done by the New Zealand Day Act 1973. The first Waitangi Day act acknowledged the Treaty of Waitangi. The second changed the name of the day from New Zealand Day back to Waitangi Day.

## Waitangi Day Act 1960

For some years before 1960, Māori, especially Ngāpuhi, had campaigned for Waitangi Day to be a public holiday in recognition of the Treaty of Waitangi. The promise of a public holiday was part of Labour's 1957 election manifesto. Labour was subsequently elected as the second Labour government, but decided that New Zealand could not afford another public holiday. The Waitangi Day Act was a compromise which allowed them to claim they had kept their promise, without actually creating a holiday.

The act consisted of three clauses and established that the sixth of February would be known as Waitangi Day and 'shall be observed throughout New Zealand as a national day of thanksgiving in commemoration of the signing of the Treaty of Waitangi.'

It did not make Waitangi Day a public holiday, but allowed the Governor-General to declare it one in any region, in substitute for that region's anniversary public holiday. The act contained the English-language version of the Treaty of Waitangi as a schedule, the first time that the Treaty had appeared anywhere in New Zealand legislation.

Māori were generally disappointed by the act, and continued to press for a public holiday. The National Party opposition spent most of the debate on the act criticising the government for breaking their promise, but also felt that New Zealand could not afford another public holiday.

### 1963 Amendment

In 1963 the second National government amended the act to make Waitangi Day a holiday in Northland, abolishing the Auckland Anniversary Day holiday in that area.

| Waitangi Day Act 1976 | |
| --- | --- |
|  | |
| New Zealand Parliament | |
| **Long title** * An Act to make provision for the observance of the 6th day of February in each year as a public holiday to commemorate the signing of the Treaty of Waitangi | |
| Commenced | Immediate |
| Legislative history | |
| Introduced by | Allan Highet |
| Passed | 1976 |
| Related legislation | |
| Holidays Act 1955, Waitangi Day Act 1960, New Zealand Day Act 1973 | |
| **Status:** Current legislation | |

## Waitangi Day Act 1976

In 1973 the New Zealand Day Act made the day a public holiday and renamed it New Zealand Day, and also abolished the Waitangi Day Act 1960. Many Māori felt that the new name drew attention away from the Treaty of Waitangi, and campaigned for the name to be changed back. Following a change of government in 1975, the new National government passed the Waitangi Day Act 1976, which changed the name of the day back to Waitangi Day. It also gave Northland its own anniversary day holiday and included the English and Māori language versions of the Treaty of Waitangi as a schedule.

## Debate on the bills

* New Zealand Parliamentary Debates, vol. 325 (1960), pp. 2949–3132.
* New Zealand Parliamentary Debates, vol. 404 (1976), pp. 1367–79.
* New Zealand Parliamentary Debates, vol. 405 (1976), pp. 2272–9.
* New Zealand Parliamentary Debates, vol. 407 (1976), pp. 3215, 3424.

## InfoBox

| Waitangi Day Act 1960 | |
| --- | --- |
|  | |
| New Zealand Parliament | |
| **Long title** * An Act to provide for the commemoration of the signing of the Treaty of Waitangi | |
| Commenced | Immediate |
| Legislative history | |
| Introduced by | Walter Nash |
| Passed | 1960 |
| Amended by | |
| 1963 | |
| Related legislation | |
| New Zealand Day Act 1973, Waitangi Day Act 1976 | |
| **Status:** Repealed | |


title: Tropical Storm Cecil

abstract: Severe Tropical Storm Cecil in May of 1989 caused devastating floods in central Vietnam, killing 751 people. The storm developed as a tropical depression over the South China Sea on May 22. Tracking north-northwestward, the system steadily intensified, attaining peak winds of 110 km/h (68 mph). The Joint Typhoon Warning Center (JTWC) assessed Cecil to have been slightly stronger with one-minute sustained winds of 140 km/h (87 mph). The storm made landfall near Hoi An, Vietnam early on May 25 and quickly weakened. The system later dissipated over Laos on May 26. In Vietnam, heavy rains accompanied the storm, amounting to over 510 mm (20 in) in some areas, triggered catastrophic and deadly flooding. Widespread structural and agricultural losses took place in addition to the significant loss of life, with damage estimated at ₫300 billion ($71.7 million). In the wake of the flooding, some international aid was sent to Vietnam, though most relief work was conducted by the nation's government, local agencies, and the Red Cross.

