title: Sentientist Politics

abstract: Sentientist Politics: A Theory of Global Inter-Species Justice is a 2018 book by the English political theorist Alasdair Cochrane, published by Oxford University Press. In the book, Cochrane outlines and defends his political theory of "sentientist cosmopolitan democracy". The approach is sentientist in that it recognises all sentient animals as bearers of rights; cosmopolitan in that it extends cosmopolitan political theory to include animals, rejecting the importance of state borders and endorsing impartiality; and democratic in that it aims to include animals in systems of representative and cosmopolitan democracy. It was the first book to extend cosmopolitan theory to animals, and was a contribution to the "political turn" in animal ethics – animal ethics informed by political philosophy. Sentientist Politics was inspired by Cochrane's hope to take discussions of animal rights beyond questions about how animals may be treated to how politics would have to change if animal rights were recognised. For him, the only previous substantial exploration of this question was in Sue Donaldson and Will Kymlicka's Zoopolis, of which Cochrane had earlier published a cosmopolitan critique. Research for Sentientist Politics was funded by a grant from the Leverhulme Trust, and work on international intervention on behalf of animals was conducted with Steve Cooke. Sentientist Politics was published on 30 October 2018, with a launch event at the University of Sheffield. For the book, Cochrane was awarded the 2019 Susan Strange Best Book Prize by the British International Studies Association. Sentientist Politics was the subject of a symposium in the journal Politics and Animals, and praised by commentators for its readability, strength of argument, and ambition. It provoked questions about methodology in animal-rights scholarship, aid to wild animals, and the possibility of sentientist constitutionalism.

text:
# Sentientist Politics

***Sentientist Politics: A Theory of Global Inter-Species Justice*** is a 2018 book by the English political theorist Alasdair Cochrane, published by Oxford University Press. In the book, Cochrane outlines and defends his political theory of "sentientist cosmopolitan democracy". The approach is *sentientist* in that it recognises all sentient animals as bearers of rights; *cosmopolitan* in that it extends cosmopolitan political theory to include animals, rejecting the importance of state borders and endorsing impartiality; and *democratic* in that it aims to include animals in systems of representative and cosmopolitan democracy. It was the first book to extend cosmopolitan theory to animals, and was a contribution to the "political turn" in animal ethics – animal ethics informed by political philosophy.

*Sentientist Politics* was inspired by Cochrane's hope to take discussions of animal rights beyond questions about how animals may be treated to how politics would have to change if animal rights were recognised. For him, the only previous substantial exploration of this question was in Sue Donaldson and Will Kymlicka's *Zoopolis*, of which Cochrane had earlier published a cosmopolitan critique. Research for *Sentientist Politics* was funded by a grant from the Leverhulme Trust, and work on international intervention on behalf of animals was conducted with Steve Cooke. *Sentientist Politics* was published on 30 October 2018, with a launch event at the University of Sheffield.

For the book, Cochrane was awarded the 2019 Susan Strange Best Book Prize by the British International Studies Association. *Sentientist Politics* was the subject of a symposium in the journal *Politics and Animals*, and praised by commentators for its readability, strength of argument, and ambition. It provoked questions about methodology in animal-rights scholarship, aid to wild animals, and the possibility of sentientist constitutionalism.

## Development

### Background

Alasdair Cochrane's 2010 book *An Introduction to Animals and Political Theory* and his 2012 book *Animal Rights Without Liberation* became important texts in the "political turn" in animal ethics, a field of enquiry that explores the normative dimensions of human-animal relationships from the perspective of political philosophy, establishing Cochrane as a leading scholar in the area. The former work, a textbook, was one of the first books to explore the place of animals in political philosophy. In the latter, Cochrane defended the interest-based rights approach, according to which some animals have rights on the basis of their strong interests, and these rights must be protected as a matter of justice. Sentient animals, Cochrane argued, often have rights not to be made to suffer or to be killed, but they generally lack an interest in (and thus a right to) freedom.

Another important work in the political turn in animal ethics was Sue Donaldson and Will Kymlicka's 2011 book *Zoopolis*. In *Zoopolis*, Donaldson and Kymlicka defended a vision of animal rights in which domesticated animals are conceived as citizens in mixed human/animal communities, wild animals are conceived as sovereign over their own spaces, and "liminal" animals, who are neither wild nor domesticated, are offered the rights of "denizenship". In 2013, Cochrane published a paper in response to Donaldson and Kymlicka in which he forwarded a cosmopolitan case against the "group-differentiated" rights of *Zoopolis*, which he called "Cosmozoopolis". Further work on international dimensions of animal rights included a 2013 symposium in the journal *Global Policy*. This concerned protecting animals across borders, and was edited by Cochrane.

### Writing

Cochrane was inspired to write *Sentientist Politics* by the question of what animal rights would mean for politics. Thus, he wanted to take discussions of animal rights beyond debates about what they entail in terms of (for example) eating and experimenting on animals – the kind of work that he and others had done previously. Human rights, Cochrane said, are understood to justify, constrain, and shape politics, and animal rights should too. It is this thought with which Cochrane begins the book, which is an attempt to explore what that would mean. While work like this had been done before, it had, he argued, only really been addressed at length in *Zoopolis*. The biggest departure of his approach in *Sentientist Politics* from that of *Zoopolis* is that his approach, unlike Donaldson and Kymlicka's, is grounded in cosmopolitanism. Thus, unlike Donaldson and Kymlicka, Cochrane places little importance on where an animal lives, pre-existing human relationships to the animals, and state borders. Though Cochrane sees cosmopolitanism and animal rights as natural bedfellows, few theorists of animal rights had considered obligations to animals across borders, and very few cosmopolitan theorists had considered what their approach means for human/animal relationships. Consequently, though *Sentientist Politics* was not the first scholarly work extending cosmomopolitan theory to animals, it was the first monograph dedicated to doing so.

The initial research and writing for *Sentientist Politics* was supported by a 2014 research fellowship Cochrane was awarded by the Leverhulme Trust. At the time, the working title for *Sentientist Politics* was *Beastly Cosmopolitanism: A Theory of Global Inter-Species Justice*. Research on the issue of intervention on behalf of animals was conducted with the philosopher Steve Cooke. As well as discussion in *Sentientist Politics*, this resulted in a co-authored paper in the *Journal of Global Ethics*.

In 2016, the year in which Cochrane's paper with Cooke was published, Cochrane discussed the manuscript that would become *Sentientist Politics* on an episode of Siobhan O'Sullivan's *Knowing Animals* podcast. Cochrane said that he was “writing a book on global justice and animal rights”. In this book, he said, he would address “what we owe to animals across borders” and “what we owe to animals internationally”, exploring “what a system of global governance or international relations would look like ... if it were built around not human rights ... but if it were actually built around sentient rights". Ideas from the book were also presented at conferences and other events at the University of Birmingham, the University of Edinburgh, Newcastle University, the University of Leeds, the University of Cambridge, and the University of Fribourg prior to publication.

### Release

*Sentientist Politics* was published on 30 October 2018 by Oxford University Press. It was made available in hardback and ebook formats, as well as on Oxford Scholarship Online. The University of Sheffield, where Cochrane is a senior lecturer, hosted a launch event for the book. In addition to a presentation by Cochrane, the event featured comments from O'Sullivan and the philosopher Josh Milburn. These various contributions were later published as part of a symposium on *Sentientist Politics* in the journal *Politics and Animals*.

## Synopsis

*Sentientist Politics* opens with the assumption that some animals are sentient and thus have moral value, and that this has political consequences. It aims to argue that sentient animals (human and nonhuman) have equal moral worth, and this grounds a duty to create a "sentientist cosmopolitan democracy". In the introduction, Cochrane positions the book as a contribution to the political turn in animal ethics that is novel for its cosmpolitanism. On the other hand, it is distinct from existing cosmopolitan theory for its rejection of the moral import of species membership. He acknowledges that some theorists will seek to go further than rejecting humanism, and argue that all living (or even non-living) entities warrant political protection; nonetheless, he sees something "*special*" about sentience. The book is utopian and ideal in its aspirations.

The second chapter addresses the moral worth of sentient animals and what this means for politics. Cochrane argues that, because they possess interests, sentient animals possess moral worth. He defends the claim that all sentient animals (human and otherwise) possess equal moral worth (and equal consideration of interests) against the possibility that humans have greater worth than animals and the possibility that persons have greater worth than non-persons. Rejecting Peter Singer's utilitarianism, Cochrane instead defends an account of animal rights based on the claim that sentient animals possess interests sufficiently strong to ground duties in others; they have, he said in *Animal Rights Without Liberation*, prima-facie rights not to be killed and not to be made to suffer. These moral rights, however, are not recognised in political or legal practice. Thus, Cochrane calls for a shift from "human rights" to "sentient rights". Sentient rights and sentient equality, he argues, justify the existence of political institutions: moral agents possess a "duty to create and support a political order" aiming to "show equal consideration to sentient creatures" and to "protect their basic rights". These political institutions can achieve what would be impossible for individuals; can provide security; and can determine what equal consideration means in practice.

Chapter 3 asks what such political institutions would look like. Cochrane argues for a sentientist democracy, one with the participation of animal representatives, who can serve as trustees of political communities' nonhuman members. Animals cannot be protected, it is argued, through legal means – even a Bill of Sentient Rights – alone; instead, determinate interpretations of human duties to animals, accountability of rulers to animals, and the self-determination of political communities call for the democratic inclusion of animals. Though animals themselves cannot serve as legislators, they can, Cochrane argues, be represented on legislative bodies. Drawing on ideas from green democratic theory, Cochrane argues that animal representatives could be selected by dedicated deliberative assemblies made up of humans selected by lottery. On the question of which animals are entitled to representation, against both Kimberly Smith and Donaldson and Kymlicka, Cochrane argues that all sentient animals (including wild animals) are entitled to representation. All, he argues, should be considered members of particular societies, sharing as they do a membership in a "community of fate" with humans. Conflicting animal interests can come together into a single understanding of the public good, but such a good cannot be predetermined; it must be worked out in practice.

In chapter 4, Cochrane develops the sentientist democracy of the third chapter into a sentientist cosmopolitan democracy. Statist systems (including the existing Westphalian system), he argues, will fail to adequately protect animals because of coordination problems, an inability to deal with transnational impacts of national policies, and the risk of partiality in favour of states' own members. Cochrane instead turns to the all-affected interests principle as a means to determine who constitutes the people entitled to a say on particular matters. However, he rejects the possibility of a world state, which is perhaps the all-affected interests principle's natural conclusion. Not only is this impractical, Cochrane argues, but it could serve to undermine the equal consideration of interests itself. Cochrane instead advocates cosmopolitan democracy, which draws boundaries to approximate who will be affected by fixing a series of overlapping political units, from the local to the transnational. Cochrane closes the chapter by responding to three objections to cosmopolitan democracy: the fact that equal consideration under cosmopolitan democracy is imperfect; the challenge of determining boundaries; and that it is unfeasible.

