title: Zdzisław Bubnicki

abstract: Zdzisław Bubnicki was a Polish scientist, a specialist in the fields of automation and computer science. His main scientific interests concerned: decision theory, control theory, system identification, pattern recognition, expert systems, and knowledge-based systems, complexes of operations, and methodology of computer systems. He obtained a degree of Master of Science in 1960 at Faculty of Electronics at Silesian University of Technology in Gliwice. Since 1962 he moved to Wroclaw where he worked at Wroclaw University of Technology. In 1964 he achieved a Ph.D. degree, and in 1967 - a Doctor of Sciences degree. Several years later, in 1973 he became an assistant professor and in 1979 - a professor. For many years he was a chief of Institute of Control and Systems Techniques at Wroclaw University of Technology. Since 1986 he became a correspondent member of Polish Academy of Sciences (PAS), and since 1994 - a real member of PAS. Prof. Bubnicki was a supervisor of 44 Ph.D. dissertations, and now 16 of them are professors. Results of his work had a big influence on the control and decision theory. Especially so called uncertain variables, that are extensions of fuzzy sets, was one of his biggest contributions to the field of computer science. He was honoured with many Polish and international rewards, e.g. Krzyż Kawalerski i Krzyż Oficerski Orderu Odrodzenia Polski, IFIP medal. He is a doctor of honoris causa of following universities: West Pomeranian University of Technology, Poznan University of Technology, Military University of Technology.

text:
# Zdzisław Bubnicki

**Zdzisław Bubnicki** (born 17 June 1938 in Lwów, died 12 March 2006 in Wrocław) was a Polish scientist, a specialist in the fields of automation and computer science. His main scientific interests concerned: decision theory, control theory, system identification, pattern recognition, expert systems, and knowledge-based systems, complexes of operations, and methodology of computer systems.

He obtained a degree of Master of Science in 1960 at Faculty of Electronics at Silesian University of Technology in Gliwice. Since 1962 he moved to Wroclaw where he worked at Wroclaw University of Technology. In 1964 he achieved a Ph.D. degree, and in 1967 - a Doctor of Sciences degree. Several years later, in 1973 he became an assistant professor and in 1979 - a professor.

For many years he was a chief of Institute of Control and Systems Techniques at Wroclaw University of Technology.

Since 1986 he became a correspondent member of Polish Academy of Sciences (PAS), and since 1994 - a real member of PAS.

Prof. Bubnicki was a supervisor of 44 Ph.D. dissertations, and now 16 of them are professors. Results of his work had a big influence on the control and decision theory. Especially so called uncertain variables, that are extensions of fuzzy sets, was one of his biggest contributions to the field of computer science.

He was honoured with many Polish and international rewards, e.g. Krzyż Kawalerski i Krzyż Oficerski Orderu Odrodzenia Polski, IFIP medal. He is a doctor of honoris causa of following universities: West Pomeranian University of Technology, Poznan University of Technology, Military University of Technology.

## Books written by Zdzisław Bubnicki

1. "Identyfikacja obiektów sterowania", PWN, Warszawa, 1974
2. "Identification of Control Plants", Elsevier, Amsterdam-Oxford-New York, 1980
3. "Wstęp do systemów ekspertowych", PWN, Warszawa, 1990
4. "Podstawy informatycznych systemów zarządzania", Wydawnictwo Politechniki Wrocławskiej, Wrocław, 1993
5. "Uncertain Logics, Variables and Systems", Springer-Verlag, Berlin, 2002
6. "Analysis and Decision Making in Uncertain Systems", Springer-Verlag, London, 2004
7. "Teoria i algorytmy sterowania", PWN, Warszawa 2002, 2005
8. "Modern Control Theory", Springer-Verlag, Berlin, 2005

* Niederliński, Antoni (2006). "Professor Zdzisław Bubnicki in my memory". *Control and Cybernetics*., http://matwbn.icm.edu.pl/ksiazki/cc/cc35/cc3521.pdf

## InfoBox

| Zdzisław Bubnicki | |
| --- | --- |
| Born | (1938-06-17)June 17, 1938
Lwów, Poland |
| Died | March 12, 2006(2006-03-12) (aged 67)
Wrocław, Poland |
| Nationality | Polish |
| Alma mater | Silesian University of Technology, Gliwice |
| Known for | Uncertain variables, Bubnicki's logic-algebraic method, contribution to decision theory, control theory, system identification, operations research |
| Awards | Order of Polonia Restituta |
| **Scientific career** | |
| Fields | Computer science |
| Institutions | Polish Academy of Sciences
Wrocław University of Technology |
| Doctoral advisor | Stefan Węgrzyn |
| Doctoral students | Jan Węglarz |
|  | |


abstract: The Williams family of Caerhays, Burncoose and Scorrier were owners of mines and smelting works for several generations during the Cornish Industrial Revolution. A branch of the family settled in Port Hope, Ontario. The family developed williamsii hybrid camellias and fine gardens at Burncoose, Gwennap; St Michael Caerhays and Scorrier House, all in Cornwall, United Kingdom.

text:
# Williams family of Caerhays, Burncoose and Scorrier

The **Williams family of Caerhays, Burncoose and Scorrier** were owners of mines and smelting works for several generations during the Cornish Industrial Revolution. A branch of the family settled in Port Hope, Ontario.

The family developed *williamsii* hybrid camellias and fine gardens at Burncoose, Gwennap; St Michael Caerhays and Scorrier House, all in Cornwall, United Kingdom.

## Family members

* John Williams the First (1685–1761) purchased Burncoose in 1715, married Thomasine Paynter.
* John Williams the Second (1714–1790) initiated the construction of the Great County Adit, which eventually became a 40-mile system of adits, draining over 60 mines.
* Michael Williams (1730–1775), son of John the First married Susanna, daughter of Henry Harris of Cusgarne, Cornwall, by his wife Elizabeth, daughter of William Beauchamp (1670–1729) of Pengreep, Cornwall. He lived at Burncoose and was the father of,
* John Williams the Third (23 September 1753 – 17 April 1841), son of Michael Williams (1730–1775), controlled the Gwennap copperbelt and copper smelting works in Swansea. Also owned tin-smelting works, sulphur mines and quarries. He was a Director of The Cornish Bank. With the Fox family of Falmouth, built the Plymouth breakwater and developed the harbour at Portreath and linked it by the Portreath tramway to his mine at Poldice. Purchased land at Scorrier and built Scorrier House there. Married Catherine Harvey in 1776. Received a dream warning of the assassination of the Prime Minister in 1812, "correct in every detail".
* John Williams the Fourth (12 April 1778 – 11 August 1849), FRS (6 March 1828). Son of John the Third.
* Michael Williams, MP for the Western Division of Cornwall from 1853 to 1858. Son of John the Third. High Sheriff of Glamorgan in 1840, Deputy Lieutenant of Cornwall and Deputy-Warden of the Stannaries. Bought Caerhays Estate in 1853.
* Sir William Williams, (3 August 1791 – 24 March 1870), Son of John the Third. He served as Deputy-Lieutenant of Cornwall, High Sheriff of Cornwall and Deputy-Warden of the Stannaries in 1851. He was created "Baronet Williams of Tregullow in the County of Cornwall", on 4 August 1866.
* Frederick Martin Williams (1830–1878), was Conservative Member of Parliament for Truro.
* Philippa Williams ( ? -1861)
* Arthur Trefusis Heneage Williams of Penryn Park, Port Hope, Ontario, son of John Tucker Williams, and grandson of John Williams (1753–1841) of Scorrier House. He was the hero of the Battle of Batoche and his statue stands in front of the town hall at Port Hope. His son General Arthur Victor Seymour Williams served in the Second Boer War, World War I and Mount Williams (Canada) was named in his honour.
* John Michael Williams (25 December 1813 – 16 February 1880), married Elizabeth Maria Davey (d. 24 May 1884), daughter of Stephen Davey of Redruth and Bochym, on 24 February 1852. He was High Sheriff of Cornwall in 1865.
* Michael Williams, eldest son of John Michael Williams (1813–1880) who bequeath for life Gnaton Hall estate, Devon and the rest of his estates in Devon, and all his estates in the town and parish of Calstock.
* John Charles Williams (30 September 1861 – 29 March 1939), second son of John Michael Williams and Elizabeth Davey, his wife. MP for the Truro Division of Cornwall, 1892–1895, High Sheriff of Cornwall 1888, Lord Lieutenant of Cornwall 1918–1936.
* Charlotte Williams, daughter of John Michael Williams, married Edward Powys Rogers. The author Clara Coltman Rogers was a daughter and married into the Vyvyan family and inherited Trelowarren. Her parents moved to "Burncoose" in 1916.
* Harriet Rogers, another daughter of Edward Powys Rogers and Charlotte Rogers, married James Malcolm McLaren (1874–1935), a geologist, and developed a garden at "Tregye", near Carnon Downs.
* Francis Julian Williams (16 April 1927 – 5 January 2019), CBE.
* Charles Henry Williams (born 1957), current owner of Caerhays Castle. Trained as a merchant banker before returning to Cornwall to run Caerhays Castle Gardens and Burncoose Nurseries. Son of Francis Julian Williams.