text:
# Tropical Storm Cecil

**Severe Tropical Storm Cecil** in May of 1989 caused devastating floods in central Vietnam, killing 751 people. The storm developed as a tropical depression over the South China Sea on May 22. Tracking north-northwestward, the system steadily intensified, attaining peak winds of 110 km/h (68 mph). The Joint Typhoon Warning Center (JTWC) assessed Cecil to have been slightly stronger with one-minute sustained winds of 140 km/h (87 mph). The storm made landfall near Hoi An, Vietnam early on May 25 and quickly weakened. The system later dissipated over Laos on May 26.

In Vietnam, heavy rains accompanied the storm, amounting to over 510 mm (20 in) in some areas, triggered catastrophic and deadly flooding. Widespread structural and agricultural losses took place in addition to the significant loss of life, with damage estimated at 300 billion ($71.7 million). In the wake of the flooding, some international aid was sent to Vietnam, though most relief work was conducted by the nation's government, local agencies, and the Red Cross.

## Meteorological history

On May 20, following Typhoon Brenda's passage through the South China Sea, a monsoon trough extending from the area into the Bay of Bengal received enhanced low-level southwesterly flow. An environment of weak wind shear in the wake of the typhoon allowed a new area of low pressure to form within the southwesterly flow on May 21. With convection becoming persistent and the system's overall presentation more organized by May 22, the JTWC issued a Tropical Cyclone Formation Alert at 0300 UTC. Around this time, the Japan Meteorological Agency (JMA) classified the system as a tropical depression. Later that day, convection wrapped entirely around the center of circulation; this structural improvement, combined with nearby surface observations, prompted the JTWC to designate the system as Tropical Storm Cecil.

Initially, Cecil was forecast to maintain a northward track into a weakness in a subtropical ridge left behind by Typhoon Brenda; however, Cecil turned westward on May 23 due to another ridge over China. With favorable atmospheric conditions, Cecil continued to intensify through May 24. By 0600 UTC, a ragged 75 km (47 mi) wide eye developed over the center of circulation, indicating it had become a typhoon. The storm ultimately attained peak winds of 140 km/h (87 mph) while situated just off the coast of central Vietnam. However, the JMA reported Cecil to have been slightly weaker, classifying it as a severe tropical storm with ten-minute sustained winds of 110 km/h (68 mph). Around 1800 UTC (just after midnight on May 25, local time), the storm made landfall near Hoi An with winds of 130 km/h (81 mph). Once onshore, Cecil quickly weakened to a tropical depression. Turning slightly to the west-northwest, the remnants of Cecil continued inland before dissipating over eastern Laos early on May 26.

## Impact and aftermath

In addition to the considerable losses that took place in Vietnam, Cecil also produced heavy rains in Laos and northeastern Thailand, resulting in flooding and crop damage.

### Vietnam

Tropical Storm Cecil was regarded as the worst storm to strike Vietnam in 50 years. In some areas, rainfall exceeded 510 mm (20 in). Approximately 105,600 hectares of rice and other crops were destroyed and another 78,300 hectares were otherwise inundated. About 7,500 metric tons of rice seeds were also lost. The hardest hit areas were in Quảng Nam Province, where damage reached 300 billion ($71.7 million). The storm destroyed at least 10,000 homes and damaged another 27,000, leaving an estimated 336,000 people homeless. Approximately 60 percent of the forests and forestry nurseries in the province were ruined. By June 5, 151 people were confirmed dead across the country with another 600 missing. Eventually, the death toll was revised to 751 as all missing persons were considered dead.

In the wake of the storm, Vietnamese soldiers were deployed to rescue survivors. Local police forces were also stepped up to prevent looting. On June 5 government also requested international assistance to deal with the scale of the disaster. However, this was later retracted on June 16, though spontaneous donations were appreciated. The governments of Australia and France provided Vietnam with $75,188 and $73,964 in funds respectively. Additionally, the Swedish Red Cross donated clothing, which was later distributed by the local Red Cross along with medicine and relief supplies. A total of ₫52 million ($124,000) worth of funds and relief supplies, including 1,600 m (5,200 ft) of fabric, and two tons of clothing, was sent to Quang Nam province.