Donaldson and Kymlicka support granting wild animals sovereignty over their own spaces. Chapter 5 of *Sentientist Politics* challenges this claim, instead arguing that wild animals should be considered members of mixed-species societies with humans. Cochrane first addresses, and rejects, Donaldson and Kymlicka's positive arguments for wild-animal sovereignty, arguing that non-interference does not necessarily lead to wild animals flourishing, and that sovereignty is not required for animals' rights concerning their land to be protected. Cochrane then moves on to consider three potential challenges to his own proposals concerning wild animals. First, he argues that cosmopolitan free movement will not allow humans to seize and destroy animals' spaces for their own purposes. Second, he argues that free movement will not undermine the possibility of human and nonhuman democratic involvement. Third, he argues that duties of assistance owed to wild animals to alleviate their suffering neither require nor permit large-scale interventions in nature, such as restructuring ecosystems.

Having set out his political vision, Cochrane addresses two puzzles about its implementation. The first, the subject of chapter 6, concerns the issues of diversity and toleration in the sentientist cosmopolitan democracy. Cochrane argues that, though the constraints imposed on individuals by his sentientist cosmopolitan democracy may seem illiberal, the value and rights of animals (like the value and rights of humans) justify constraints. Similarly, he argues that constraints on the actions of groups, including ethnic groups, are justified to protect animals, challenging a range of arguments to the contrary. Finally, he addresses the appropriate response to those individuals and groups who fail to uphold the minimal standards of justice demanded by animals' worth, focussing on the question of whether "outlaw communities" may be targeted by the global order. Cochrane argues that humans have a responsibility to protect animals, but that coercive military force will rarely be justified. This is because the just-war criteria of *effectiveness* and *proportionality* will be difficult to meet when intervening on behalf of animals.

The second challenge is addressed in chapter 7, which explores the realisation and maintenance of a sentientist cosmopolitan democracy. Cochrane argues that, to transition to and sustain a cosmopolitan sentientist democracy, humans need to acquire "sentientist solidarity". This requires informed human citizens with recognition of animals' status and a shared identity with them. Not only is achieving this solidarity possible, Cochrane thinks, but it can be cultivated. Animal activists could play an important role in such cultivation, pushing for both individual and institutional change. An example of this is provided by the possibility of sentientist civic education. Cochrane then turns to ask what changes could be made here and now, focussing on the global level. He argues that existing and potential international law protects animals, while other sources of internationally recognised animal rights could be human-rights regimes. This means that not everything he calls for in the book must be built from nothing. Cochrane closes the chapter by noting that civil disobedience and other extra-legal forms of change agitation may be justified, but that this must be judged on a case-by-case basis. Some forms of illegal activity, including violence, are likely to be ineffective.

In a concluding chapter, Cochrane argues that *Sentientist Politics* is distinct from other work in animal ethics because it foregrounds the duty to "create and maintain a political order dedicated to the interests of sentient animals". Though *Sentientist Politics* is not the first book to take a "political turn" in animal ethics, it does defend a distinct vision, Cochrane says, of the appropriate political order. This is especially true in its cosmopolitanism. However, the book's contribution is not only to animal ethics. Cochrane calls for a whole range of theorists working on areas of political significance explored in the book to take seriously the question of where animals fit into their frameworks, concluding that "the core questions of political philosophy ... need to be rethought". The book also calls for a restructuring of political activism, and Cochrane closes the book with a call to animal activists to pay more attention to political change, with the ultimate aim of transforming existing political systems.

## Reception and response

### Symposium

A symposium on *Sentientist Politics* was published in the journal *Politics and Animals* in 2019, based on the comments made at the 2018 launch event. It featured a summary of the book by Cochrane, critical comments from O'Sullivan and Milburn, and responses from Cochrane.

O'Sullivan predicted that the book would not be widely read by animal activists or those with little interest in "abstract political or philosophical ideas". However, it would be, she predicted, "an instant classic" with scholars of animal studies and "essential reading" for those interest in the political turn in animal ethics – the latter being a field for which the book marks "a maturing", beginning a "process of specialization". She called the book's presentation of sentientist cosmopolitan democracy "deeply thought out, beautifully articulated, and carefully constructed in relation to the existing literature, \[while\] new, refreshing, innovative, and boundary breaking". On pragmatic grounds, O'Sullivan challenged Cochrane's commitment to cosmopolitanism. She argued that, for Cochrane, the realisation of cosmopolitan values is not a precondition of animals' rights being respected; it is simply a theory he chose. She therefore poses a series of questions: "is it responsible, ideal, or wise to make cosmopolitanism a pre-condition for animal wellbeing? An estimated 150 billion animals are purposefully slaughtered globally each year. Is it fair for those individuals to be made to wait for utopian futures, when practical solutions could ease their suffering in the here and now?" Not only, she says, are cosmopolitan institutions deeply unlikely to be achieved in even the long term, but cosmopolitan theorists are hostile or indifferent to animals. On the other hand, she says, the liberal status quo can find some room for animals, and working within it can have practical benefits for animals. On that basis, she wrote that, in contrast to Cochrane,

> I am going to keep plugging away in the here and now. I believe that liberalism provides us with enough tools to challenge speciesism, and I will continue to work with those tools until such a time as I am confident that they will be replaced with a different set of instruments. But that time is not now.

In his response, Cochrane argued that there is room for both pragmatic and utopian approaches to political theory, and that the latter has value; that cosmopolitanism is not as utopian as it may first seem; and that all political principles (not just cosmopolitanism) are contested. Cochrane considers cosmopolitan theory's anthropocentrism, though problematic, striking for its inconsistency with cosmopolitan commitments to impartiality. Due to this commitment, Cochrane sees cosmopolitanism and animal rights as natural companions.

Like O'Sullivan, Milburn praised *Sentientist Politics*, calling it "tightly argued, provocative, innovative, engaging, and— perhaps most importantly—compelling". He suggested that *Sentientist Politics* might offer the political theory needed by advocates of intervention in nature to reduce wild-animal suffering, but questioned what relations with wild animals might look like in Cochrane's cosmopolitan sentientist democracy. Milburn offered five possibilities: a piecemeal approach, which would call for small interventions in nature when not too costly; a natural-zoo approach, in which nature was replaced with something zoo-like; a transanimalist approach, in which animals were genetically engineered to live in harmony; an extinctionist approach, in which wild animals were eliminated; and an epistemic approach, denying that we are yet able to see what just relations with wild animals would look like. Cochrane responded that his own view contained elements of the piecemeal approach and the epistemic approach. However, he noted that epistemic limits on our ability to envisage just co-relations with animals were not limited to just co-relations with *wild* animals, but likely applied to relations with many sentient animals. Instead of envisioning what just relations would look like from the outset, Cochrane calls for representatives to *construct* just relations.

### Reviews

*Sentientist Politics* was reviewed by Tore Fougner, a scholar of international relations, for *Global Policy*, the political theorist Robert Garner for *Perspectives on Politics*; the philosopher Kyle Johannsen for the *Journal of Moral Philosophy*, the philosopher Federico Zuolo for *Constellations*, and the legal theorist John Adenitire for *Jurisprudence*.

Fougner praised the book, saying that "Undoubtedly, \[Cochrane\] argues very well and with great clarity, systematically supporting his ideas and proposals with chains of arguments, while acknowledging difficulties and engaging with possible objections throughout. Overall, the book makes a significant contribution to the 'political turn' in Animal Ethics, which he and others have promoted for some time". He endorsed Cochrane's call for animals to be taken seriously in political science, and suggested that *Sentientist Politics* could be important for both research and teaching in that area. Fougner predicted that the book would face criticism from those subscribing to a "common sense view" of humans being more valuable than animals, but also from some advocates of animal rights. The latter group may be worried about Cochrane's commitment to the moral significance of "cognitive complexity", resulting in animals having different rights to, or weaker rights than, many humans. They may also object, Fougner claimed, to Cochrane's "liberal-reformist approach to social change"; in this sense, Cochrane can be contrasted to more radical voices in critical animal studies.

Garner identified several areas of *Sentientist Politics* he thought open to challenge. First, Cochrane is highly idealistic, and, Garner thinks, optimistic in his claims that international bodies are already moving towards his goals. Second, Cochrane neglects "the global economic power structures", which is likely to be objectionable to scholars of critical animal studies. Third, Cochrane rests his theory on the equality of sentient beings. This raises questions about the comparative strengths of interests and rights, and Garner suggested that Cochrane could have explored different bases for animals' democratic inclusion, such as the all-affected interests principle. Fourth, Cochrane underestimates, for Garner, the potential of states to protect animals' interests, including the interests of sentient animals in *other* states. Garner, instead, promotes the possibility of a reformist state, borrowing from green political theory. However, Garner was "inclined to forgive" these "weaker elements", as he felt there was "much to applaud" in "this densely argued book", which "undoubtedly breaks new ground and can be described as the first attempt to provide a comprehensive *political* theory of animal rights".

For Adenitire, *Sentientist Politics* was "clear, succinct and, most of all, unapologetically ambitious". He argued that the book's value was not dependent on the merits of the particular claims Cochrane makes, but on revealing "the possibility of radically reimagining our political and legal order in a way that does not suffer from speciesism". *Sentientist Politics*, Adenitire believed, stood apart from the work of Donaldson and Kymlicka or Robert Garner for lawyers (especially constitutional lawyers) for offering the foundations of what Adenitire termed *Sentientist Constitutionalism*: an area of enquiry aiming "to imagine, outline and defend what a liberal constitutional theory committed to the equal moral status of human and non-human animals would look like". Cochrane is imprecise about what a Bill of Sentient Rights would contain, leaving work for sentientist constitutionalists, but Adenitire argues that *Sentientist Politics* may actually hamper legal efforts to secure animal rights, as Cochrane is opposed to the idea that animals (with possible exceptions of great apes and cetaceans) are "autonomous persons", and has previously argued that the property status of animals need not hamper the equal consideration of their interests. Adenitire challenged Cochrane's claims about animal interests in liberty and in not being property, and rejected the Kantian notion of autonomy that he endorses.

Adenitire also drew attention to the high levels of responsibility Cochrane places upon humans to aid wild animals. For him, this again rises from Cochrane's reluctance to see animals as having an interest in controlling their own lives, which leads him to reject Donaldson and Kymlicka's account of animal sovereignty. Against Cochrane, Adenitire argues that wild animals can validly make claims to sovereignty, and thus that Cochrane's burdensome paternalism can be rejected. This could mean that a liberal sentientist constitutionalist state should discourage domestication, making proposals about the just treatment of domesticated animals redundant in the long term. Cochrane's sentientist cosmopolitan democracy thus has an advantage over Adenitire's sentientist constitutionalism: "it takes seriously the lived bond between human and non-human which may sustain it in the long term". However, Adenitire thinks that this advantage can be exaggerated.

Johannsen considered *Sentientist Politics* "an excellent book that makes a significant contribution to the political turn in animal ethics", and he highly recommended it. Johannsen argued that, despite first appearances, *Sentientist Politics* did leave considerable room for contextual considerations. For example, interventions in wild ecosystems must be decided with reference to the specifics of the particular ecosystem. This was only one of the book's strengths, for Johannsen; he called it "well written and well argued". Though he praised the discussion of wild animals as "interesting", he questioned whether it was necessary for them to be considered members of political communities in order for them to be afforded significant protection. He also questioned whether it was plausible that communities refusing to intervene in nature be subject to coercive intervention. It was the question of whether the international community should tolerate non-intervention, Johannsen argued, that distinguishes duties of justice from mere humanitarian duties on Cochrane's theory.