## Caerhays Castle

Caerhays Castle is a country house on the south coast of Cornwall at St Michael Caerhays, between Truro and St Austell. It was designed as a mock-mediaeval castle in the early 19th century by John Nash, and later bought by the Williams family, who still own it. The gardens are open to the public each year in spring and early summer, and hold magnolia trees accredited with Plant Heritage as a National Plant Collection.

## Scorrier House

Scorrier House was built by John Williams the Third in 1778 as the principle residence of the Williams family, who still live there. Enlargements were made in 1845 and 1908 following a fire that gutted parts of the house. The garden is also of note, much of it having been planted by William Lobb, a noted Victorian botanist and plant hunter. Today, Scorrier House can be hired for wedding receptions, private parties and corporate and outdoor events. The garden can be visited by appointment only.

## Notes, references and sources

### Sources

* Williams, F. J., et al. *Burncoose gardens: a garden oasis in the Minewastes of Cornwall* by F. J. Williams C.B.E., Arnold Dance, David Knuckey.
* Smelt, Maurice (2006) *101 Cornish Lives*, Penzance, Cornwall: Alison Hodge ISBN 0-906720-50-8, pages 246–248: "John Williams (1753–1841), Mining magnate, born Lower Cusgarne, Gwennap".
* Newell, Edmund (2004) ‘Williams, John (1753–1841)’, Oxford Dictionary of National Biography, Oxford University Press, Sept 2004; online edn, May 2006 Link to Article (Subscription) accessed 27 July 2007\]


title: Fumettologica

abstract: Fumettologica is a news website covering comic book–related news and discussion, considered the most important Italian information source on the topic.

text:
# Fumettologica

***Fumettologica*** is a news website covering comic book–related news and discussion, considered the most important Italian information source on the topic.

## History

The site was founded in 2013 - debuting online on October 22nd - by Matteo Stefanelli, essayist and professor at the Università Cattolica del Sacro Cuore, together with Lucio Staiano, owner of Shockdom. Stefanelli is also publisher of the site.

*Fumettologica* was born as the ideal continuation of two blogs specializing in comics that were among the most successful in previous years, *Fumettologicamente* by Stefanelli and *Conversazioni sul fumetto* by Andrea Queirolo (who became editor-in-chief of the site), expanding the field of action to animation and the various creative areas close to comics (cinema, television, literature, video games, music, art, design). At first, Queirolo was working along with Niccolò de Mojana, a journalist and web editor who had worked for Disney and *Rolling Stones*.

Defined as «the most important Italian site dedicated to comics», cited by various Italian and international media, such as *Washington Post*, *Le Figaro*, *Courrier International*, *il Post*, *Cartoon Brew* and */Film*, among the reference publications on comics in Italy, the site presents its own journalistic content and translations of articles by some of the most prestigious authors of national and international comics criticism international - from Paul Gravett to Joe McCulloch, or from publications such as *The Comics Journal*, *ActuaBD*, *Cases d'Histoire*. Over the years it has also published unpublished comics by important Italian authors: Davide Toffolo, Paolo Bacilieri, and the column *Tippy Tuesday* by Tuono Pettinato.

The site is also media partners of the main Italian comics and literary festivals: Lucca Comics & Games, starting from 2017, BilBOlbul from 2014 onwards, Napoli Comicon in 2015, with the specific role in selecting candidates for the "Best Webcomic" category of the Attilio Micheluzzi Award, Turin International Book Fair starting from 2023; it has also developed partnerships with the magazines *Illustratore Italiano* (2017 and 2018) and *L'Indice dei libri del mese* (2016).

## InfoBox

*Fumettologica*
| Screenshot of Fumettologica homepage in August 2018 | |
| --- | --- |
| Type of site | Comic books, pop culture |
| Available in | Italian |
| Headquarters | Milan, Italy |
| Created by | Matteo Stefanelli |
| URL | fumettologica.it |
| Launched | October 22, 2013 (October 22, 2013) |
| Current status | Online |


title: Vaagdevi College of Engineering

abstract: Vaagdevi College of Engineering (VCE) is an engineering college in Bollikunta, Warangal, Telangana, India.

text:
# Vaagdevi College of Engineering

**Vaagdevi College of Engineering** (**VCE**) is an engineering college in Bollikunta, Warangal, Telangana, India.

## History

VCE was established on 1998 by the Viswambhara Educational Society. It was conferred autonomous status in 2014. Vaagdevi group of colleges offers a wide range of courses to eligible students.

## Departments

* Computer Science and Engineering - CSE
* Electronics and Communication Engineering - ECE
* Electrical and Electronics Engineering - EEE
* Computer Science and Engineering (DS) - CSE(DS)
* Computer Science and Engineering (AI&ML) - CSE(AI&ML)
* Mechanical Engineering
* Civil Engineering
* Master of Business Administration - MBA
* Basic Sciences and Humanities - BSH
* Master of Computer Application - MCA

## InfoBox

Vaagdevi College of Engineering
|  | |
| --- | --- |
| Motto | Achieve Academic Excellence |
| Type | EDUCATION |
| Established | 1998 |
| Affiliation | JNTU-H |
| Chairman | C. Janga Reddy |
| Principal | K. Prakash |
| Location | Bollikunta, Warangal, Telangana, India<br>17°53′25″N 79°36′3″E / 17.89028°N 79.60083°E / 17.89028; 79.60083 |
| Website | www.vaagdevi.edu.in |
| academic excellence in education | |


title: Marian Anderson House

abstract: The Marian Anderson House is a historic home located in the Southwest Center City neighborhood of Philadelphia, Pennsylvania. Built circa 1870 in the same neighborhood where opera singer and civil rights advocate Marian Anderson was born 27 years later, this two-story, brick rowhouse dwelling was designed in the Italianate style. Purchased by Anderson in 1924, the same year she became the first African-American concert artist to record spirituals for a major American recording company, she continued to reside here until 1943. The house is currently home to the Marian Anderson Museum and Historical Society.

text:
# Marian Anderson House

The **Marian Anderson House** is a historic home located in the Southwest Center City neighborhood of Philadelphia, Pennsylvania. Built circa 1870 in the same neighborhood where opera singer and civil rights advocate Marian Anderson was born 27 years later, this two-story, brick rowhouse dwelling was designed in the Italianate style. Purchased by Anderson in 1924, the same year she became the first African-American concert artist to record spirituals for a major American recording company, she continued to reside here until 1943. The house is currently home to the Marian Anderson Museum and Historical Society.

## History and architectural features

The Marian Anderson House was built circa 1870 as a two-story, brick terraced dwelling in the Italianate style. A studio was added above the previously one-story, rear kitchen ell sometime around 1925. The home was then extensively renovated circa 1940. It served as the residence of opera singer and civil rights advocate Marian Anderson from 1924 to 1943.

This historic residence was added to the National Register of Historic Places in April 2011.

## Marian Anderson Museum and Historical Society

The property currently houses the Marian Anderson Museum and Historical Society. The organization was founded by Blanche Burton-Lyles. Its current CEO is Jillian Patricia Pirtle.

## Flood damage and restoration

In 2020, pipes burst in the home causing significant damage to both the structure and Anderson memorabilia.