1. "Joint Typhoon Warning Center Mission Statement". *Joint Typhoon Warning Center*. United States Navy. 2011. Archived from the original on July 26, 2007. Retrieved March 2, 2013.
2. Cpt. John D. Pickle (1990). "1989 Annual Tropical Cyclone Report: Typhoon Cecil (04W)" (PDF). *Joint Typhoon Warning Center*. United States Navy. pp. 50–51. Archived from the original (PDF) on February 6, 2020. Retrieved March 2, 2013.
3. Japan Meteorological Agency (October 10, 1992). "RSMC Best Track Data – 1980–1989". Archived from the original (.TXT) on December 5, 2014. Retrieved March 2, 2013.
4. "Annual Report on Activities of the RSMC Tokyo – Typhoon Center 2000" (PDF). Japan Meteorological Agency. February 2001. p. 3. Retrieved March 2, 2013.
5. "Typhoon 04W Best Track". *Joint Typhoon Warning Center*. United States Navy. 1990. Archived from the original (.TXT) on March 4, 2016. Retrieved March 2, 2013.
6. "Worst Natural Disaster". Bangkok, Thailand: New Straits Times. Reuters. June 1, 1989. p. 15F. Retrieved March 2, 2013.
7. "Tropical storm". *United Press International*. Bangkok, Thailand: Ellensburg Daily Record. May 29, 1989. p. 12. Retrieved March 2, 2013.
8. "Viet Nam Cyclone Cecil May 1989 UNDRO Situation Reports 1-3". *United Nations Department of Humanitarian Affairs*. ReliefWeb. June 16, 1989. Retrieved March 2, 2013.
9. "Typhoon kills 140 in Vietnam". Hanoi, Vietnam: Xinhua General News. May 31, 1989.   via LexisNexis (subscription required)
10. "Central official tours province affected by typhoon". British Broadcasting Corporation. June 7, 1989.   via LexisNexis (subscription required)
11. "Typhoon and torrential rains hit Vietnam". British Broadcasting Corporation. May 31, 1989.   via LexisNexis (subscription required)
12. "Country Disaster Response Handbook: Vietnam" (PDF). Center for Excellence in Disaster Management & Humanitarian Assistance. October 2012. p. 9. Archived from the original (PDF) on October 8, 2013. Retrieved March 2, 2013.

## InfoBox

Severe Tropical Storm Cecil
| Tropical Storm Cecil approaching central Vietnam on May 24 | |
| --- | --- |
| Meteorological history | |
| Formed | May 22, 1989 |
| Dissipated | May 26, 1989 |
| Severe tropical storm | |
| *10-minute sustained* (JMA) | |
| Highest winds | 110 km/h (70 mph) |
| Lowest pressure | 975 hPa (mbar); 28.79 inHg |
| Category 1-equivalent tropical cyclone | |
| *1-minute sustained* (SSHWS/JTWC) | |
| Highest winds | 140 km/h (85 mph) |
| Overall effects | |
| Fatalities | 751 total |
| Damage | $71.7 million (1989 USD) |
| Areas affected | Vietnam, Laos, Thailand |
| IBTrACS | |
| ---  Part of the **1989 Pacific typhoon season** | |


title: Melanie B. Jacobs

abstract: Melanie B. Jacobs is an American legal scholar and administrator. She served as the interim dean of Michigan State University College of Law and was appointed 27th dean of the University of Louisville School of Law.

text:
# Melanie B. Jacobs

**Melanie B. Jacobs** is an American legal scholar and administrator. She served as the interim dean of Michigan State University College of Law and was appointed 27th dean of the University of Louisville School of Law.

## Biography

Jacobs received her A.B. from Columbia University, her J.D. from Boston University, and LL.M. from Temple University. She joined Michigan State University College of Law's faculty in 2002 and served in a number of administrative positions. She served as interim dean from January 2020 to June 2021. She was appointed 25th dean of the University of Louisville School of Law in March 2022. She also taught at Temple University Beasley School of Law and Boston University School of Law.

Jacobs' scholarship focuses on family law and advocates for legal recognition of non-traditional families and changes to traditional parent-child relationships due to increased use of assisted reproductive technologies.