Zuolo saw Cochrane as offering a much-needed contribution to animal ethics in offering a rigorous exploration of political institutions; the most original chapter, he argued, was the third. Despite praising the book's "many ... merits", Zuolo identified three shortcomings. The most significant, he argued, concerned Cochrane's proposal of animal representatives. Zuolo raised the question of how many representatives there should be, and also asked whether animal representatives might be appropriate as a "transitory or remedial measure", unnecessary in "a truly sentientist polity". Zuolo also criticised Cochrane's rejection of personhood as the basis of moral equality, which he argued was too quick, and the fact that Cochrane failed to consider the range of means to secure sentientist cosmopolitan democracy between civic education and violence, including various forms of direct action.

### Awards

For *Sentientist Politics*, Cochrane was awarded the 2019 Susan Strange Best Book Prize by the British International Studies Association (BISA). The prize was awarded as part of the BISA's 44th Annual Conference in London, June 2019.

### Footnotes

### Bibliography

### Further reading

## InfoBox

Sentientist Politics: A Theory of Global Inter-Species Justice
|  | |
| --- | --- |
| Author | Alasdair Cochrane |
| Working title | *Beastly Cosmopolitanism: A Theory of Global Inter-Species Justice* |
| Subjects |  |
| Publisher | Oxford University Press |
| Publication date | 30 October 2018 |
| Publication place | United Kingdom |
| Media type | Hardback; softback; ebook |
| Awards | 2019 Susan Strange Best Book Prize (BISA) |


title: Pop Maynard

abstract: George "Pop" Maynard was an English folk singer and marbles champion. The folk singer Shirley Collins considers Maynard to have been the "finest traditional English singer, matched only by Harry Cox".

text:
# Pop Maynard

**George "Pop" Maynard** (6 January 1872  29 November 1962) was an English folk singer and marbles champion. The folk singer Shirley Collins considers Maynard to have been the "finest traditional English singer, matched only by Harry Cox".

## Life and family

George Maynard was born on 6 January 1872 or, as he put it, on Old Christmas Day in Smallfield, Burstow, Surrey, about 2 mi (3.2 km) north of the village of Copthorne, West Sussex, where he lived for his entire life. He was the eleventh of twelve children of James Maynard and his wife Elizabeth (née Skinner), four of whom died in infancy. Maynard was baptised on 3 February 1872 at the Church of St Bartholomew in Burstow, when his father's profession was given as "labourer".

Maynard attended school on-and-off until the age of 12. He worked with his father and brothers, in the winter as a woodman cutting wood for the hoop trade, in the summer harvesting, hedging and ditching. He and his family also supplemented their income by poaching rabbits and pheasants. He did not regret his poaching, saying "I should go out again if I had my time over again, before I should let my family go short of anything."

Every year for 52 years Maynard would travel to Kent to work in the hop fields. The 1939 Register was taken on 29 September during the hop season, and Maynard, then aged 57, was registered at Moorden Farm, Leigh, Kent that night. During one of these annual trips, Maynard met his wife Mary Ann (Polly) Wiles, at a hop farm called Salmans Farm, Chiddingstone, Kent. They married in September 1895 in Chiddingstone.

The couple had seven children, of whom two daughters and four sons survived to adulthood. They lived at first in a tiny house in Borer's Yard, Copthorne, then in a cottage in Spring Gardens, Copthorne. Polly died in 1920, and Maynard remained a widower for more than 40 years. He died on 29 November 1962.

## Music

In Maynard's youth there was no recorded music, and singing was part of the family and the community.

> The idea that a singer was someone exclusive was not there then. Everybody sang. Some sung well, some didn't, but singing was as normal as breathing. We sang up the woods, we sang anywhere. You sang when you felt in the mood - you'd be in the pub and someone would start a song and all of a sudden the whole place lit up. It was never, "Well, let’s have a sing" - it either happened or it didn't.

Maynard learned songs from his father and other family members. He augmented his repertoire by learning songs from ballad sheets (broadsides) that were hawked round the villages. Itinerant workers also brought new material. Maynard picked up songs during his annual migration to the hop fields, for example "The Irish Hop-Pole Puller", a cockney comic song. At the hop farms there were Londoners and workers from Ireland and from other counties of England, and evenings and Sundays were spent drinking and singing. At home, Maynard, who admitted to feeling lonely after being widowed, was in one of the local pubs most evenings, singing and playing traditional games, such as shove ha'penny, skittles, quoits, darts, and marbles.

Maynard's repertoire as recorded by Ken Stubbs comprised 65 songs. The recordings were selective, and Stubbs estimated that Maynard's complete repertoire of songs committed to memory would have been in the hundreds. Maynard and his community were not concerned about the sources of their songs, singing popular songs of the day as well as traditional material, but the folk-song collectors dismissed the songs of music hall origin as unauthentic, and few of them were recorded, a choice which Stubbs came to regret. According to Stubbs, Maynard's personal favourites were the traditional broken-token song "The Banks of Claudy" (Roud 266), which he had sung at his own wedding and those of his children, an Irish song "The Brave Irish Soldier" (Roud 3226), and one of music hall origin, "The Old Rustic Bridge" (Roud 3792). Some songs were original lyrics to traditional tunes, for example "Shooting Goshen's Cocks Up" (Roud 902), written by Maynard's friend Fred Holman to celebrate a poaching incident. Poaching was a favourite topic for songs in Maynard's repertoire, for example "The Gallant Poachers" (Roud 793) and "While Gamekeepers Lie Sleeping" (Roud 363), as well as songs about the sea.

Much of his repertoire was also sung by the Copper Family, although there had been little interchange between the Weald musicians including Maynard, and the Coppers over the South Downs in Rottingdean. Several of Maynard's favoured songs, including "Banks of Claudy" and "While Gamekeepers Lie Sleeping", are better known in versions by the Coppers. A few songs seem to have come uniquely from Maynard though. Maynard's longevity meant that he provided a bridge between the first (transcription-based) and second (field-recording-based) British folk revivals and kept alive songs which might otherwise have been forgotten. As Mike Yates noted:

> Many of these songs, once common, are now seldom encountered. Cecil Sharp, for instance, noted four versions of "Locks and Bolts" at the turn of the century as did George Gardiner also. However, to my knowledge, Pop is the only English singer to have been recorded singing ita sad come-down for this splendid ballad ... The same can be said for his version of "A Sailor in the North Country" ... which must once have enjoyed a widespread popularity, judging by its frequent appearance on song sheets.

## Influence

Maynard's repertoire and style were influential on the emerging folk singers of the second folk revival. His songs were recorded by Bert Lloyd, Cyril Tawney, Peter Bellamy, Martin Carthy, and many others. He was noted for his ear for pitch, strong sense of rhythm, and smooth phrasing. In an interview in 2017, Shirley Collins described her encounters with Maynard in his final years.

> I used to go to Cecil Sharp House to look in the library and listen to recordings. One day in the cellar was a Sussex singer in his 70s  \[*sic*\] called George Maynard. To meet this man and hear him sing in the flesh was absolutely wonderful, even though his voice was old — a bit like the one I’ve got now. You can’t keep your beautiful voice all your life. I fell in love with both George and "Polly on the Shore", which is a song about a sea battle, and the loss of love and life during the Napoleonic wars.

When Collins recorded "Polly on the Shore" on her 1970 album *Love, Death and the Lady* with her sister Dolly, she wrote:

> From George Maynard, of Copthorne, Sussex. It was one of the great good fortunes in my life to hear George sing in the flesh, back in 50's. Even though he was then in his eighties, he was still able to sing tunefully and gracefully, and had a remarkable stock of songs. He was a complete countryman, and well-known as a marbles and shove ha'penny player. ... This song epitomes George to me, with its sweetness and dignity.

Maynard remains significant to the next generation of traditional singers. Folk supergroup The Furrow Collective, winner of Best Group in the 2017 BBC Folk Awards, included "Our Captain Calls" from Maynard's repertoire on their 2014 album *At Our Next Meeting*. Singer Emily Portman wrote:

> Martin Carthy introduced me to George "Pop" Maynard's singing when I was 17. It was the first time I'd heard anything quite like it: an old man with a crackling voice, banging his stick to keep time and gripping me with his storytelling. It was the first song I performed unaccompanied and it brought about a sea-change in my whole approach to singing.

## The second British folk revival

From the early 1950s, the second British folk revival brought for the first time an interest in Maynard's music from outside his immediate circle. He was "collected" over this period by many folklorists, including Peter Kennedy, Mervyn Plunkett, Reg Hall, Ken Stubbs and Frank Purslow, and all known recordings of him date from this period, the last ten years of his life.

Plunkett had recorded Maynard in 1955 and was organising music sessions in local Sussex pubs. Kennedy was one of the presenters of the BBC folk music radio programme *As I Roved Out*, which was broadcast during the 1950s, and he brought a team to one of these sessions, at the Cherry Tree pub in Copthorne, in February 1956. The session included traditional musicians and singers, including Maynard, and also step dancers.

The programme was broadcast on the BBC Light Programme on 24 June 1956, and brought with it increasing fame for Maynard. At the same time Kennedy recorded 14 of the 15 tracks that would comprise Maynard's Topic Records album *Ye Subjects of England*, though this would not be released until 1976. The only commercial recording that was released during Maynard's lifetime was his track "Polly on the Shore" recorded by Plunkett in 1956 for the EP *4 Sussex Singers*, though this was only released in 1961.

In October 1957, Plunkett organised a coach trip to Cecil Sharp House for the English Music Festival, a competitive event run by the English Folk Dance and Song Society (EFDSS). The party included Maynard and three other singers, and a full band of local musicians, including Reg Hall. Hall describes it as "a great day out", but the music had a mixed reception.

> We shocked many of the people there and confused some of the adjudicators, who were used to genteel settings of folk songs. One of them, *The Times* music critic, criticised Pop Maynard for allegedly not knowing his words and for having a poor standing posture. Very few of the audience had ever heard a country singer before, and even fewer had ever heard country pub music. Some of them, it seemed, were excited by it.

The trips did continue though. Maynard performed three times on BBC radio, noting that "we went on three different times, and they gave us a guinea each, each time." Plunkett brought several musicians including Maynard to perform in *A Sussex Concert* at Cecil Sharp House in March 1958, and later to make a second attempt at the EFDSS English Music Festival competition. The day after the festival, 11 October 1958, they took part in a grand concert *Folk Music of the British Isles* organised by the EFDSS at the Royal Festival Hall. Maynard, now 86 years old, was brought on to the RFH stage to sing two verses of "Rolling in the Dew" in his usual unaccompanied style, and was then expected to hand over to Jeannie Robertson to finish the song. The intention was to demonstrate the assimilation process in folk music, showing a Sussex song being adapted by a Scottish singer, but Hall observed that "Pop was confused and upset and Jeannie was clearly embarrassed by such unimaginably crass stage direction." Hamish Henderson glossed over the event in his notes about "Rolling in the Dew" on Robertson's 1960 EP *Lord Donald*: "In 1958, in the Royal Festival Hall, Jeanne made a hit with this song after Sussex veteran, Pop Maynard, had given his own fine traditional version."