In July 2021, the National Trust for Historic Preservation announced plans to grant the Marian Anderson Museum and Historical Society $75,000 for the purpose of repairing the home's exterior. The Marian Anderson Memorial Fund Task Force, a group that is working to erect a monument to Marian Anderson at the Academy of Music, has stated that it plans to use some of the funds raised to assist with additional repairs to the home.

In December 2022, the Daughters of the American Revolution donated $150,000 to the museum to help with restoration costs.

## InfoBox

|  | |
| --- | --- |
| Marian Anderson House | |
| U.S. National Register of Historic Places | |
|  | |
| Marian Anderson House, June 2011 | |
|  | |
| Location | 762 South Martin Street, Philadelphia, Pennsylvania |
| Coordinates | 39°56′32″N 75°10′29″W / 39.94222°N 75.17472°W / 39.94222; -75.17472 |
| Area | less than one acre |
| Built | c. 1870, c. 1925, c. 1940 |
| Architectural style | Italianate |
| NRHP reference No. | 11000198 |
| Added to NRHP | April 14, 2011 |


title: Virginia Boucher

abstract: Virginia Boucher is a former librarian and professor emerita at University of Colorado Boulder. She was a pioneer in the field of interlibrary loans. The annual Virginia Boucher/OCLC Distinguished ILL Librarian Award, delivered by the American Library Association (ALA) and OCLC to librarians for "outstanding professional achievement, leadership and contributions to ILL and document delivery through publication of significant professional literature, participation in professional associations, and/or innovative approaches to practice in individual libraries," was established in her honor in 2000.

text:
# Virginia Boucher

**Virginia Boucher** (born 1929) is a former librarian and professor emerita at University of Colorado Boulder. She was a pioneer in the field of interlibrary loans. The annual Virginia Boucher/OCLC Distinguished ILL Librarian Award, delivered by the American Library Association (ALA) and OCLC to librarians for "outstanding professional achievement, leadership and contributions to ILL and document delivery through publication of significant professional literature, participation in professional associations, and/or innovative approaches to practice in individual libraries," was established in her honor in 2000.

## Personal life

Virginia Boucher was born in 1929 and raised in Michigan. She had chosen a career as a librarian by the age of 12, with the encouragement of her mother and teachers. She married her husband Stanley Boucher at age 21. She received a Master's degree in Library Science from the University of Michigan.

Boucher had two children, Julie J. Boucher (1963–1996) and Eric Boucher, also known as Jello Biafra, vocalist of the punk band Dead Kennedys. Boucher's husband Stanley died in 2013.

## Professional life

Boucher's first professional library position was at University of Colorado Boulder, where she would return in later years. She also worked at the pharmaceutical library of Cutter Laboratories, where she met Peg Uridge, the inventor of the four-part interlibrary loan form; the Western Interstate Commission for Higher Education; Boulder Public Library, where she created the municipal government reference center; and Colorado State Library.

Boucher began as a librarian in the interlibrary loan department of the library of University of Colorado Boulder in 1967. At this time, there were few processes in place for facilitating interlibrary loans, and access to interlibrary loans was restricted to academic researchers only. In 1969, Boucher began leading training workshops for interlibrary loan librarians, and created the Colorado Interlibrary Loan Conference (now known as the Colorado Resource Sharing Conference), which has been held continuously since 1970. In 1984, her book *InterLibrary Loan Practices Handbook*, a foundational text in the field of interlibrary loans.

Boucher also served on eleven professional committees, including the OCLC Interlibrary Loan Committee and the International Federation of Library Associations and Institutions (IFLA) Document Delivery and Interlibrary Loan Committee. She served as President of the References and Adult Services Division of the American Library Association during the 1977–1978 term.


title: Matthaeus Silvaticus

abstract: Matthaeus Silvaticus or Mattheus Sylvaticus was a medieval Latin medical writer and botanist.

text:
# Matthaeus Silvaticus

**Matthaeus Silvaticus** or **Mattheus Sylvaticus** (c. 1280 – c. 1342) was a medieval Latin medical writer and botanist.

## His Life and Encyclopedia

Matthaeus Silvaticus was born in northern Italy, probably Mantua. He was a student and teacher in botany and medicine at the School of Salerno in southern Italy.

His only notability is for writing a 650-page encyclopedia about medicating agents (a pharmacopoeia) which he completed about year 1317 under the Latin title *Pandectarum Medicinae* or *Pandectae Medicinae* (English: *Encyclopedia of Medicines*). Most of the medicating agents were botanicals ("herbal medicines"). The presentation is in alphabetical order. The bulk of his encyclopedia is compiled from earlier medicine books, including books by Dioscorides, Avicenna, Serapion the Younger, and Simon of Genoa.

As an indication of its popularity in late medieval Europe, the *Pandectarum Medicinae* was printed in at least eleven editions in various countries between the invention of the printing press and 1500.

## Arabic influence

The medical school in Salerno was influenced by Arabic-to-Latin translations of Arabic medical literature. One indication of the Arabic influence is that 233 out of 487 plant names in Matthaeus's medicines encyclopedia were Latinizations of Arabic plant names. Many of those Latinized Arabic names had little circulation in Latin. Native Latin names existed for some of them, in which case Matthaeus also used the native Latin name as well. In some cases he prefers to give primary status to the Arabic name in preference to the classical Latin name. In other cases he gives primary status to the Latin name and just mentions what the Arabic name is.

## Sources compiled from

The *Pandectarum Medicinae* is an encyclopedia with almost no original thinking. It has value to historians as a document reflecting the state of pharmacology and medicine in Europe in the late medieval era. The method of presentation in *Pandectarum Medicinae* is that a medicinal substance is named with brief identifying information and then follows several lengthier summaries or quotations from well-known medical authorities about the substance's properties and uses. The medical authorities are either **(A)** the particular ancient Greek medicines writers that were widely read by the medieval Arabs (especially Dioscorides and Galen) or else **(B)** the Arabic medicines writers available in Latin translations (especially Serapion the Younger and Avicenna).

## Simon of Genoa

Part of Matthaeus's encyclopedia was taken from a shorter work by Simon of Genoa (aka Simon Januensis) entitled *Synonyma Medicinae*, which was written a few decades earlier and which is a dictionary of medicines rather than an encyclopedia of medicines.


# List of popular music acts that incorporate the accordion

This is a list of articles describing popular music acts that incorporate the accordion. The accordion appeared in popular music from the 1900s-1960s. This half century is often called the "Golden Age of the Accordion." Three players: Pietro Frosini, and the two brothers Count Guido Deiro and Pietro Deiro were major influences at this time.