1. "The University of Louisville Names New Dean of Brandeis School of Law". *Diverse: Issues In Higher Education*. 2022-03-28. Retrieved 2022-05-26.
2. Scoggins, Jill (2022-03-28). "UofL names new law dean | UofL News". *UofLNews*. Retrieved 2022-05-26.
3. "Melanie B. Jacobs: Faculty Profile: Michigan State University College of Law". *www.law.msu.edu*. Retrieved 2022-05-26.
4. Piper, Julia (January 15, 2020). "Transitions: Clark U. Names Next President, New Student Affairs Chief at Tuskegee U." *The Chronicle of Higher Education*. Retrieved May 26, 2022.
5. Mann, David (March 29, 2022). "New dean named at UofL Brandeis School of Law". *Louisville Business Journal*. Retrieved May 26, 2022.
6. Engagement, University Outreach and. "The Engaged Scholar Magazine - Volume 12 - Children and Nontraditional Families". *The Engaged Scholar Magazine*. Retrieved 2022-05-26.
7. "MSU professor goes to bat for non-traditional families \> Ingham County Legal News". *www.legalnews.com*. Retrieved 2022-05-26.

## InfoBox

| Melanie B. Jacobs | |
| --- | --- |
|  | |
| 27th Dean of the University of Louisville School of Law | |
| **Incumbent** | |
| **Assumed office**
July 2022 | |
| Preceded by | Colin Crawford |
| Dean of the Michigan State University College of Law | |
| **Interim** | |
| **In office**
January 2020  June 2021 | |
| Preceded by | Lawrence Ponoroff |
| Succeeded by | Linda Sheryl Greene |
|  | |
| Personal details | |
| Education | Columbia University (BA)
Boston University (JD)
Temple University (LLM) |
| Profession | Academic administrator |
|  | |


title: Valerian Gaprindashvili

abstract: Valerian Gaprindashvili was a Georgian poet and translator whose early, Symbolist, poetry was of much influence on development of Georgian metaphor and verse. Born in Kutaisi, he graduated from the Moscow University in 1914. Returning to Georgia, Gaprindashvili was one of the founder members of the Symbolist group Blue Horns in 1915/16. His early, innovating poems illustrate the world as a mystic show populated with phantoms and doubles mixed with nearly "sacral" heroes from history and literature such as Cagliostro, Hamlet, Ophelia, Hannibal, etc. His first and best book, Daisebi, at a time he called "the Dionysian night" of Georgia, introduced into Georgian the aesthetics of Baudelaire and Paul Valéry, as well as the mannerisms of the Russian Symbolists. Gaprindashvili significantly distanced himself from the Georgian literary classics’ understanding of a poet's mission and suggested an outcast, mad and suicidal person as an eventual result of a poet's natural evolution. From the 1920s, like many of his fellow Symbolists, he faced an ideological pressure from the newly established Soviet regime which forced him to make a conciliatory move towards the standards of Soviet literature. He survived Stalinist purges of the 1930s, but his later years were unproductive. Gaprindashvili also made translations from Eugène Edine Pottier, Goethe, Pushkin, Lermontov, Alexander Blok, Nikolay Nekrasov, Vladimir Mayakovsky, and others. He also translated and published in Russian the works of the Georgian Romanticist poet Nikoloz Baratashvili.

text:
# Valerian Gaprindashvili

**Valerian Gaprindashvili** (Georgian: ვალერიან გაფრინდაშვილი) (December 21, 1888 – January 31, 1941) was a Georgian poet and translator whose early, Symbolist, poetry was of much influence on development of Georgian metaphor and verse.

Born in Kutaisi, he graduated from the Moscow University in 1914. Returning to Georgia, Gaprindashvili was one of the founder members of the Symbolist group Blue Horns in 1915/16. His early, innovating poems illustrate the world as a mystic show populated with phantoms and doubles mixed with nearly "sacral" heroes from history and literature such as Cagliostro, Hamlet, Ophelia, Hannibal, etc. His first and best book, *Daisebi* ("Sundowns", 1919), at a time he called "the Dionysian night" of Georgia, introduced into Georgian the aesthetics of Baudelaire and Paul Valéry, as well as the mannerisms of the Russian Symbolists. Gaprindashvili significantly distanced himself from the Georgian literary classics’ understanding of a poet's mission and suggested an outcast, mad and suicidal person as an eventual result of a poet's natural evolution. From the 1920s, like many of his fellow Symbolists, he faced an ideological pressure from the newly established Soviet regime which forced him to make a conciliatory move towards the standards of Soviet literature. He survived Stalinist purges of the 1930s, but his later years were unproductive.