An extensive collection of hitherto-unknown pub recordings of Maynard, made by Brian Matthews in 1959–60, was released by Musical Traditions Records in 2000 as a double CD *Down the Cherry Tree*. Described as "for completists", having been recorded on basic equipment in a noisy pub environment, this complements the more selective Maynard tracks, also recorded by Matthews, on the same label's Sussex compilation *Just Another Saturday Night*.

Maynard was last known to sing in public at his 90th birthday party in the Cherry Tree, Copthorne, in January 1962.

## Marbles

In his lifetime, Maynard acquired celebrity for his marbles-playing well before he was known outside his locality for his singing. His nickname "Pop" was a tribute to his skill at marble-popping.

The British and World Marbles Championship is said to date back to 1588. The modern competition takes place every Good Friday at the Greyhound pub in Tinsley Green, West Sussex, and has run continuously since 1932, with exceptions for World War II and the 2020 COVID-19 pandemic.

Maynard was first a member of a world champion team when Copthorne defeated the London Passenger Transport Board in 1941. In subsequent world championships, Maynard was filmed regularly and appeared on British Pathé News.

When the Copthorne Spitfires won the world championship in 1948, Maynard was team captain, and he was seen on national television. In 1949 the Copthorne Spitfires lost in the semi-finals, when the commentator noted:

> Marbles skill is handed down from father to sons, as from Pop Maynard, 73, to sons Arthur, Perce and George. The Copthorne Spitfires, an all-Maynard family team play Tinsley Green in the semi-final.

Maynard continued to compete through the 1950s. In July 1954, his reputation brought Maynard the opportunity to fly to Le Touquet at the invitation of its mayor to play exhibition matches. His final world championship was Easter 1962, in the year of his death at the age of 90. Marbles historian Sam McCarthy recalls the official commentator describing Maynard's play that year to be "as quick and agile as a two-year-old".

## Sources

### Discography

All known releases are listed below. Tracks re-issued on compilations are not listed.

4 Sussex Singers (EP, Collector Records JEB7, UK, 1961) Recorded by Mervyn Plunkett. There is one track from each of George Spicer, Pop Maynard, Jean Hopkins and Jim Wilson. Maynard sings *Polly on the Shore* (Roud 811), recorded in West Hoathly in October 1956. No longer available.
Rumpsy Bumpsy: Pop's in the Pub (Cassette, Folktracks 080-C60, UK, 1975. Later as CD, Folktrax FTX-280) Recorded by Peter Kennedy in The Cherry Tree public house in Copthorne, February 1956. Some of this material was used for Kennedy's radio programme *As I Roved Out*. Features Maynard with a chorus of friends, including George Holman, Jean Hopkins, Mervyn Plunkett and Ken Stubbs. No longer available.
Ye Subjects of England: Traditional Songs From Sussex (LP, Topic Records 12T286, UK, 1976. Also as digital download TSDL286, UK, 2009) Recorded by Peter Kennedy in Maynard's home, Copthorne, Sussex, 3 December 1955. Recordings from this sesion also appear on several volumes of the Topic anthology The Voice of the People and other Topic compilations.
Rolling in the Dew: "Pop" Maynard at Home (Cassette, Folktracks 427-C60, UK, 1985. Later as CD, Folktrax FTX-279) Songs and interviews recorded by Peter Kennedy at Maynard's cottage December 1955. No longer available.
Down the Cherry Tree (CD, Musical Tradition Records MTCD 400-401 UK, 2000) All the songs and fragments Brian Matthews recorded from Pop Maynard in 1959-60, at three of his local pubs. A selection from Matthews' recordings also appears on *Just Another Saturday Night* (MTCD 309-310, 2000).

### Audio-visual collections

Sussex Traditions The Sussex Traditions database of Sussex Folklife and Lore has drawn together material about Maynard from several sources. They include * Clippings about Maynard from local newspaper the East Grinstead Courier.
* Audio recording of a thirty-minute interview with Maynard conducted by Ken Stubbs.
* Field recordings of Maynard, made by Ken Stubbs, Brian Matthews, Tony Wales and Jim Ward.
* Transcriptions from the Plunkett Collection of lyrics of field recordings.
* Transcriptions made by Ken Stubbs from his field recordings of Maynard's singing, published in Stubbs' book of folk songs *The Life of a Man*.
Vaughan Williams Memorial Library The library holds field recordings of Maynard by Ken Stubbs and Brian Matthews, and song transcriptions by Mervyn Plunkett and Frank Purslow in its digital archive.
British Library Sounds Reg Hall English, Irish & Scottish Folk Music & Customs Collection Includes field recordings of Maynard made by Mervyn Plunkett, Frank Purslow, Ken Stubbs, and Reg Hall himself. Peter Kennedy Collection None of Kennedy's field recordings of Maynard were provided to the British Library as part of this collection, but it includes a few photographs of Maynard.     1. Collins, Shirley (2018). *All in the Downs*. London: Strange Attractor Press. p. 148. ISBN 9781907222412.
2. "England & Wales Births 1837-2006". *FreeBMD*. ONS. Retrieved 4 September 2020. MAYNARD George, Reigate, 1Q1872 2a 177.
3. Stubbs, Ken (1963). "The Life and Songs of George Maynard". *Journal of the English Folk Dance and Song Society*. **9** (4). EFDSS: 180–196. JSTOR 4521670.
4. "England, Surrey Parish Registers, 1536-1992" (index). *FamilySearch*. 19 April 2018. Baptism, , London Metropolitan Archives, England; FHL microfilm 1,470,975.
5. "General Register Office: National Registration: 1939 Register" (database with images). *FindMyPast*. 2017. RG 101, The National Archives, Kew, England.
6. "England, Kent, Parish Registers, 1538-1911" (database with images). *FamilySearch*. 8 December 2017. Marriage, Chiddingstone, Kent, England, Kent Archives Office, Maidstone; FHL microfilm 1,866,648.
7. Stubbs, Ken (1960). "Interview with Pop Maynard". *Sussex Traditions*. Ken Stubbs Field Collection (tape 4) KS-04-1-01
8. "England and Wales Census, 1901" (database). *FamilySearch*. 20 May 2019. Worth subdistrict, PRO RG 13, The National Archives, Kew, Surrey.
9. "England and Wales Census, 1911" (database). *FamilySearch*. 12 July 2019. PRO RG 14, The National Archives of the UK, Kew, Surrey.
10. "England & Wales Deaths, 1837-2006". *FreeBMD*. ONS. Retrieved 27 July 2020. MAYNARD Mary A, 42, E. Grinstead, 4Q1920 2b 172.
11. "England & Wales Deaths, 1837-2006". *FreeBMD*. ONS. Retrieved 31 August 2020. MAYNARD George, 90, Surrey S.E., 4Q1962 5g 879
12. Stradling, Rod; Smith, Vic (2000). *Just Another Saturday Night: Sussex 1960* (booklet). Musical Traditions Records. MT CD 309-10.
13. Stubbs, Ken; Yates, Mike (1976). *Ye Subjects of England: Traditional Songs from Sussex* (PDF) (booklet). Topic Records. TSDL 286.
14. Snapes, Laura (13 February 2017). "British folk icon Shirley Collins on the music of her life". *Pitchfork*. Retrieved 20 August 2020.
15. Collins, Shirley (1970). *Love, Death and the Lady* (Sleeve notes). Harvest Records.
16. Portman, Emily (2014). "Our Captain Calls (Roud 602)". *At Our Next Meeting* (booklet). The Furrow Collective. Furrow Records. FURR007.
17. "George "Pop" Maynard". *Sussex Traditions*. Retrieved 24 July 2020.
18. Hall, Reg (1990). *I Never Played to Many Posh Dances*. Musical Traditions.
19. "As I Roved Out". *Radio Times* (1720): 11. 22 June 1956  via BBC Genome Project.
20. "4 Sussex Singers". *Discogs*. Retrieved 24 July 2020.
21. "Will Pop's record be a hit or a miss?". *East Grinstead Courier*. 9 June 1961.
22. "MT Records Sussex CDs / Down the Cherry Tree". *Musical Traditions*. Retrieved 24 July 2020.
23. "MT Records Sussex CDs / Just Another Saturday Night: Sussex 1960". *Musical Traditions*. Retrieved 31 August 2020.
24. "Toe-tapping 'Pop' celebrates his 90th birthday". 1962. Retrieved 3 September 2020.
25. Bennett, Clive (2002). "George 'Pop' Maynard". *Sussex Folk: The Folk Song Revival in Sussex*. Country Books. pp. 171–172. ISBN 9781898941781.
26. "1930s". *Greyhound Marbles*. Archived from the original on 28 November 2020. Retrieved 23 August 2021.
27. "1940s". *Greyhound Marbles*. Archived from the original on 28 November 2020. Retrieved 23 August 2021.
28. "British and World Marbles Championship". Facebook. 12 March 2020. Retrieved 31 August 2020. Due to the current worldwide situation regarding COVID19 it has been decided that the British and World Marbles Championship 2020 will not be taking place.
29. "Marbles Champions: Interesting Contests". *Sussex and Surrey Courier*. No. 3106. 19 April 1941. p. 1.
30. "Marbles" (video). *British Pathé*. Pathé News. 1946.
31. "Quirky: Britain's Annual Easter Parade Activities" (video). *British Pathé*. Reuters. 10 April 1947.
32. McCarthy, Sam (1982). "Pop Maynard  Lord of the Ring". *English Dance and Song*. **44** (1). London: English Folk Dance and Song Society: 3.
33. "Film, snooker and marbles stars on view". *Crawley and District Observer*. 14 April 1949. p. 12.
34. Whitcomb, Noel (17 March 1948). "Under the Counter". *Daily Mirror*. p. 4.
35. "Easter Parade - Phew!" (video). *British Pathé*. Pathé News. 21 April 1949. CU 'Pop Maynard'. MV Maynard and his three sons in play.
36. "Old Sports Crop Up For Easter Sussex" (video, sound missing). *British Pathé*. Reuters. 16 April 1954. CU 82-yr. old Pop Maynard, past champion.
37. "'Pop' Maynard". *Greyhound Marbles*. Archived from the original on 4 December 2020. Retrieved 23 August 2021.
38. "Marble Championship" (video, sound missing). *British Pathé*. Pathé News 2020. 1962. VCU. & MS. Pop Maynard, 90 year old King of Marbles, taking his shots and poses for camera.
39. Roud, Steve. "4 Sussex Singers: Traditional Songs by Country Singers" (database entry). *Vaughan Williams Memorial Library*. Roud bibliography/discography (X4962). Retrieved 22 September 2020.
40. "Rumpsy Bumpsy". *Folktrax archive*. Retrieved 27 July 2020.
41. Roud, Steve. "Rumpsy Bumpsy: Songs and Stories from the Surrey-Sussex Border" (database entry). *Vaughan Williams Memorial Library*. Roud bibliography/discography (X5016). Retrieved 22 September 2020.
42. "George Maynard  Ye Subjects of England". *Topic Records*. Retrieved 24 July 2020.
43. "Rolling in the Dew". *Folktrax archive*. Retrieved 27 July 2020.
44. Roud, Steve. "Rolling in the Dew: Folksongs from Sussex" (database entry). *Vaughan Williams Memorial Library*. Roud bibliography/discography (X5061). Retrieved 22 September 2020.
45. Stubbs, Ken (1970). *The Life of a Man: English Folk Songs from the Home Counties*. London: EFDS Publications. ISBN 978-0854180271.
46. Zierke, Reinhard. "The Life of a Man". *Mainly Norfolk*. Retrieved 24 July 2020.
47. "Ken Stubbs Collection". *Vaughan Williams Memorial Library*. Retrieved 22 September 2020.
48. "Brian Matthews Collection". *Vaughan Williams Memorial Library*. Retrieved 22 September 2020.
49. "Mervyn Plunkett Collection". *Vaughan Williams Memorial Library*. Retrieved 22 September 2020.
50. "Frank Purslow MSS Song Texts". *Vaughan Williams Memorial Library*. Retrieved 22 September 2020.
51. "Reg Hall English, Irish & Scottish Folk Music & Customs Collection". *British Library Sounds*. Retrieved 24 July 2020.
52. "Peter Kennedy Collection". *British Library Sounds*. Retrieved 24 July 2020.