| Band or musician | Accordionist | Style |
| --- | --- | --- |
| Abnoey Park | "Captain" Robert Brown | Steampunk |
| Arcade Fire | Régine Chassagne
Richard Reed Parry | Indie rock |
| The Band | Garth Hudson | Americana |
| Barenaked Ladies | Kevin Hearn | Alternative rock |
| The Beach Boys | Various session musicians | Rock |
| Beirut | Perrin Cloutier | Combines elements of Eastern European and folk sounds |
| Brave Combo | Carl Finch | polka/rock/worldbeat band, incorporates a number of dance styles, mostly polka, but also some Latin American and Caribbean styles |
| Calexico | Martin Wenk | Rock |
| Counting Crows | Charlie Gillingham | Rock |
| Silvestre Dangond | Juancho De la Espriella | Vallenato, Modern and very popular Colombian music |
| The Decemberists | Jenny Conlee | Folk rock |
| Detektivbyrån | Anders Flanders | Combination of electronica and folk. |
| DeVotchKa | Tom Hagerman | Indie rock |
| Alan Doyle | Todd Lumley | Folk/Country/Rock |
| The Dreadnoughts | Leroy "Slow Ride" McBride | Folk punk, polka punk, celtic punk |
| The Dropkick Murphys | Tim Brennan | Celtic punk |
| Dubioza Kolektiv | Brano Jakubović | Bosnian dub-rock |
| Elaiza | Yvonne Grünwald | Folk, indie rock, alternative rock |
| The E Street Band | Danny Federici
Roy Bittan
Charles Giordano | Rock |
| The Felice Brothers | James Felice | Folk/country rock |
| Finsterforst | Johannes Joseph | Folk metal, Viking metal |
| Flogging Molly | Matt Hensley | Celtic punk |
| Folkearth | Polydeykis (Zion) | Viking metal, folk metal, black metal |
| Jason Freese | Self | Alternative rock, pop punk, punk rock, garage punk |
| Gogol Bordello | Yuri Lemeshev | Gypsy punk, folk punk |
| Great Big Sea | Bob Hallett | Traditional Newfoundland folk and rock |
| Haydamaky | Ivan Leno | Ukrainian folk punk |
| The Hooters | Rob Hyman | Rock |
| Bruce Hornsby | Bruce Hornsby | Rock. Played accordion at various Grateful Dead concerts. |
| Huntza | Josune Arakistain Salas | Basque folk punk |
| Jump, Little Children | Matthew Bivins | Combines Irish influences with an alternative rock sound |
| Kalevala | Alexander Oleynikov | Folk metal |
| Katzenjammer | Anne Marit Bergheim | Pop, folk rock |
| Mark Knopfler | Phil Cunningham
Jim Cox
Iain Lothian | Blues Rock, Roots Rock, Celtic Rock, Folk Rock. Accordion included on most solo albums (since 1996), plus various collaboration and soundtrack projects. |
| Kongos | Johnny Kongos | Alternative rock |
| Korpiklaani | Juho Kauppinen | Folk metal |
| Lemon Demon | Neil Cicierega | Indie rock |
| Leshak | Игорь "Hurry" Ангиоз | Folk metal, death metal |
| Los Colorados | Unknown | World rock |
| Los Lobos | David Hidalgo | Rock and roll, Tex-Mex, country, zydeco, folk, R&B, blues |
| Lucero | Rick Steff | Alternative country, Punk rock, Alternative rock, Heartland rock, Memphis soul, Blues rock |
| Mägo de Oz | Sergio Cisneros | Folk metal, folk rock |
| Madvillain | Madlib | Hip hop |
| The Mahones | Katie McConnell (Katie Kaboom) | Irish folk, Punk rock, Rock |
| John Mellencamp | Unknown | Rock. Has included the accordion in most of his music since *The Lonesome Jubilee*. |
| MewithoutYou | Aaron Weiss | Alternative rock |
| Mekons | Eric Bellis aka Rico Bell | Alternative rock |
| Molotov Jukebox | Natalia Tena | Gypstep |
| Moonsorrow | Henri Sorvali | Folk metal |
| Motion Trio | (Accordion Trio) | Collaborations with other artists (such as Bobby McFerrin and Michał Urbaniak) |
| My Superhero | Mike Berault | Ska punk |
| Neutral Milk Hotel | Julian Koster | Indie rock |
| Maria Ney | Self | Weimar German cabaret performer |
| NOFX | Eric Melvin | Punk rock |
| Oingo Boingo | Steve Bartek, John Avila, Doug Lacy | New wave, dance-rock, ska, alternative rock |
| The Pogues | James Fearnley | Irish punk, pub music |
| The Radioactive Chicken Heads | Punky Rooster | Punk rock, comedy rock |
| Random Encounter | Careless | Alternative rock, indie rock |
| Rotfront | Unknown | Dub, ska, world music |
| Scythian | Danylo Fedoryka | Folk, Celtic, Celtic rock, folk rock, Americana |
| Czeslaw Spiewa | Czeslaw Mozil, Martin Bennebo | Combines elements of Eastern European and folk with pop and alternative rock |
| Sound Horizon | Revo | Combination of many genres, ranging from heavy metal to classical |
| Steam Powered Giraffe | Isabella "Bunny" Bennett | Steampunk, folk rock, vaudeville |
| Stolen Babies | Dominique Lenore Persi | Experimental rock, avant-garde metal |
| Styx | Dennis DeYoung | Hard rock, progressive rock |
| Svartsot | Hans-Jørgen Martinus Hansen | Folk metal, Viking metal |
| Tesco Value | Czeslaw Mozil, Martin Bennebo | Folk, pop, rock |
| That Handsome Devil | Jeremy Page and Andy Bauer | Alternative rock, alternative hip hop |
| They Might Be Giants | John Linnell | Alternative rock |
| Those Darn Accordions | Various, currently Paul Rogers and Suzanne Garramone | Accordion-based rock/pop/comedy band |
| Yann Tiersen | Self | French, avant-garde |
| Tiger Lillies | Martyn Jacques | Brechtian and modern cabaret |
| Tosca Tango Orchestra | Glover Gil | Nuevo tango, classical music |
| Turisas | Janne Mäkinen, Netta Skog | Folk metal, Viking metal |
| Twenty One Pilots | Tyler Joseph | Alternative rock, indie pop |
| The Twilight Sad | Andy MacFarlane | Scottish folk rock, indie rock |
| Varang Nord | Jeļena Kaļniša | Folk metal, Viking metal |
| Vitas | Vitas (studio), unknown (live) | Eclectic Russian pop |
| Julieta Venegas | Self | Latin pop |
| Vopli Vidopliassova | Oleh Skrypka | Ukrainian folk punk, folk rock |
| Tom Waits | William Schimmel, David Hidalgo | Jazz, rock, blues, folk, experimental rock |
| Jason Webley | Self | Combination of traditional music, Romani music, punk rock |
| Weddings Parties Anything | Mark Wallace | Folk rock |
| Windir | Valfar | Folk metal, Viking metal, black metal |
| Wintergatan | Martin Molin | Folktronica |
| The World/Inferno Friendship Society | Franz Nicolay | Cabaret punk |
| "Weird Al" Yankovic | Self | Comedy music, parody music |
| The Zydepunks | Juan Küffner | folk punk |


title: Mazra'-ē sabz-e falak

abstract: The poem Mazra'-ē sabz-e falak is a ghazal by the 14th-century Persian poet Hafez of Shiraz. It has been called "the second most debated ghazal of Hafiz, the first being the Shirazi Turk". It is no. 407 in the edition of Hafez's ghazals by Muhammad Qazvini and Qasim Ghani (1941), according to the usual alphabetical arrangement by rhyme. At the beginning of the poem, Hafez is reminded by the sight of the night sky of his own failings and the unlikelihood of his reaching Heaven; but an adviser encourages him to be optimistic. In the last three verses, Hafez turns his attention to the beauty of his beloved, and declares that the path of Love will lead to Heaven more surely than false and hypocritical religious practice. The poem is full of astronomical imagery of the Sun, Moon, and stars, and also of metaphors of sowing and harvest. Scholarly debate over this poem especially concerns whether it presents an artistic unity, and if so, whether the type of unity differs from the type of unity found in European art.

text:
# Mazra'-ē sabz-e falak

The poem ***Mazra'-ē sabz-e falak*** ("the Green Farmland of the Sky") is a ghazal (love song) by the 14th-century Persian poet Hafez of Shiraz. It has been called "the second most debated ghazal of Hafiz, the first being the Shirazi Turk". It is no. 407 in the edition of Hafez's ghazals by Muhammad Qazvini and Qasim Ghani (1941), according to the usual alphabetical arrangement by rhyme.

At the beginning of the poem, Hafez is reminded by the sight of the night sky of his own failings and the unlikelihood of his reaching Heaven; but an adviser encourages him to be optimistic. In the last three verses, Hafez turns his attention to the beauty of his beloved, and declares that the path of Love will lead to Heaven more surely than false and hypocritical religious practice. The poem is full of astronomical imagery of the Sun, Moon, and stars, and also of metaphors of sowing and harvest.

Scholarly debate over this poem especially concerns whether it presents an artistic unity, and if so, whether the type of unity differs from the type of unity found in European art.

## The poem

The text given below is that of the edition of Muhammad Qazvini and Qasem Ghani (1941). In addition to the usual eight verses below, there are also three "floating verses" which are included in some editions but rejected by most editors. Bashiri (1979) also regards verse 5, which differs from the others in its imagery, as spurious.

In the transcription, "*x*" represents the sound *kh* (خ) as in *Khayyam*. The letters *gheyn* (غ) and *qāf* (ق) are both written as "*q*"; the sign " ' " represents a glottal stop. "Overlong" syllables, that is, syllables which can take the place of a long plus a short syllable in the metre, are underlined.