Gaprindashvili also made translations from Eugène Edine Pottier, Goethe, Pushkin, Lermontov, Alexander Blok, Nikolay Nekrasov, Vladimir Mayakovsky, and others. He also translated and published in Russian the works of the Georgian Romanticist poet Nikoloz Baratashvili.

## Gaprindashvili's writings

* Gaprindashvili, Valerian. Daisebi: 1915-1918. Kutaisi: K’irchkhibis gamotsema, 1919 (გაფრინდაშვილი, ვალერიან. დაისები: 1915–1918. ქუთაისი: კირჩხიბის გამოცემა, 1919)
* Gaprindashvili, Valerian. Leksebi: t’omi p’irveli. T’pilisi: Sakhelmts’ipo gamomtsemloba, 1926 (გაფრინდაშვილი, ვალერიან. ლექსები: ტომი პირველი. ტფილისი: სახელმწიფო გამომცემლობა, 1926)
* Gaprindashvili, Valerian. Leksebi. T’pilisi: Pederatsia, 1937 (გაფრინდაშვილი, ვალერიან. ლექსები. ტფილისი: ფედერაცია, 1937).
* Gaprindashvili, Valerian. Leksebi; Levan Asatianis ts’inasit’q’vaobit da redaktsiit. Tbilisi: Sabch’ota mts’erali, 1944 (გაფრინდაშვილი, ვალერიან. ლექსები; ლევან ასათიანის წინასიტყვაობით და რედაქციით. თბილისი: საბჭოთა მწერალი, 1944).
* Gaprindashvili, Valerian. Leksebi: 1915-1941. Tbilisi: Sakartvelos sabch’ota mts’erlebis k’avshiri; gamomtsemloba “lit’erat’tura da khelovneba”, 1964 (გაფრინდაშვილი, ვალერიან. ლექსები: 1915–1941. თბილისი: საქართველოს საბჭოთა მწერლების კავშირი; გამომცემლობა „ლიტერატურა და ხელოვნება“, 1964)
* Gaprindashvili, Valerian. Leksebi; p’oema; targmanebi; esseebi; ts’erilebi; mts’erlis arkividan. Tbilisi: merani, 1990 (გაფრინდაშვილი, ვალერიან. ლექსები; პოემა; თარგმანები; ესსეები; წერილები; მწერლის არქივიდან. თბილისი: მერანი, 1990)

* Robert B. Pynsent, Sonia I. Kanikova (1993), *Reader's Encyclopedia of Eastern European Literature*, p. 120. Harpercollins, ISBN 0-06-270007-3

## Relevant sources

* Ljutskanov, Jordan. "The Image of (Black?) Sea in the Poetry of Valerian Gaprindashvili." სჯანი 24 (2023): 83-121.


title: Théâtre de la Mode

abstract: Théâtre de la Mode was a 1945–1946 touring exhibit of fashion mannequins created at approximately 1/3 the size of human scale, and crafted by top Paris fashion designers.It was created to raise funds for war survivors and to help revive the French fashion industry in the aftermath of World War II. While raising funds, Théâtre de la Mode was also meant to showcase the work of Parisian couturiers. The original Théâtre de la Mode exhibit toured Europe and then the United States, and is now part of the permanent collections of the Maryhill Museum of Art in Washington state in the United States. In addition to its fundraising and industry revival goals, the Théâtre de la Mode exhibit played a significant role in promoting French fashion internationally. The miniature mannequins and exquisite designs showcased the creativity and craftsmanship of Parisian couturiers, attracting attention and admiration from fashion enthusiasts worldwide. The exhibit's subsequent journey to the United States helped solidify the global influence of French fashion and contributed to the post-war cultural exchange between Europe and America.