## InfoBox

| Pop Maynard | |
| --- | --- |
| George 'Pop' Maynard. Copthorne, West Sussex, England, 1953 | |
| Background information | |
| Birth name | George Maynard |
| Born | (1872-01-06)6 January 1872<br>Smallfield, Burstow, Surrey, England |
| Origin | Sussex |
| Died | 29 November 1962(1962-11-29) (aged 90)<br>Copthorne, West Sussex, England |
| Genres | Folk music |


title: Premio Lo Nuestro 2000

abstract: The 12th Lo Nuestro Awards ceremony, presented by Univision to honor the best Latin music of 1999 and 2000, took place on May 5, 2000, at a live presentation held at the James L. Knight Center in Miami, Florida. The ceremony was broadcast in the United States and Latin America by Univision. During the ceremony, nineteen categories were presented. Winners were announced at the live event and included Mexican singer-songwriter Pepe Aguilar and Puerto-Rican American singers Elvis Crespo and Ricky Martin receiving three competitive awards each. Aguilar earned the award for Regional Mexican Album of the Year, Crespo won for Tropical/Salsa Album of the Year, and the Pop Album of the Year was presented to American band Santana. A special tribute was given to Mexican singer Cristian Castro and the Excellence Award was received by Mexican performer Antonio Aguilar.

text:
# Premio Lo Nuestro 2000

The **12th Lo Nuestro Awards** ceremony, presented by Univision to honor the best Latin music of 1999 and 2000, took place on May 5, 2000, at a live presentation held at the James L. Knight Center in Miami, Florida. The ceremony was broadcast in the United States and Latin America by Univision.

During the ceremony, nineteen categories were presented. Winners were announced at the live event and included Mexican singer-songwriter Pepe Aguilar and Puerto-Rican American singers Elvis Crespo and Ricky Martin receiving three competitive awards each. Aguilar earned the award for Regional Mexican Album of the Year, Crespo won for Tropical/Salsa Album of the Year, and the Pop Album of the Year was presented to American band Santana. A special tribute was given to Mexican singer Cristian Castro and the Excellence Award was received by Mexican performer Antonio Aguilar.

## Background

In 1989, the Lo Nuestro Awards were established by Univision, to recognize the most talented performers of Latin music. The nominees and winners were selected by a voting poll conducted among program directors of Spanish-language radio stations in the United States and the results were tabulated and certified by the accounting firm Arthur Andersen. The categories included are for the Pop, Tropical/Salsa, Regional Mexican and Music Video. The trophy awarded is shaped like a treble clef. The 12th Lo Nuestro Awards ceremony was held on May 5, 2000, in a live presentation held at the James L. Knight Center in Miami, Florida. The ceremony was broadcast in the United States and Latin America by Univision.

## Winners and nominees

Winners were announced before the live audience during the ceremony. American singer Marc Anthony was the most nominated performer, but ended the ceremony winning none. Anthony's nominations at the Tropical/Salsa Field (Male Singer and Song of the Year) were awarded to Puerto-Rican American Elvis Crespo, who also received the Album of the Year accolade for his second album *Píntame*; while his Pop Field nominations were handed to "Livin' la Vida Loca" by Ricky Martin for Song of the Year and Male Artist was also given to Martin. The English-language version of "Livin' la Vida Loca" was also nominated for a Grammy Award for Song of the Year at the 42nd Grammy Awards.

American band Santana received the Pop Album of the Year Award, three months after winning the Grammy Award for Album of the Year. Colombian singer Shakira was named Pop Female Artist for the third time. The Regional/Mexican field was dominated for second year in a row by Mexican singer Pepe Aguilar who won Male Artist and Album of the Year; his father, performer Antonio Aguilar, received the Excellence Award at the ceremony.

Winners and nominees of the 12th Annual Lo Nuestro Awards (winners listed first)\[I\]
| Pop Album of the Year | Pop Song of the Year |
| --- | --- |
|  |  |
| Pop Male Artist | Pop Female Artist |
|  |  |
| Pop Duo or Group of the Year | New Pop Artist of the Year |
|  |  |
| Regional Mexican Album of the Year | Regional Mexican Song of the Year |
|  |  |
| Male Artist of the Year, Regional Mexican | Female Artist of the Year, Regional Mexican |
|  |  |
| Regional Mexican Group of the Year | Regional Mexican New Artist of the Year |
|  |  |
| Tropical/Salsa Album of the Year | Tropical/Salsa Song of the Year |
|  |  |
| Male Artist of the Year, Tropical/Salsa | Female Artist of the Year, Tropical/Salsa |
|  |  |
| Tropical/Salsa Duo or Group of the Year | New Tropical/Salsa Artist of the Year |
|  |  |
| Video of the Year |
|  |
|

### Notes

**^\[I\]**  This list is incomplete since there are not enough references to fill the nominees for all categories, only the winners are available and some nominees on a few categories.

## Honorary awards

## InfoBox

| 12th Lo Nuestro Awards | |
| --- | --- |
| Date | Friday, May 5, 2000 (2000-05-05) |
| Site | James L. Knight Center
Miami, Florida, USA |
| Hosted by | Julio Sabala |
| Highlights | |
| Most awards | Pepe Aguilar, Elvis Crespo and Ricky Martin (3) |
| Most nominations | Marc Anthony (5) |
|


title: Poison Ivy (1985 film)

abstract: Poison Ivy is a 1985 American made-for-television romantic comedy film starring Michael J. Fox and Nancy McKeon, directed by Larry Elikann, and written by Bennett Tramer. The film premiered on NBC on February 10, 1985 and aired just months before Fox's feature film breakthrough Back to the Future and follow-up Teen Wolf.

text:
# Poison Ivy (1985 film)

***Poison Ivy*** is a 1985 American made-for-television romantic comedy film starring Michael J. Fox and Nancy McKeon, directed by Larry Elikann, and written by Bennett Tramer. The film premiered on NBC on February 10, 1985 and aired just months before Fox's feature film breakthrough *Back to the Future* and follow-up *Teen Wolf*.

## Plot

Michael J. Fox plays camp counselor Dennis Baxter, who works at a boys' summer camp called Camp Pinewood, located in Clifton, Maine. He falls in love with the new camp nurse Rhonda and spends the summer trying to convince her to leave her fiancé for him. Baxter's campers include the slick-talking Jerry Disbro, the sensitive writer Brian (who also has a crush on Rhonda), the baseball star Bobby, the overweight comedian Toby, and the shy Timmy Mezzy who is afraid of the water and wants to run away. Jerry ends up becoming the camp con man, operating such scams as a letter writing concession using Brian, turning the P.X. into "his own personal candy store", and making outlandish demands to help win Bobby his much-coveted spot on the Varsity baseball team by acting as his agent . "It's an honor to play for the Yankees, but Dave Winfield still cashes his checks", says Jerry. Along with Bobby, he hatches a plan to sneak over to the neighboring girls' camp to visit a girl he met on the train ride to camp. Timmy is always finding new and creative ways to escape, including busting out in a laundry truck and trying to sneak out by way of the girls' camp across the lake dressed in drag. The camp is run by 'Big Irv' Klopper and his wife Margo (much to her apparent displeasure). Baxter's arch-rival is fellow counselor Ike, who is much more serious about his job than Baxter. Ike is not at all popular among the campers and is seen as being something of a "Square", having been educated in a military school. Maintenance man Walter carries around a red-stained axe and is rumored to be a murderer.

As the summer progresses, Timmy makes friends with the other kids and stops trying to run away. Eventually he learns to swim and enters a swimming race in the annual Color War competition. Jerry, who is on the opposite team in the Color War, tells Timmy the story of "Tough Break Thompson", a camper who supposedly drowned after conquering his fear of water at the camp. Timmy panics during the swimming event when Jerry says "Timmy - tough break!" to him right before the race. Bobby then punches Jerry when he finds out what happened. Later, Jerry apologizes and the kids learn that their friendship is more important than the winner of the Color War, and the Color War is declared a tie. The climactic moment of the movie occurs when a camper shouts, "Timmy Mezzy's swimming the lake!" and the whole camp runs to watch Timmy swim across the lake, finally conquering his fear of water. Walter is also revealed to be a painter who uses his axe to create art. At the end of the summer, Baxter is offered the job of head counselor for the following year, having been chosen over Ike, much to Ike's chagrin. Rhonda and Baxter end up together.

## Cast

## Reception

Lawrence Van Gelder of *The New York Times* called *Poison Ivy* "two hours of tedium".

## InfoBox

| *Poison Ivy* | |
| --- | --- |
| VHS cover | |
| Genre | Comedy
Romance |
| Written by | Bennett Tramer |
| Directed by | Larry Elikann |
| Starring | Michael J. Fox
Nancy McKeon
Caren Kaye
Adam Baldwin
Robert Klein
Joe Wright
Cary Guffey |
| Theme music composer | Miles Goodman |
| Country of origin | United States |
| Original language | English |
| Production | |
| Executive producer | Deborah Stoff |
| Producer | Marvin Miller |
| Production locations | Hard Labor Creek State Park \- Fairplay Road, Rutledge, Georgia |
| Cinematography | Robert C. Jessup |
| Editor | Robert F. Shugrue |
| Running time | 97 minutes |
| Production company | NBC Productions |
| Original release | |
| Network | NBC |
| Release | February 10, 1985 (1985-02-10) |


title: Mi-parti

abstract: Mi-parti is an orchestral work by the Polish composer Witold Lutosławski, composed from 1975 to 1976 on a commission from the City of Amsterdam for the Concertgebouw Orchestra. The name broadly means in two equal but different parts, referring to the treatment of the material rather than the large-scale structure of the piece. The first performance took place on 22 October 1976 in Rotterdam, with the composer conducting the Concertgebouw Orchestra.

text:
# Mi-parti

***Mi-parti*** is an orchestral work by the Polish composer Witold Lutosławski, composed from 1975 to 1976 on a commission from the City of Amsterdam for the Concertgebouw Orchestra. The name broadly means *in two equal but different parts*, referring to the treatment of the material rather than the large-scale structure of the piece.