1 مزرع سبز فلک دیدم و داس مه نو یادم از کشته خویش آمد و هنگام درو *mazra'-ē sabz-e falak dīdam o dās-ē mah-e now* *yād-am az kešte-ye xīš āmad o hengām-e derow* I saw the green farmland of Heaven and the sickle of the new Moon; I was reminded of what I myself had sown, and the time of harvest. 2 گفتم ای بخت بخفتیدی و خورشید دمید گفت با این همه از سابقه نومید مشو *goftam ey baxt! bexoftīdi o xoršīd damīd* *goft bā īn hame az sābeqe nowmīd mašow* I said, O Fortune! You fell asleep and the Sun has risen! He said, Despite everything, do not be despondent about the past. 3 گر روی پاک و مجرد چو مسیحا به فلک از چراغ تو به خورشید رسد صد پرتو *gar ravī pāk o mojarrad čo Masīhā be falak* *az čerāq-ē to be xoršīd rasad sad partow* If you go pure and naked like the Messiah to Heaven, from your lamp a hundred rays will reach the Sun. 4 تکیه بر اختر شب دزد مکن کاین عیار تاج کاووس ببرد و کمر کیخسرو *takye bar axtar-e šab-dozd makon, k-īn 'ayyār* *tāj-e Kāvūs bebord ō kamar-ē Key Xosrow* Do not rely on the night-thief star, since this traitor stole Kavus' crown and the belt of Kay Khosrow. 5 گوشوار زر و لعل ار چه گران دارد گوش دور خوبی گذران است نصیحت بشنو *gūšvār-ē zar o la'l ar če gerān dārad gūš* *dowr-e xūbī gozarān ast; nasīhat bešenow!* Though an earring of gold and rubies weighs down your ear, the period of goodness is fleeting; listen to advice! 6 چشم بد دور ز خال تو که در عرصه حسن بیدقی راند که برد از مه و خورشید گرو *čašm-e bad dūr ze xāl-ē to ke dar 'arse-ye hosn* *beydaq-ī rānd ke bord az mah o xoršīd gerow* May the evil eye be far from that mole of yours, since on the chess-board of beauty it has played a pawn which has checkmated the Moon and Sun! 7 آسمان گو مفروش این عظمت کاندر عشق خرمن مه به جوی خوشه پروین به دو جو *āsmān gū maforūš īn 'azamat k-andar 'ešq* *xerman-ē mah be jov-ī, xūše-ye Parvīn be do jow* Tell the sky: do not sell this magnificence, since in Love the Moon's harvest sells for a barley grain, and the Pleiades' ear of corn for two grains. 8 آتش زهد و ریا خرمن دین خواهد سوخت حافظ این خرقه پشمینه بینداز و برو *ātaš-ē zohd o riyā xerman-e dīn xāhad sūxt* *Hāfez, īn xerqe-ye pašmīne biyandāz o borow!* The fire of asceticism and hypocrisy will consume the harvest of religion. Hafez, throw off this woollen cloak and go!

## The metre

The metre is called *ramal-e maxbūn* ("hemmed *ramal*"), since in contrast to the usual *ramal* with its feet of – u – –, all the feet except the first are "hemmed", that is, shortened, to u u – –. It is a catalectic metre since the last foot *fa'ilātun* lacks the final syllable and becomes *fa'ilun*.

In the scheme below, x = *anceps* (i.e. long or short syllable), u = a short syllable, and – = a long syllable:

| x u – – | u u – – | u u – – | u u – |

In Elwell-Sutton's system of Persian metres this metre is classified as 3.1.15. The final pair of short syllables is *biceps*, that is, the two short syllables may be replaced by a single long syllable; this occurs in about 35% of lines. The first syllable in this metre is long in about 80% of lines.

This metre is fairly common in classical Persian lyric poetry, and is used in 143 (27%) of the 530 poems of Hafez.

## Interpretation

It has been argued that the poem has a Sufic intent and describes the possibility of reaching union with the Divine through the Sufic Way of Love. The poem has been compared with another ghazal of Hafez, *Goftā borūn šodī* with which it shares many of the same themes.

Both poems begin with Hafez viewing the New Moon; in both a spiritual adviser rebukes Hafez for this. Both contain a verse in which the New Moon is associated in some way with the crown of ancient Iranian kings. In one poem the glory of the sky, in the other the "perfume of Reason", is said to be worth no more than a barley-corn in comparison with Love.

Each verse of the present poem except the first contains a verb in the 2nd person ("you"), but the speaker and the person spoken to seem to differ in different parts of the poem, making the interpretation complex.

### Verse 1

The opening of the poem recalls Saadi's lines from the *Golestan*, in which Saadi in the same way as Hafez rues the time which he has wasted so far:

ای که پنجاه رفت و در خوابی مگر این پنج روز دریابی *ey ke panjāh raft o dar xābī* *magar īn panj rūz daryābī?* Oh you for whom fifty years have gone and you are asleep – do you expect to find the answer in these five days?

Bashiri explains that *mazra'* is farmland which has been sown, or prepared for sowing (as opposed to *mazra'e*, which is an individual farm or field).

Hillmann (2018) points out the assonance of the vowel \[a\] in the first line of this verse.

### Verse 2

Dick Davis translates: "I said, 'My luck ...' She said ..." and interprets this verse as a dialogue between Hafez and his luck. Hillmann also follows this interpretation. Bashiri has a different view, namely that *bexoftīdī* "you fell asleep" is not addressed to Fortune, but by the poet to himself, as in the verse of Saadi quoted above. The reply (*goft* "he said"), according to Bashiri, is not spoken by Fortune, but by an elder who (as often in Hafez's poems) gives advice and encouragement to his disciple.

Hillmann points out the alliteration of the sounds \[b\], \[x\], \[d\] in the first line of this verse. There is also internal rhyme between *xoršīd, nowmīd* (which in Hafez's day were pronounced with the vowel \[-ēd\]) and assonance with the \[-īd\] of *bexosbīdī, damīd*.

### Verse 3

The raising of Christ to heaven by God is mentioned in the Qur'an (3.55, 4.158).

Bashiri interprets this verse as follows: "If Man cultivates his potential for love, and thereby ascends to the heavens untrammeled as Christ did, his inner, spiritual light is enough to outshine all the cosmic luminaries."

Hillmann (2018) points out the assonance of \[a\] sounds, and of \[sad sad\].

### Verse 4

Kay Kavus (or Ka'us) and Kay Khosrow were legendary ancient kings of Iran, mentioned in Ferdowsi's Shahnameh.

The "night-thief star", according to Clarke and the 16th-century Ottoman commentator Ahmed Sudi, is the Moon. The following verse, from the poem *Goftā borūn šodī* (ghazal QG 406), mentioning the Moon and two further legendary kings, Siyāmak and Zow or Zaav, is parallel:

شکل هلال هر سر مه می‌دهد نشان از افسر سیامک و ترک کلاه زو *šakl-ē helāl har sar-e mah mīdehad nešān* *az 'afsar-ē Siyāmak o tark-ē kolāh-e Zow* The shape of the crescent at the beginning of each month gives a sign of the diadem of Siyamak and the helmet of Zow's crown / the abandonment of Zow's crown.

Avery and Heath-Stubbs say of verse 4: "This 'thief of the night' is not the sickle of the new moon, yet it too reaps: not souls, but the vainglorious things of this world." Bashiri suggests that the star is not the Moon but the Sun. However, the parallel with ghazal 406 makes it clear that it is indeed the New Moon.

The theme of the turning heaven sweeping away even great kings of the past occurs elsewhere in Hafez, for example in ghazal 101 where (in Gertrude Bell's translation) Hafez writes:

که آگه است که کاووس و کی کجا رفتند که واقف است که چون رفت تخت جم بر باد *ke āgah ast ke Kāvūs o Key kojā raftand?* *ke vāqef ast ke čūn raft taxt-e Jam bar bād?* What man can tell where Kaus and Kai have gone? Who knows where even now the restless wind Scatters the dust of Djem's imperial throne?

A similar theme is found in another ghazal of Hafez (no. 201 in the Qazvini-Ghani edition):

مبین حقیر گدایان عشق را کاین قوم شهان بی کمر و خسروان بی کلهند *mabīn haqīr gedāyān-e 'ešq rā k-īn qowm* *šahān-e bī-kamar ō Khosrovān-e bī-kolah-and* Do not despise the beggars of Love, since this tribe are beltless kings and crownless Khosrows.