text:
# Théâtre de la Mode

**Théâtre de la Mode** (Theatre of Fashion) was a 1945–1946 touring exhibit of fashion mannequins created at approximately 1/3 the size of human scale, and crafted by top Paris fashion designers.It was created to raise funds for war survivors and to help revive the French fashion industry in the aftermath of World War II. While raising funds, Théâtre de la Mode was also meant to showcase the work of Parisian couturiers. The original *Théâtre de la Mode* exhibit toured Europe and then the United States, and is now part of the permanent collections of the Maryhill Museum of Art in Washington state in the United States. In addition to its fundraising and industry revival goals, the Théâtre de la Mode exhibit played a significant role in promoting French fashion internationally. The miniature mannequins and exquisite designs showcased the creativity and craftsmanship of Parisian couturiers, attracting attention and admiration from fashion enthusiasts worldwide. The exhibit's subsequent journey to the United States helped solidify the global influence of French fashion and contributed to the post-war cultural exchange between Europe and America.

## Origins

The French fashion industry was an important economic and cultural force in Paris when World War II began. There were 70 registered couture houses in Paris, and many other smaller designers. The war had a severe impact on the industry. Couturiers and buyers fled occupied France or closed their businesses. Clothing businesses that struggled to remain open had to deal with extreme shortages of cloth, thread, and other sewing supplies. The occupying Germans intended to displace Paris with Berlin as a centre of European fashion design. The Nazi regime planned to turn Berlin and Vienna into the centres of European couture, with head offices there and an official administration, introducing subsidies for German clothing makers, and demanding that important people in the French fashion industry be sent to Germany to establish a dressmaking school there. Couture's place in France's economy was key to this plan: an exported dress made by one of France's leading couturiers was said to be worth "ten tonnes of coal", and a litre of fine French perfume was worth "two tonnes of petrol".

French fashion was also not only important economically, it was a vital part of France's national cultural identity. French designers resisted the Nazi regime's plans; Lucien Lelong, president of the *Chambre Syndicale de la Couture Parisienne*, proclaimed, 'It is in Paris or it is nowhere'. A worker from Reboux, one of Paris's largest milliners, later said of the attitude of the fashion industry during the German occupation:

> We wore large hats to raise our spirits. Felt gave out, so we made them out of chiffon. Chiffon was no more. All right, take straw. No more straw? Very well, braided paper.... Hats have been a sort of contest between French imagination and German regulation.... We wouldn't look shabby and worn out; after all, we were *Parisiennes*.

After Paris was liberated, the idea for a miniature theatre of fashion came from Robert Ricci, son of couturier Nina Ricci. All materials were in short supply at the end of World War II, and Ricci proposed using miniature mannequins, or fashion dolls, to address the need to conserve textiles, leather, fur, fibers, and so on. The mannequins were 27.5 inches (700 mm) tall, fabricated of wire. Some 60 Paris couturiers amongst them Nina Ricci, Balenciaga, Germaine Lecomte, Mad Carpentier, Martial & Armand, Hermès, Philippe & Gaston, Madeleine Vramant, Jeanne Lanvin, Marie-Louise Bruyère and Pierre Balmain joined and volunteered their scrap materials and labour to create miniature clothes in new styles for the exhibit. Milliners created miniature hats, hairstylists gave the mannequins individual coiffures, and jewellers such as Van Cleef and Arpels and Cartier contributed small necklaces and accessories. Some seamstresses even crafted miniature undergarments to go under the couture designs. Seamstresses carried their sewing machines around with them to complete work on the *Théâtre de la Mode* during Paris's post-War electricity shortages. Historian Lorraine McConaghy points out the level of detail in the clothing:

> The meticulous attention to details is so striking ... The buttons really button. The zippers really zip. The handbags have little stuff – little wallets, little compacts – inside them.

Once work was completed on the *Théâtre de la Mode*, it became a touring exhibition of 237 doll-size figurines in 15 elaborate artist-created sets. It opened at the Louvre in Paris on 28 March 1945, and was enormously popular, drawing 100,000 visitors and raising a million francs for war relief. With the success of the exhibit in Paris, the *Théâtre de la Mode* went on a tour of Europe, with shows in London, Leeds, Barcelona, Stockholm, Copenhagen and Vienna. To promote the exhibit abroad, a French government official wrote to the Ambassador of France in Britain: "France has little, alas to export, but she has her appreciation of beautiful things and the skill of her couture houses". After touring Europe in 1945, the mannequins were outfitted with new clothes designed for the 1946 season and the exhibition traveled to the United States, where it was displayed in New York City and San Francisco in 1946. After the final show, the mannequins were left behind in San Francisco, while the jewellery was returned to Paris.