The first performance took place on 22 October 1976 in Rotterdam, with the composer conducting the Concertgebouw Orchestra.

## Instrumentation

The work calls for a large orchestra made up as follows:

## Recordings

| Orchestra | Conductor | Record Company | Year of Recording | Format |
| --- | --- | --- | --- | --- |
| Polish Radio National Symphony Orchestra | Witold Lutosławski | EMI Classics | 1976 | CD |
| Polish Radio National Symphony Orchestra | Antoni Wit | Naxos Records |  | CD |
| BBC Philharmonic Orchestra | Yan Pascal Tortelier | Chandos |  | CD |
| Warsaw Philharmonic Orchestra | Antoni Wit | CD Accord |  | CD |

Awards:

* for EMI recording: International Critics’ Award, 1979; Deutsche Schallplattenpreis 1977
* for the piece: State Prize, 1st grade 1978


title: Nancy Criss

abstract: Nancy Criss is an American producer, awards director and actress. She host and produces the entertainment news magazine show On the Road Weekly on ION television. By the age of 13, Criss began her career in show business, with a role in the TV series Petrocelli, followed by several independent projects. She has appeared in TV, feature films, commercials and stage plays. She currently lives in Tucson, Arizona. Nancy Criss is President and co-founder of Nandar Entertainment Inc. Criss was born in Elkhart, Indiana.

text:
# Nancy Criss

**Nancy Criss** is an American producer, awards director and actress. She host and produces the entertainment news magazine show *On the Road Weekly* on ION television.

By the age of 13, Criss began her career in show business, with a role in the TV series *Petrocelli*, followed by several independent projects. She has appeared in TV, feature films, commercials and stage plays. She currently lives in Tucson, Arizona.

Nancy Criss is President and co-founder of Nandar Entertainment Inc.

Criss was born in Elkhart, Indiana.

## Filmography

| Year | Title | Role | Note |
| --- | --- | --- | --- |
| 2003 | *True Legends of the West* | Sylvia Sutherland |  |
| 2005 | *Flat Tire* | Producer |  |
| 2007 | *Manje* | Producer |  |
| | *Only in L.A.* | Herself | TV series - 8 episodes |
| 2008 | *Fear House* | Producer |  |
| 2009 | *On the Road Weekly* | Herself | TV series - 14 episodes |
| | *Suffer the Child* | Producer/Director |  |
| | *Mindbender (2009 film)* | Producer |  |
| 2011 | *Finding Mr. Wright* | Producer/Director |  |
| 2017 | *Take Two for Faith* | director |  |

## InfoBox

| Nancy Criss | |
| --- | --- |
| Born | Nancy Criss |
| Occupation(s) | Actor, producer, director |
| Years active | 1973 |


title: Vietnam Inland Waterways Administration

abstract:
Vietnam Inland Waterways Administration is the government agency of the Ministry of Transport that governs and maintains the ports, rivers, canals and navigable lakes of Vietnam. The current General Director is Assistant Professor D., People's Teacher
Trần Đắc Sửu; VIWA is located in Hanoi. As an organization, VIWA has:
  - A board of directors;
  - 15 River Management stations and joint stock companies;
  - 4 Port authorities;
  - 3 Training schools;
  - Inspection groups;
  - A magazine - Sail Magazine;
  - A project management unit.

text:
# Vietnam Inland Waterways Administration

**Vietnam Inland Waterways Administration** (*VIWA*, Vietnamese: *Cục Đường thuỷ nội địa Việt Nam*) is the government agency of the Ministry of Transport that governs and maintains the ports, rivers, canals and navigable lakes of Vietnam. The current General Director is Assistant Professor D., People's Teacher Trần Đắc Sửu; VIWA is located in Hanoi.

As an organization, VIWA has:

* A board of directors;
* 15 River Management stations and joint stock companies;
* 4 Port authorities;
* 3 Training schools;
* Inspection groups;
* A magazine - Sail Magazine;
* A project management unit.

## River management

VIWA has jurisdiction of over 6,000 km of riverways, operating 15 stations and over 140 substations throughout the country. VIWA maintains over 14,000 navigation aids on Vietnam's rivers. Principal riverways under VIWA's purview include the Red River / Thái Bình Province area in the north, and the Mekong River system in the south.

## Ports

### River ports

VIWA governs 77 ports in Vietnam, including 33 river ports. It manages five of them, all in the north: Hai Phong, Ninh Bình, Bắc Ninh, Việt Trì and Hòa Bình.

### Seaports

VIWA currently maintains port authorities for four seaports:

## Training schools

VIWA operates three vocational schools:


title: Poosimalaikuppam Gram Panchayat

abstract: Poosimalaikuppam Village Panchayat, is a panchayat located in Arani district in Tiruvannamalai district of Tamil Nadu. The panchayat falls under Arani Assembly Constituency and Arani Lok Sabha Constituency. The panchayat has a total of 7 panchayat constituencies. 7 Panchayat Council members are elected from these. According to the 2011 India census, the population of the panchayat was 2274 people; among them were 1182 females and 1092 males.

text:
# Poosimalaikuppam Gram Panchayat

**Poosimalaikuppam Village Panchayat** (*Poosimalaikuppam Gram Panchayat*), is a panchayat located in Arani district in Tiruvannamalai district of Tamil Nadu. The panchayat falls under Arani Assembly Constituency and Arani Lok Sabha Constituency. The panchayat has a total of 7 panchayat constituencies. 7 Panchayat Council members are elected from these. According to the 2011 India census, the population of the panchayat was 2274 people; among them were 1182 females and 1092 males.

## Basic facilities

The following information has been compiled according to the data of the Tamil Nadu Rural Development and Panchayat Department.

| Basic facilities | Total No. |
| --- | --- |
| Water Connection | 215 |
| Bore Motor Pump | 9 |
| Hand Pump | 10 |
| Upper level reservoir tanks | 6 |
| Ground level reservoir tank |  |
| Local government buildings | 16 |
| Government school buildings | 6 |
| Ponds or Wells | 5 |
| Play Ground | 1 |
| Market |  |
| Panchayat Union Roads | 53 |
| Panchayat Roads |  |
| Bus Stand |  |
| Graveyard or Incinerations | 7 |

## Villages

List of villages located in this panchayat:

1. Athiyoor
2. South Kota
3. Poochimalai kuppam
4. Moolathangal
5. West Kota
6. Arunthathiyar Colony
7. Adi Dravidar Colony

## InfoBox

| Poosimalaikuppam Poosi malai kuppam | |
| --- | --- |
| Village Panchayat | |
| PoosimalaikuppamLocation in Tamil Nadu, IndiaPoosimalaikuppamPoosimalaikuppam (India) | |
| Coordinates: 12°14′08″N 79°04′42″E / 12.235440°N 79.078320°E / 12.235440; 79.078320 | |
| Country | India |
| State | Tamil Nadu |
| District | Tiruvannamalai |
| Population (2011) | |
| Total | 2,274 |
| Languages | |
| Official | Tamil |
| Time zone | UTC+5:30 (IST) |


title: Outlaw (2007 film)

abstract: Outlaw is a 2007 action-thriller film written and directed by British filmmaker Nick Love. Outlaw stars Sean Bean, Danny Dyer, Bob Hoskins, Lennie James, Rupert Friend and Sean Harris. The film is set in Britain in 2007. Sean Bean plays a soldier who returns home from duty to find that the country for which he has been fighting has become a war zone itself thanks to rampant crime. He joins forces with likeminded people to take on the evil that threatens to take over his home.

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# Outlaw (2007 film)

***Outlaw*** is a 2007 action-thriller film written and directed by British filmmaker Nick Love. *Outlaw* stars Sean Bean, Danny Dyer, Bob Hoskins, Lennie James, Rupert Friend and Sean Harris.

The film is set in Britain in 2007. Sean Bean plays a soldier who returns home from duty to find that the country for which he has been fighting has become a war zone itself thanks to rampant crime. He joins forces with likeminded people to take on the evil that threatens to take over his home.

## Plot

The film begins by exploring stories involving a number of different characters who live in and around London, all of whom have experiences which lead them to believe that justice in the country is not being handed out fairly. These characters include nice guy white-collar worker Gene Dekker (Danny Dyer), who is brutally beaten by a yob after colliding with his car. Danny Bryant (Sean Bean) is a paratrooper who has seen action in the Falklands, Afghanistan and Iraq and who arrives back from abroad to find his wife with someone else, and also believes that the state of the country is worse than the war-torn places he has recently served in. Crown Court prosecution barrister Cedric Munroe (Lennie James) receives death threats towards his pregnant wife, being told they will only be safe if he pulls out of the case against club owner and heroin dealer Terry Manning (Rob Fry), a boss of the criminal underworld, who Munroe is currently prosecuting. Cambridge University student Sandy Mardell (Rupert Friend) and son of Bryant's former commanding officer has only recently left hospital, though the thugs who scarred him for life in an unprovoked physical attack were released from prison before he had made his recovery.

Through the help of jingoistic hotel security guard and former football hooligan Simon Hillier (Sean Harris), who has a connection to all the men in one form or another, the men are united – Munroe had previously defended him in court, Dekker had gone to school with him, and Bryant stays in the hotel where he works. The men form a vigilante gang, targeting individuals who they determine to be a threat to society. Information on said targets is provided to them by Munroe's police contact Walter Lewis (Bob Hoskins), one of the few police officers who is not corrupt and who has been demoted to work behind a desk by his superiors. The men work through targets associated with Manning, whose men went ahead with their threat against Munroe's pregnant wife, killing her and their unborn child. The men use firearms Bryant stole from active duty with the army.

The gang attract media attention and become known as the "Outlaws", but get themselves into trouble when they reveal their identities to one of Manning's men, Ian Furlong, yet fail to kill him. As a result, Furlong kills Lewis, and Bryant, the leader of the outlaws, is subsequently framed for the murder. Following this, the gang go their separate ways, though not before Bryant hangs Hillier for being a liability, questioning his authority, and insulting his wife.

As they all go back to their day-to-day lives, Manning is released from custody due to lack of prosecution. Bryant confronts Furlong in a pub regarding Manning's location, and shoots Furlong in the head, killing him. Dekker receives word from his friend and colleague Frank Lordish that he learned from his brother that Manning is hiding in the countryside. When he realises that he cannot live a quiet life while letting Manning get away, Dekker flees his wedding to contact Munroe. The pair contact Mardell, who after meeting up with Bryant, decides that they will not survive the attack on Manning's home. Bryant, Munroe and Dekker infiltrate Manning's home, yet quickly discover that it is an ambush, with armed police soon arriving outside, led by the corrupt Sgt. Grieves (George Anton) of the Flying Squad, who is in league with Manning.