The first line of this verse is notable for its assonance of the sound \[a\], while the second has alliteration of \[k\].

### Verse 5

The addressee of this verse is not certain. Does it continue the Sufic Elder's advice in verses 2 to 4, or is the advice given to the handsome youth whom Hafez addresses in verse 6?

Translators usually explain *dowr-e xūbī gozarān ast* ("the turn of goodness is fleeting") as addressed to the beautiful youth, reminding him that he will not be young for ever – presumably the same youth whose mole is praised in verse 6: they give translations such as "the season of youthfulness is passing" (Clarke), "the cycle of beauty is passing" (Wickens), "attend the voice which tells how beauty fades" (Avery & Heath-Stubbs, p. 58). Alternatively this verse continues the theme of the previous one: "Even though you may be as wealthy as those kings, such wealth cannot last".

The word گران *gerān* can have various meanings: "heavy"; "valuable"; "troublesome" or "annoying". Another possible meaning is "heavy, deaf to advice".

Clarke interprets the "earring of gold and rubies" as "profitable counsel". Avery and Heath-Stubbs see the weighing down of the ear as harvest imagery. Otherwise this verse seems to have different imagery from the others, since there is no mention of harvest or the heavens. Bashiri for various reasons thinks it is an interpolation.

Hillmann (2018) points out the alliteration of the consonant \[g\] in these two lines.

### Verse 6

The *xāl* "mole" in the language of Persian love-poetry was considered a symbol of particular beauty on the face of the beloved (see Hafez's Shirazi Turk).

Bashiri calls the image of the chess game "a profound and masterly stroke". He explains: "It is the rule in the game of chess that if a player can move his pawn (*baidaq* or *baidhaq*), the smallest piece on the board, in such a way that it can pass the seven squares unharmed, it will turn into the most powerful piece on the board, the queen. The player is the beloved, the pawn is man and the seven squares are the seven fathers that constitute the Solar System. With the guidance of love, says the poet, man is able to transcend the limits of the phenomenal world (*chashm-i bad*) and enter the abode of the beloved." However, in the medieval Persian form of chess, on reaching the eighth rank the pawn did not become a queen but a *ferz* or *farzīn* (counsellor), which although it took the same position on the board as the modern queen was not as powerful and could move only one step diagonally. (See Shatranj.) The word *beydaq* itself is derived through Arabic from the Middle Persian *piyādag* "footsoldier".

The phrase *bord az mah o xoršīd gerow* is variously translated: "from the moon and sun, the bet won" (Clarke); "taking the prize from moon and sun" (Wickens); "beats the moon and sun" (Avery and Heath-Stubbs).

### Verse 7

This verse refers back to the first verse, with آسمان (*āsmān* or *āsemān*) "the sky" replacing its synonym فلک *falak*. Bashiri explains this verse as that, even though he is no more significant than a grain of barley, "because man is invested with the love of the beloved, he has the potential to outshine the cosmos".

خرمن (*xerman* or *xarman*) means the crop after it has been harvested and piled up, but before it is threshed; it can also mean the halo of the Moon.

This verse corresponds to one of similar meaning in ghazal 406:

مفروش عطر عقل به هندوی زلف ما کان جا هزار نافه مشکین به نیم جو *mafrūš 'etr-e 'aql be hendū-ye zolf-e mā* *k-ān jā hezār nāfe-ye moškīn be nīm jow* Do not sell the perfume of Reason for the blackness of our hair! For there a thousand musk-pods sell at half a barley-corn!

Bashiri explains that the path of Reason (*'aql*) is contrasted with the path of Love (*'ešq*); the former is worthless in achieving union with the Divine.

There is alliteration of \[m\] in the two halves of the verse.

### Verse 8

Hafez's rejection of showy ascetism (*zohd*), hypocrisy (*riyā* or *riā*), and sham Sufism, represented by the woollen cloak (*xerqe*) proclaiming the Sufi's spirituality, is well described in Lewis (2002). For Hafez, the true road to union with the divine is through Love, not through intellect or religious practice.

Annemarie Schimmel writes: "The *khirqa* was usually dark blue. It was practical for travel, since dirt was not easily visible on it, and at the same time it was the color of mourning and distress; its intention was to show that the Sufi had separated himself from the world and what is in it."

Some commentators see the phrase *īn xerqe-ye pašmīne biyandāz* "throw off this woollen cloak" as meaning that Hafez should "throw off the cloak of hypocritical zeal". "If the poet were to remain in his *khirqa-yi pashmīna*, symbol of worldly values (or *dīn*), he too would be consumed like the rest of the cosmos." However, it is probable that the casting off of the cloak is symbolic rather than a rejection of Sufism as such; just as the whirling dervishes of Konya cast aside their black cloaks before beginning their ritual dance.

With the final verb برو *borow* "go" Hafez refers back to the same verb روی *ravī* "you go" in verse 3. Inspired by love, having thrown off the trammels of hypocrisy and the dervish cloak, he is now prepared to ascend pure and naked to heaven.

## Artistic unity

Hafez's ghazals have sometimes been criticised for their apparent lack of unity and for the fact that it sometimes seems that the verses could be rearranged in a different order without making much difference to the thought. Wickens finds that though a ghazal has a close-knit structure of thematic patterns, it lacks one aspect of Western art, namely the idea of development to a climax or conflict and its resolution. On the contrary, in his view, Persian art is more "radial" or "spoke-like" with the ideas arranged around a central focal point. He finds the same kind of radial unity of structure in Persian architecture and the design of carpets.

Bashiri, on the other hand, follows those who argue that there are at least two types of ghazal in Hafez, one the ordinary love ghazal, and the other the Sufic ghazal, in which the various stages of the seeker's progress on the Way to union with the Divine are presented. Thus there is a structure to these ghazals which is often missed by Western critics.

## Further reading

## Other Hafez poems

There are articles on the following poems by Hafez on Wikipedia. The number in the edition by Muhammad Qazvini and Qasem Ghani (1941) is given:


title: Virginia Bosler

abstract: Virginia Bosler, known to friends by her childhood nickname "Winkie", was an American actress born in Newton, Massachusetts. She was known for acting in Broadway musicals.

text:
# Virginia Bosler

**Virginia Bosler** (September 23, 1926  August 30, 2020), known to friends by her childhood nickname "Winkie", was an American actress born in Newton, Massachusetts. She was known for acting in Broadway musicals.

## Early

Bosler's father was a maritime engineer, and her early years were spent relocating frequently along the eastern coast. At seven years old, she moved to Great Neck, Long Island, and was enrolled into ballet classes by her mother, who was concerned about her daughter's posture. For three years, Bosler studied with Mikhail Mordkin and the Swobodas before moving to New London, Connecticut, where her dance studies halted until high school.

## Dance training

Bosler resumed her dance training while attending the progressive Cherry Lawn High School in Darien, Connecticut, focusing on modern and folk dancing under Hanya Holm protégée, Laura Morgan. She first attended the renowned Jacob's Pillow in Becket, Massachusetts, at the age of 15 between her sophomore and junior years of high school. Bosler returned for the following two summers as a scholarship student; dancing in the Jacob's Pillow Dance Festival, learning Pilates directly from its creator, Joseph Pilates, and earning the respect of Jacob's Pillow founder, Ted Shawn.

After what Bosler considered a “disastrous” year at Barnard College, she left school to pursue a dance career. She studied with Hanya Holm as well as Cia Fornaroli and Merce Cunningham. Bosler's big break came in the spring of 1946 when she was cast in the tour of *Bloomer Girl*, choreographed by Agnes de Mille and starring Nanette Fabray. After observing Bosler's performance in the tour over the next nine months (which took her to cities such as Toronto, Boston, Los Angeles, and Washington, DC), de Mille requested that she fly to New York while on the Pittsburgh tour stop to audition for the upcoming Alan Jay Lerner/Frederick Loewe show, *Brigadoon*.