## Restoration and later tours

The Maryhill Museum of Art in the United States acquired the mannequins in 1952 through a donation by art patron Alma de Bretteville Spreckels. The original sets accompanying the dolls, which had been crafted by such artists as Christian Bérard, Jean Saint-Martin, Georges Wakhevitch and Jean Cocteau, were lost before the Maryhill acquired the exhibit. In 1988, Paris's Musée de la Mode et du Textile undertook an extensive restoration of the mannequins and painstakingly recreated the sets. The *Théâtre de la Mode* still exhibits at the Maryhill Museum of Art by rotating selections from the complete series of mannequins and sets. Parts of the *Théâtre de la Mode* also tour art and fashion museums throughout the United States and worldwide.

## Impact on fashion, art, and culture

The art and aesthetics of *Théâtre de la Mode* have had lasting influence on the worlds of fashion, contemporary art, and design. In the late 1980s, the designer BillyBoy\* organized an exhibition tour **Le Nouveau Théâtre de la Mode** (New Theatre of Fashion) sponsored by Mattel with Barbie dolls dressed by contemporary fashion designers.

*Town & Country* magazine reports that seminal fashion designer Christian Dior likely contributed design work to *Théâtre de la Mode*, and that Dior's Couture Collection was influenced by the display.

*The Bold Doll* reports that Robert Tonner, founder of the Tonner Doll Company, received design inspiration in *Théâtre de la Mode* when creating a wide-ranging collection of contemporary dolls; these include a limited series of dolls featuring delicate embroidery and beading for FAO Schwarz in 2001, and a doll wearing a short dance dress for the 2003 Paris Fashion Doll Festival.

The Barry Art Museum’s 2021 exhibition *Karen LaMonte: Théâtre de la Mode* highlights sculptures created by American artist Karen LaMonte and inspired by the original wire doll display. Works include LaMonte’s *Études*, miniature sculptures that depict elegant evening dresses with the wearer absent. LaMonte’s works are displayed on sets built by the Old Dominion University Theater Department alongside several of the original French figurines on loan from the Maryhill Museum.

*W magazine* writes that, in 2020, fashion designer Maria Grazia Chiuri presented Dior's haute couture line in a miniature display inspired by *Théâtre de la Mode.*

"Théâtre de la Mode photographs at the Maryhill Museum of Art".


title: Wellness in school

abstract: Wellness in School is offered as a unit in some K-8 elementary schools in the United States. It is defined as the quality or state of being in good health, especially as an actively sought goal. Wellness is taught in 6 or 7 dimensions: physical, social, intellectual, emotional, occupational, spiritual and environmental. Inclusion of the latter two is controversial. While the teaching of "The Whole Child" seems to be an antiquated philosophy with public schools trending towards high-stakes testing, there are many schools such as Montessori and other philosophies/pedagogies that value this curriculum. The following isn't an expanded definition of each, but simply what the goals and objectives are for each dimension.

text:
# Wellness in school

**Wellness in School** is offered as a unit in some K-8 elementary schools in the United States. It is defined as the quality or state of being in good health, especially as an actively sought goal. Wellness is taught in 6 or 7 dimensions: physical, social, intellectual, emotional, occupational, spiritual and environmental. Inclusion of the latter two is controversial. While the teaching of "The Whole Child" seems to be an antiquated philosophy with public schools trending towards high-stakes testing, there are many schools such as Montessori and other philosophies/pedagogies that value this curriculum. The following isn't an expanded definition of each, but simply what the goals and objectives are for each dimension.

## Physical

The physical dimension focuses on three sub-categories: healthy eating, exercise, and the human body (digestive system, skeletal system and circulatory systems).

## Intellectual

For K-5 the focus can be on the brain controlling the body, all the way up to studying the parts of the brain. Students are expected to understand that different parts control different body functions.

## Spiritual

Students learn techniques to harmonize their actions with the world around them.

## Emotional

Students learn to identify negative and positive emotions and coping strategies.

## Occupational

Students learn to connect the job they want with the necessary preparation.

## Social

Students learn the importance and skills of communication.

## Environmental

Students learn to connect their own and their family's actions to the health of the environment around them.