The three Outlaws engage in a gunfight with the police and manage to flee into the woods for one final showdown. Dekker is shot in the shoulder and Bryant is killed while advancing towards the armed response squad and shooting at them. Munroe willingly surrenders, only to be murdered by the now blatantly corrupt police officers. When it appears that all the vigilantes are dead, Dekker is revealed to still be alive, and was playing dead. Though pursued by gunshots, he successfully escapes through the forest.

The final scene shows Frank being handed an envelope of cash by Terry Manning in his workplace's car park. As the crime lord begins to drive away, he is abruptly confronted by a gun-wielding Dekker, who points the gun directly at Manning's face. Manning taunts Dekker, saying "You haven't got the bollocks, son", to which Dekker smiles menacingly, and pulls the trigger.

## Cast

## Production

The film was largely shot on location in Gloucestershire; with Lydney Harbour Industrial Estate, Gloucester Quays, Cheltenham's Thistle Hotel and the previous Windmill pub on Eastgate Street all featuring in the film.

## Release

*Outlaw* entered the UK box office at No. 5 in its first week, but then dropped before closing at many cinemas. The DVD was released on 9 July 2007.

## Reception

Outlaw opened to highly negative reviews from critics upon its release; the *Daily Mirror* slammed the film, calling it 'simplistic' and 'muddled' and giving it 2/5 and 1/5 in their Friday and Sunday issues respectively. The *Guardian* described it as "ugly, naive and deeply unpleasant: crime-revenge-porn without any style or wit or convincing narrative". Ali Catterall of *Channel 4 Film* described the film as *Death Wish* written by the *Daily Mail*. *Empire* panned it in their 1 star assessment, stating that the film "descends into a sickening sludge of childish politics, brutality and creative swearing".

In some media outlets, the film has even been described as 'irresponsible' and 'exploitative'. *The Independent* stated that the film "is as unconvincing as it is unpleasant" and that it "may be a sincere expression of Nick Love's own ambivalence, but it makes for a faltering film." Wendy Ide of *The Times* called it "a rage-spewing hate crime of a movie... It’s not the explicit violence and primal anger that is worrying, it’s the fact that Love may be tapping into something simmering in the nation’s psyche. Or worse, inflaming it." As of 2011, *Outlaw* has a score of 21% on Rotten Tomatoes based on reviews from 19 critics.

One unlikely outcome of *Outlaw'*s negative critical reception was the cult popularity of a clip featuring director Nick Love and actor Danny Dyer discussing the film's critical mauling, taken from the film's DVD commentary and posted on YouTube. On his blog the comedy writer Graham Linehan called the clip his "favourite moment of accidental comedy of the last five years" while *Guardian* newspaper film critic Peter Bradshaw compared Love and Dyer to a real life Derek and Clive.

## InfoBox

| Outlaw | |
| --- | --- |
| *UK promotional movie poster for the film* | |
| Directed by | Nick Love |
| Written by | Nick Love |
| Produced by | Guy Pearson
Crystal Ambrose
Jeff Kingsland
Ben Morris
Paul Morris
Lynn Fensome |
| Starring | Sean Bean
Danny Dyer
Sean Harris
Bob Hoskins
Lennie James
Rupert Friend |
| Cinematography | Sam McCurdy |
| Edited by | Stuart Gazzard |
| Music by | David Julyan |
| Production
companies | Ingenious Film Partners
Vertigo Films |
| Distributed by | Pathé |
| Release date | * 9 March 2007 (2007-03-09) |
| Running time | 103 minutes |
| Country | United Kingdom |
| Language | English |
| Budget | £2,500,000 |
| Box office | £1,519,736 |


title: Sergie Sovoroff

abstract: Sergie Sovoroff was an Aleut educational leader. He was born on Umnak Island in the Aleut village of Nikolski in 1902. Sovoroff was born only nine years before the United States government outlawed sea otter hunting. Sergie encouraged others to learn basic survival skills in the Aleutians such as how to build an Unangam Ulax, and how to not starve to death, "A person should teach himself to eat things from the beach and from the land. Then in case of a food shortage, he could eat Aleut food and survive." After 1911, the need and use of iqyax̂, an Aleut sea kayaks, declined abruptly. But Sovoroff continued to see a need for creating model sea kayaks, known in his days by the Aleut name iqyax̂ or the Russian name "baidarka". Sovoroff "...kept up the tradition of making kayak models". Model sea kayaks built by Sovoroff, quite often with three hatches with a Russian Orthodox priest seated in the middle hatch, can be seen in many museums around the world. These model sea kayaks, finely crafted by Sovoroff, often equipped with a rudder on the stern of the kayak, all too frequently bear the name of the person who purchased them or donated them to the museum, and not Sovoroff's, contrary to Aleut values of honoring elders. Sergie died on September 27, 1989, and is buried in Nikolski, Alaska in the cemetery next to the Saint Nicholas Russian Orthodox Church; he is buried next to his wife, Agnes Sovoroff, in an unmarked grave. Sovoroff built model sea kayaks from the 1910s through the 1980s and his work and teaching served an important role of carrying Aleut sea kayak construction through a period when it appeared that the ancient art would be lost forever. The rebirth and revitalization of Aleut iqyax̂ in the late 20th and early 21st century can be directly attributed to the instruction, inspiration, and dedication of Sergie Sovoroff. Sovoroff built three-hatch kayaks called ulux̂tax̂ and one-hatch kayak called iqyax̂. Sovoroff's models continue to inspire and instruct Alaska youth on how these boats are built and paddled, as well as the important role that they played in the ancient Aleutian culture. Sergie's 3D (three-dimensional) models have served as a practical instructional design tool, providing blue prints for many generations of people who become intrigued with this ancient design and want to recreate models or full-scale sea kayaks. Sovoroff's model kayaks are on display at locations such as the Anchorage Fine Arts Museum, the Aleutian Pribilof Islands Association headquarters in Anchorage, and the Unalaska School in Unalaska, Alaska, the Burke Museum in Seattle, the Smithonian Museum of Natural History in Washington, DC although his name is often missing from public displays. When Russian promyshlenniks invaded the Aleutians, the ancient culture and traditions of building sea kayaks was significantly altered. Sovoroff preserved the blueprint, the plans of how to build model sea kayaks, one of the most important forms of transportation in the ancient Aleut culture which has persisted on the lower Alaska Peninsula, the Shumagin Islands, the Aleutian Islands, and the Pribilof Islands for over 8000 years. The Aleut iqyax̂ played a paramount role within the ancient culture, similar to the role that automobiles assume in 21st century America. For example, in pre-1741 times, an ultimate insult from one Aleut youngster to another might be something like, "Your family doesn't even own a sea kayak!".

text:
# Sergie Sovoroff

**Sergie Sovoroff** (September 17, 1901 – September 27, 1989) was an Aleut educational leader. He was born on Umnak Island in the Aleut village of Nikolski in 1902. Sovoroff was born only nine years before the United States government outlawed sea otter hunting.

Sergie encouraged others to learn basic survival skills in the Aleutians such as how to build an Unangam Ulax (a traditional sod house from driftwood, grass, and dirt), and how to not starve to death, "A person should teach himself to eat things from the beach and from the land. Then in case of a food shortage, he could eat Aleut food and survive." After 1911, the need and use of *iqyax̂*, an Aleut sea kayaks, declined abruptly.

But Sovoroff continued to see a need for creating model sea kayaks, known in his days by the Aleut name iqyax̂ or the Russian name "baidarka". Sovoroff "...kept up the tradition of making kayak models".

Model sea kayaks built by Sovoroff, quite often with three hatches with a Russian Orthodox priest seated in the middle hatch, can be seen in many museums around the world. These model sea kayaks, finely crafted by Sovoroff, often equipped with a rudder on the stern of the kayak, all too frequently bear the name of the person who purchased them or donated them to the museum, and not Sovoroff's, contrary to Aleut values of honoring elders.

Sergie died on September 27, 1989, and is buried in Nikolski, Alaska in the cemetery next to the Saint Nicholas Russian Orthodox Church; he is buried next to his wife, Agnes Sovoroff, in an unmarked grave.

Sovoroff built model sea kayaks from the 1910s through the 1980s and his work and teaching served an important role of carrying Aleut sea kayak construction through a period when it appeared that the ancient art would be lost forever. The rebirth and revitalization of Aleut iqyax̂ in the late 20th and early 21st century can be directly attributed to the instruction, inspiration, and dedication of Sergie Sovoroff.

Sovoroff built three-hatch kayaks called *ulux̂tax̂* and one-hatch kayak called *iqyax̂*. Sovoroff's models continue to inspire and instruct Alaska youth on how these boats are built and paddled, as well as the important role that they played in the ancient Aleutian culture. Sergie's 3D (three-dimensional) models have served as a practical instructional design tool, providing blue prints for many generations of people who become intrigued with this ancient design and want to recreate models or full-scale sea kayaks.

Sovoroff's model kayaks are on display at locations such as the Anchorage Fine Arts Museum, the Aleutian Pribilof Islands Association headquarters in Anchorage, and the Unalaska School in Unalaska, Alaska, the Burke Museum in Seattle, the Smithonian Museum of Natural History in Washington, DC although his name is often missing from public displays.

When Russian *promyshlenniks* (fur hunters) invaded the Aleutians, the ancient culture and traditions of building sea kayaks was significantly altered. Sovoroff preserved the blueprint, the plans of how to build model sea kayaks, one of the most important forms of transportation in the ancient Aleut culture which has persisted on the lower Alaska Peninsula, the Shumagin Islands, the Aleutian Islands, and the Pribilof Islands for over 8000 years. The Aleut iqyax̂ (or, in Russian, "baidarka"; or, in the Inuit language, "kayak") played a paramount role within the ancient culture, similar to the role that automobiles assume in 21st century America. For example, in pre-1741 times, an ultimate insult from one Aleut youngster to another might be something like, "Your family doesn't even own a sea kayak!".


title: George C. Nimmons

abstract: George Croll Nimmons was an American architect. Nimmons was best known for his commercial work, which was primarily for Sears, Roebuck and Company, but he also designed several houses, including a Kenwood mansion for Sears' President, Julius Rosenwald.

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# George C. Nimmons

**George Croll Nimmons** (June 8, 1865 – June 17, 1947) was an American architect. Nimmons was best known for his commercial work, which was primarily for Sears, Roebuck and Company, but he also designed several houses, including a Kenwood mansion for Sears' President, Julius Rosenwald.

## Early life

A native of Wooster, Ohio, Nimmons attended the Academy there and later studied architecture in Europe. He was also a student at the School of the Art Institute of Chicago.

## Career

In 1887 Nimmons was hired by the famous architectural firm of Burnham and Root where he served as a draftsman for 10 years. He partnered with William K. Fellows (1870-1948) in the late 1890s in the firm **Nimmons & Fellows**. During their partnership, Nimmons and Fellows designed a number of large commercial buildings in Chicago. In 1904 they were awarded what was very likely the largest single commission in the history of Chicago building up to that date. Sears, Roebuck and Co. selected them to design their warehouse, distribution and administrative center on West Arthington Avenue at Homan. It was said to be the largest mercantile establishment in the world at the time and was built in exactly 12 months, an amazing feat of construction. Nimmons and Fellows also designed branch buildings for Sears in several midwestern cities. Another result of the Nimmons and Fellows collaboration is the Dixon Building at 411 S. Wells. In 1910, Fellows formed a new firm with Dwight L. Perkins and John Hamilton.