## Roles

Bosler originated the role of Jean MacLaren in *Brigadoon* (1947), a role she would play for over a year and a half on Broadway, for another year on tour, and repeat in the 1954 film adaptation (though her role was drastically reduced from the stage version). Bosler would go on to perform on Broadway from 1950 to '51 in the Agnes de Mille-directed Cole Porter musical *Out of This World* (choreographed by her former teacher Hanya Holm, and starring Charlotte Greenwood), later appearing in *Gentlemen Prefer Blondes* (as a replacement and member of the closing cast in 1951); the flop musical *A Month of Sundays* (starring Nancy Walker), which closed out of town in January 1952; and *Leonard Sillman’s New Faces of 1952* (1952–1953).

Though officially a member of the Agnes de Mille Dance Theatre for a national tour from 1953 to 1954, Bosler was absent for a large portion of the engagements as she was filming *Brigadoon* from December 1953 to March 1954 in Culver City. Just as the film of *Brigadoon* premiered in September 1954, Bosler returned to Culver City to shoot her scenes for the film version of the Richard Rodgers/Oscar Hammerstein II stage hit, *Oklahoma!*, for which Agnes de Mille recreated and adapted her original stage choreography. Both *Brigadoon* and *Oklahoma!* are notable for being two of the few motion pictures shot twice during principal photography using separate cameras and “takes” to accommodate the new experimental widescreen processes of CinemaScope and Todd-AO, respectively. As such, different versions of both films exist using the same prerecorded songs, though it is unclear whether the “flat” version of *Brigadoon* was ever released (it isn't available on home video).

A European stage tour of *Oklahoma!* (headlined by Shirley Jones and Jack Cassidy) followed in the summer of 1955 with stops in Paris, Rome, and London, and the film opened in its first-run Todd-AO 70mm engagements in October. Virginia returned to the role of Jean MacLaren for several revivals of *Brigadoon*, most notably at New York City Center in 1957 and 1963. She also appeared in the live “Producers’ Showcase” NBC broadcasts of *Bloomer Girl* and *Jack and the Beanstalk* in 1956.

Bosler appeared in a few short-lived non-musical roles on and off Broadway before effectively retiring from public performance in 1963.

## Later

By the end of the 1970s, Bosler began to study Labanotation, a method to document and preserve choreography in print. Over the next 10 years working for the Dance Notation Bureau in New York City, she created Labanotation scores for works by choreographers such as George Balanchine, Agnes de Mille, Eugene Loring, and Richard Englund, all of which are stored within the archives at the New York Public Library for future study and performance.

Bosler began a new career teaching yoga in 1997 at the age of seventy.

## Personal

Just before turning thirty, Bosler married Hubert Alexander Doris, a professor of music at Barnard College, in 1956. A quiet family life followed with Bosler as the wife of an esteemed professor and mother of two adopted children, Alexander and Julia. Her husband died on June 8, 2008, at their home in Hancock, Maine. “Winkie” lived out a quiet retirement in Ellsworth, Maine. She died August 30, 2020.

## Performances

### Theatre

### Film

### TV

## InfoBox

| Virginia Bosler | |
| --- | --- |
| Virginia Bosler headshot circa 1947 | |
| Born | (1926-09-23)September 23, 1926
Newton, Massachusetts, U.S. |
| Died | August 30, 2020(2020-08-30) (aged 93)
Ellsworth, Maine, U.S. |
| Other names | “Winkie” |
| Occupation(s) | Actress, dancer |
| Known for | *Brigadoon*, *Oklahoma!* and Broadway musicals |
| Spouse | Hubert Alexander Doris (19562008; his death) |
| Children | 2 |


title: Maria de Medeiros

abstract: Maria Esteves de Medeiros Victorino de Almeida, DamSE, known professionally as Maria de Medeiros, is a Portuguese actress, director, and singer who has been involved in both European and American film-productions.

text:
# Maria de Medeiros

**Maria Esteves de Medeiros Victorino de Almeida**, DamSE (born 19 August 1965), known professionally as **Maria de Medeiros** (Portuguese pronunciation: \[mɐˈɾiɐ ðɨ mɨˈðɐjɾuʃ\]), is a Portuguese actress, director, and singer who has been involved in both European and American film-productions.

## Early life

Maria de Medeiros was born in Lisbon, Portugal, the daughter of musician and composer António Victorino de Almeida. She played her first part on screen at the age of 15. At 18, she moved to France to pursue her acting studies and was a student at the Conservatoire national supérieur d'art dramatique (CNSAD), graduating in 1988.

Medeiros is the first Portuguese woman to be designated a UNESCO Artist for Peace.

## Career

### Film

Medeiros' resemblance to Anaïs Nin landed her the primary role in *Henry & June* (1990), in which she played the author. In 1990, she played the role of Maria in Ken McMullen's film about the rise of the Paris Commune, *1871*. In 1994, Medeiros appeared in Quentin Tarantino's *Pulp Fiction* playing Fabienne, the girlfriend of Butch Coolidge, played by Bruce Willis.

In 2000, she had a role in the Medeiros directed film *April Captains* about the 1974 Carnation Revolution in Portugal. The film was screened in the Un Certain Regard section at the 2000 Cannes Film Festival.

In 2003, Medeiros appeared as a hairdresser in the movie *My Life Without Me* starring Sarah Polley. She has starred in the Canadian movie *The Saddest Music in the World* (2004) directed by Guy Maddin and co-starring Isabella Rossellini and Mark McKinney.

### Music

In 2007, Medeiros released the album *A Little More Blue* on which she performs songs by Brazilian musicians, including Chico Buarque, Caetano Veloso, Ivan Lins, and Dolores Duran. She sings in Portuguese, French ("Joana Francesa" by Buarque), and English ("A Little More Blue" by Veloso).

In 2009, she sang "These Boots Are Made for Walkin'" on The Legendary Tigerman album *Femina*. Her second recording, *Penínsulas & Continentes*, was released on 23 February 2010. Her third album was *Pájaros Eternos* in 2012. For her fourth album, she teamed up with Phoebe Killdeer & The Shift to produce *The Piano's Playing The Devils Tune*, released in 2016.

## Selected filmography

### As director

* *Sévérine C.* (1987)
* *Fragmento II* (1988)
* *A Morte do Príncipe* (1991)
* *April Captains* (2000)
* *Mathilde au matin* (2004)
* *Je t'aime moi non plus* (2004)
* *Repare Bem* (2012)

### As actress

## Discography

* *A Little More Blue* (2007)
* *Penínsulas & Continentes* (2010)
* *Pássaros Eternos* (2013)
* *The Piano's Playing the Devil's Tune* (2016) — with Phoebe Killdeer & the Shift

### Collaborations

## InfoBox

| Maria de Medeiros | |
| --- | --- |
| Medeiros at the 2007 Cannes Film Festival | |
| Born | Maria Esteves de Medeiros Victorino de Almeida
(1965-08-19) August 19, 1965
Lisbon, Portugal |
| Nationality | Portuguese |
| Occupation(s) | Actress, director, singer |
| Years active | 1981–present |
| Spouse | Agustí Camps |
| Children | 2 |
| Father | António Victorino de Almeida |
| Relatives | Inês de Medeiros (sister) |


title: Matt Faddes

abstract: Matt Faddes is a New Zealand rugby union player who currently plays as a centre, wing or fullback for Otago.

text:
# Matt Faddes

**Matt Faddes** (born 6 November 1991) is a New Zealand rugby union player who currently plays as a centre, wing or fullback for Otago.

## Early career

Born in the town of Balclutha, located halfway between Dunedin and Invercargill on New Zealand's South Island, Faddes was educated at South Otago High School in his hometown.

## Professional career

Faddes first played provincial rugby for Otago in 2011 ITM Cup, debuting against North Harbour. He made two appearances in total in 2011 and two more the following year before playing 7 times and scoring 2 tries in 2013 to help the Razorbacks finish 2nd on the Championship log and reach the playoff semi-finals where his 12th minute try was unable to stop them from bowing out 24-29 at home to Hawke's Bay.

He only saw action once in 2014, but in 2015 his career in the 15-man game really began to take off. Having previously played mostly as an outside back, he largely featured as a centre for Otago in 2015 and it was a move that paid off with him scoring 6 tries in 10 games as they reached the Championship playoffs before being comprehensively defeated by Wellington. He continued to be a key player for the Razorbacks in 2016, contributing 3 tries in 11 games as the men from Dunedin topped the Championship standings before surprisingly losing at home by North Harbour in the play off final, a defeat which consigned them to another season of Championship rugby in 2017.