Nimmons' experience with warehouse design and construction brought him the commission for a large office and storage building for Reid, Murdoch and Co., built between 1912 and 1913 along the north bank of the Chicago River between Clark and LaSalle. The building is noteworthy because it conformed to Burnham's Civic Plan and was the first attempt to make the riverside of a building attractive in Chicago. Until recently, this structure was leased to the city for municipal offices. Practicing on his own from 1910 to 1917 Nimmons also designed the Kimball Piano Company Building during this phase of his career.

Working as the head of his own firm, George C. Nimmons and Co. (1917–33), Nimmons designed the American Furniture Mart at 680 N. Lake Shore Drive in 1923. In the final phase of his career, he was senior partner of Nimmons, Carr & Wright.

Nimmons' numerous articles in leading architectural magazines expounded on his concept of industrial design and its impact on employees.

### Selected buildings

## Death

With his wife, Justine V. née Wheeler, Nimmons had two daughters, Marie and Nancy. They resided in Chicago.

Nimmons died at his home in Chicago on June 17, 1947. He was buried in Oak Woods Cemetery.

## InfoBox

| George C. Nimmons | |
| --- | --- |
|  | |
| Born | (1865-07-08)July 8, 1865
Wooster, Ohio, U.S. |
| Died | June 17, 1947(1947-06-17) (aged 81)
Chicago, Illinois |
| Resting place | Oak Woods Cemetery |
| Alma mater | Art Institute of Chicago |
| Occupation | Architect |
| Spouse | Justine V. Wheeler |
| Children | 2 daughters |


title: Politics of Hawaii

abstract: The politics of the U.S. state of Hawaii are typically dominated by the Democratic Party of Hawaii. The Democratic Party in Hawaii was formed in 1900, by supporters of Queen Liliʻuokalani. For the first half of the twentieth century, the Republican Party ruled comfortably, dominating local politics until the end of World War II. After the war, Honolulu police officer John A. Burns began organizing plantation laborers, including many Japanese Americans and Filipino Americans and built a coalition that gradually strengthened the Democratic Party in Hawaii. This culminated in the Hawaii Democratic Revolution of 1954, after which Republican political influence in the islands was greatly diminished. As a result, Hawaii's congressional politics are typically dominated by Democrats since statehood in 1959. The state has elected just one Republican U.S. senator, Hiram Fong, who served from 1959 to 1977, and two GOP House members. The rest have been Democrats. Only two Republicans have been elected governor, and Linda Lingle was the only one to be re-elected, in 2006. Hawaii has supported Democrats in every presidential election in which it has participated, except 1972 and 1984, when incumbent Republican candidates won 49-state landslides. In 2004, John Kerry won the state's 4 electoral votes by a margin of 9 percentage points with 54% of the vote. Every county in the state supported the Democratic candidate. In 2008, Barack Obama won by an overwhelming 45-point lead: 72% for the Democrat and 27% for Republican John McCain. Hawaii is the only actual state that gave either candidate more than 70% of the vote. Obama again won Hawaii by a large margin in 2012, suffering only a small swing against him, winning 71% to 28% for Republican Mitt Romney. Hawaii once again gave a higher vote share to Obama than any of the 49 other states, though on this occasion, Obama's vote was not quite as high as his challenger's best state.

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# Politics of Hawaii

United States presidential election results for Hawaii
| Year | Republican | | Democratic | | Third party(ies) | |
| --- | --- | --- | --- | --- | --- | --- |
| | No. | % | No. | % | No. | % |
| **2020** | 196,864 | 34.27% | 366,130 | **63.73%** | 11,475 | 2.00% |
| **2016** | 128,847 | 30.04% | 266,891 | **62.22%** | 33,199 | 7.74% |
| **2012** | 121,015 | 27.84% | 306,658 | **70.55%** | 7,024 | 1.62% |
| **2008** | 120,566 | 26.58% | 325,871 | **71.85%** | 7,131 | 1.57% |
| **2004** | 194,191 | 45.26% | 231,708 | **54.01%** | 3,114 | 0.73% |
| **2000** | 137,845 | 37.46% | 205,286 | **55.79%** | 24,820 | 6.75% |
| **1996** | 113,943 | 31.64% | 205,012 | **56.93%** | 41,165 | 11.43% |
| **1992** | 136,822 | 36.70% | 179,310 | **48.09%** | 56,710 | 15.21% |
| **1988** | 158,625 | 44.75% | 192,364 | **54.27%** | 3,472 | 0.98% |
| **1984** | 185,050 | **55.10%** | 147,154 | 43.82% | 3,642 | 1.08% |
| **1980** | 130,112 | 42.90% | 135,879 | **44.80%** | 37,296 | 12.30% |
| **1976** | 140,003 | 48.06% | 147,375 | **50.59%** | 3,923 | 1.35% |
| **1972** | 168,865 | **62.48%** | 101,409 | 37.52% | 0 | 0.00% |
| **1968** | 91,425 | 38.70% | 141,324 | **59.83%** | 3,469 | 1.47% |
| **1964** | 44,022 | 21.24% | 163,249 | **78.76%** | 0 | 0.00% |
| **1960** | 92,295 | 49.97% | 92,410 | **50.03%** | 0 | 0.00% |

The **politics of the U.S. state of Hawaii** are typically dominated by the Democratic Party of Hawaii. The Democratic Party in Hawaii was formed in 1900, by supporters of Queen Liliʻuokalani. For the first half of the twentieth century, the Republican Party ruled comfortably, dominating local politics until the end of World War II. After the war, Honolulu police officer John A. Burns began organizing plantation laborers, including many Japanese Americans and Filipino Americans and built a coalition that gradually strengthened the Democratic Party in Hawaii. This culminated in the Hawaii Democratic Revolution of 1954, after which Republican political influence in the islands was greatly diminished.

As a result, Hawaii's congressional politics are typically dominated by Democrats since statehood in 1959. The state has elected just one Republican U.S. senator, Hiram Fong, who served from 1959 to 1977, and two GOP House members. The rest have been Democrats. Only two Republicans have been elected governor, and Linda Lingle was the only one to be re-elected, in 2006.

Hawaii has supported Democrats in every presidential election in which it has participated, except 1972 and 1984, when incumbent Republican candidates won 49-state landslides. In 2004, John Kerry won the state's 4 electoral votes by a margin of 9 percentage points with 54% of the vote. Every county in the state supported the Democratic candidate. In 2008, Barack Obama won by an overwhelming 45-point lead: 72% for the Democrat and 27% for Republican John McCain. Hawaii is the only actual state that gave either candidate more than 70% of the vote. Obama again won Hawaii by a large margin in 2012, suffering only a small swing against him, winning 71% to 28% for Republican Mitt Romney. Hawaii once again gave a higher vote share to Obama than any of the 49 other states, though on this occasion, Obama's vote was not quite as high as his challenger's best state (Utah, where Mitt Romney polled 73%).

## State government

The Hawaii state government is composed of a bicameral system, with the Hawaii senate and the Hawaii House of Representatives making up the upper and lower houses.

## Federal representation

Hawaii is currently represented in the Senate by Democrats Mazie Hirono and Brian Schatz. In the House, Democrats Ed Case (HI-1) and Jill Tokuda (HI-2) represent the state.

Hawaii is part of the United States District Court for the District of Hawaii in the federal judiciary. The district's cases are appealed to the San Francisco-based United States Court of Appeals for the Ninth Circuit.

## County government

Each of Hawaii's four counties is governed by a mayor as follows:

City and County of Honolulu - Rick Blangiardi
County of Hawaii - Mitch Roth
County of Maui - Richard Bissen
County of Kauai - Derek Kawakami

## Hawaiian nationalism

Hawaiian nationalism is focused on producing a national identity. Most Hawaiian nationalists have argued that the Hawaiian race and their descendants should govern the islands as a constitutional monarchy. It is also important to note that Hawaiian nationalism is not limited to Native Hawaiians but have included other groups including whites and Asians such as Walter M. Gibson.

The popular green, red and yellow flag, the *Kanaka Maoli* flag was designed around the 1990s, probably by Gene Simeona. According to Dr. David Keanu Sai of the University of Hawaiʻi, it had no historical significance before the 1990s, after which it was reported (and widely believed) to be an "original" flag of the Kingdom of Hawaii destroyed by the British. Dr. Sai stated that it was in fact a modern design, part of a "reawakening" of awareness of the Kingdom's history; he added that the present-day Hawaiian state flag was also the Kingdom's flag (in the 19th century), designed by King Kamehameha I.

Most citizens of Hawaii do not share the same sentiments of the sovereignty movement with public opinion seemly be in favor of remaining part of the United States. As of 2014 a poll by the Honolulu Star-Advertiser found that only 6% of respondents supported the creation of a Native Hawaiian nation with 63% being against it.


title: Waterbury Center, Vermont

abstract: Waterbury Center is an unincorporated village and census-designated place (CDP) in the town of Waterbury, Washington County, Vermont, United States. As of the 2020 census, it had a population of 390. The CDP is in northwestern Washington County, east of the geographic center of the town of Waterbury, 3.5 miles (5.6 km) north of the main village of Waterbury. Vermont Route 100 runs through the west side of Waterbury Center, leading south to Interstate 89 at Waterbury village and north 6 miles (10 km) to Stowe. The community is bordered to the west by Waterbury Center State Park, on the east arm of Waterbury Reservoir, an impoundment on the Little River, which flows south to the Winooski River west of Waterbury village.

text:
# Waterbury Center, Vermont

**Waterbury Center** is an unincorporated village and census-designated place (CDP) in the town of Waterbury, Washington County, Vermont, United States. As of the 2020 census, it had a population of 390.

The CDP is in northwestern Washington County, east of the geographic center of the town of Waterbury, 3.5 miles (5.6 km) north of the main village of Waterbury. Vermont Route 100 runs through the west side of Waterbury Center, leading south to Interstate 89 at Waterbury village and north 6 miles (10 km) to Stowe. The community is bordered to the west by Waterbury Center State Park, on the east arm of Waterbury Reservoir, an impoundment on the Little River, which flows south to the Winooski River west of Waterbury village.

## InfoBox

| Waterbury Center, Vermont | |
| --- | --- |
| Census-designated place | |
| Waterbury CenterWaterbury Center | |
| Coordinates: 44°22′36″N 72°43′8″W / 44.37667°N 72.71889°W / 44.37667; -72.71889 | |
| Country | United States |
| State | Vermont |
| County | Washington |
| Town | Waterbury |
| Area | |
| Total | 0.44 sq mi (1.13 km2) |
| Land | 0.44 sq mi (1.13 km2) |
| Water | 0.0 sq mi (0.0 km2) |
| Elevation | 705 ft (215 m) |
| Population (2020) | 390 |
| Time zone | UTC-5 (Eastern (EST)) |
| Summer (DST) | UTC-4 (EDT) |
| ZIP Code | 05677 |
| Area code | 802 |
| FIPS code | 50-77050 |
| GNIS feature ID | 2807156 |