Following the unfortunate defeat Faddes decided to try his hand at a different field, Accounting at the University of Otago.

### Super Rugby

Excellent showings in the midfield for Otago during the 2015 ITM Cup saw Faddes earn a Super Rugby contract with the Dunedin-based Highlanders ahead of the 2016 season. He made a dream start to life as a Super Rugby player scoring 10 tries in 16 games, including a hat-trick against the Southern Kings which put him second, behind Israel Folau of the Waratahs in the try scoring charts. His side, the Highlanders, were defending Super Rugby champions in 2016, however they were unable to hold on to their title and were eliminated by the Lions in the semi-finals, losing 42-30 with Faddes' 48th minute try scored in vain.

Tony Brown replaced the Japan-bound Jamie Joseph as Highlanders head coach ahead of the 2017 season and having worked with Faddes at provincial level, he retained him in the squad for his first year in charge.

### Move to Ulster

Faddes moved to Northern Ireland to join Ulster ahead of the 2019–20 season, and has played both in the Pro14 and European Rugby Champions Cup.

Faddes returned to Otago in 2021.

## International

Faddes was an All Blacks Sevens representative in 2013, helping them to victory in the 2013 London Sevens and playing in 3 competitions in total throughout the season.

On 5 November 2016, Faddes featured in the number 14 jersey for the Barbarians in their 31-31 draw against South Africa at Wembley Stadium. He was replaced by Australian Luke Morahan in the 51st minute of the match.

## Career honours

**All Blacks Sevens**

## Super Rugby statistics

*As of 14 May 2019*

| Season | Team | Games | Starts | Sub | Mins | Tries | Cons | Pens | Drops | Points | Yel | Red |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 2016 | Highlanders | 16 | 13 | 3 | 1043 | 10 | 0 | 0 | 0 | 50 | 1 | 0 |
| 2017 | Highlanders | 11 | 5 | 6 | 574 | 6 | 0 | 0 | 0 | 30 | 1 | 0 |
| 2018 | Highlanders | 8 | 1 | 7 | 204 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| 2019 | Highlanders | 8 | 7 | 1 | 555 | 3 | 0 | 0 | 0 | 15 | 0 | 0 |
| Total | | 43 | 26 | 17 | 2376 | 19 | 0 | 0 | 0 | 95 | 2 | 0 |

## InfoBox

Matt Faddes
| Full name | Matthew Faddes |
| --- | --- |
| Date of birth | (1991-11-06) 6 November 1991 |
| Place of birth | Balclutha, New Zealand |
| Height | 1.85 m (6 ft 1 in) |
| Weight | 93 kg (205 lb; 14.6 st) |
| School | South Otago High School |
| Rugby union career | |
| **Position(s)** Outside Back / Midfield  **Current team** Otago  Senior career  **Years** **Team** **Apps** **(Points)**  2011−2019 Otago  48  (85)  2016−2019 Highlanders  43  (95)  2019–2021 Ulster  27  (45)  2021- Otago   ()  Correct as of 6 June 2021  International career  **Years** **Team** **Apps** **(Points)**  2012−2013 New Zealand 7's  3  (17)  Correct as of 18 December 2019 | |


title: List of postal codes of Canada: G

text:
# List of postal codes of Canada: G

This is a list of postal codes in Canada where the first letter is G. Postal codes beginning with G are located within the Canadian province of Quebec. Only the first three characters are listed, corresponding to the Forward Sortation Area (FSA).

Canada Post provides a free postal code look-up tool on its website, via its mobile apps for such smartphones as the iPhone and BlackBerry, and sells hard-copy directories and CD-ROMs. Many vendors also sell validation tools, which allow customers to properly match addresses and postal codes. Hard-copy directories can also be consulted in all post offices, and some libraries.

## Eastern Quebec

There are currently 140 FSAs in this list.

### Urban

| **G1A**
Quebec City
**Quebec Provincial Government** | **G2A**
Quebec City
North Loretteville | **G3A**
Saint-Augustin-de-Desmaures | **G4A**
Clermont | **G5A**
La Malbaie | **G6A**
Saint-Georges
Northwest | **G7A**
Lévis | **G8A**
Saguenay
West Jonquière | **G9A**
Trois-Rivières
East |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| **G1B**
Quebec City
Beauport North | **G2B**
Quebec City
Loretteville South | **G3B**
Lac-Beauport | **G4B**
*Not assigned* | **G5B**
Port-Cartier | **G6B**
Lac-Mégantic
Frontenac | **G7B**
Saguenay
(La Baie) | **G8B**
Alma
Southeast | **G9B**
Trois-Rivières
South |
| **G1C**
Quebec City
Central Beauport | **G2C**
Quebec City
Northwest | **G3C**
Stoneham-et-Tewkesbury
Lac-Delage | **G4C**
*Not assigned* | **G5C**
Baie-Comeau
Southwest | **G6C**
Lévis | **G7C**
*Not assigned* | **G8C**
Alma
Southwest | **G9C**
Trois-Rivières
West |
| **G1E**
Quebec City
Beauport South | **G2E**
Quebec City
L'Ancienne-Lorette | **G3E**
Quebec City
Saint-Émile | **G4E**
*Not assigned* | **G5E**
*Not assigned* | **G6E**
Sainte-Marie | **G7E**
*Not assigned* | **G8E**
Alma
North | **G9E**
*Not assigned* |
| **G1G**
Quebec City
Charlesbourg (Orsainville) | **G2G**
Quebec City
L'Ancienne-Lorette
(YQB) | **G3G**
Quebec City
(Lac-Saint-Charles) | **G4G**
*Not assigned* | **G5G**
*Not assigned* | **G6G**
Thetford Mines
Saint-Jean-de-Brébeuf | **G7G**
Saguenay
North Chicoutimi | **G8G**
Métabetchouan–Lac-à-la-Croix | **G9G**
*Not assigned* |
| **G1H**
Quebec City
South Charlesbourg | **G2H**
*Not assigned* | **G3H**
Pont-Rouge | **G4H**
*Not assigned* | **G5H**
Mont-Joli
Saint-Joseph-de-Lepage | **G6H**
Thetford Mines
Irlande | **G7H**
Saguenay
East Chicoutimi | **G8H**
Roberval | **G9H**
Bécancour |
| **G1J**
Quebec City
Lower Riverbank | **G2J**
Quebec City
Inner North | **G3J**
Quebec City
Val-Bélair North | **G4J**
*Not assigned* | **G5J**
Amqui | **G6J**
Lévis | **G7J**
Saguenay
Chicoutimi West | **G8J**
Saint-Prime
La Doré | **G9J**
*Not assigned* |
| **G1K**
Quebec City
Notre-Dame-des-Anges | **G2K**
Quebec City
Outer North | **G3K**
Quebec City
South Val-Bélair | **G4K**
*Not assigned* | **G5K**
*Not assigned* | **G6K**
Lévis | **G7K**
Saguenay
Southwest Chicoutimi | **G8K**
Saint-Félicien | **G9K**
*Not assigned* |
| **G1L**
Quebec City
Northeast | **G2L**
Quebec City
Charlesbourg (Bourg-Royal) | **G3L**
Saint-Raymond | **G4L**
*Not assigned* | **G5L**
Rimouski
Central | **G6L**
Plessisville
Princeville | **G7L**
*Not assigned* | **G8L**
Dolbeau-Mistassini
Saint-Stanislas | **G9L**
*Not assigned* |
| **G1M**
Quebec City
North Central | **G2M**
Quebec City
Northeast | **G3M**
Donnacona | **G4M**
*Not assigned* | **G5M**
Rimouski
Northeast | **G6M**
*Not assigned* | **G7M**
*Not assigned* | **G8M**
Normandin
Albanel
 | **G9M**
*Not assigned* |
| **G1N**
Quebec City
South Central | **G2N**
Quebec City
West | **G3N**
Sainte-Catherine-de-la-Jacques-Cartier
Fossambault-sur-le-Lac
Lac-Saint-Joseph | **G4N**
*Not assigned* | **G5N**
Rimouski
Southwest | **G6N**
*Not assigned* | **G7N**
Saguenay
(Laterrière) | **G8N**
Hébertville | **G9N**
Shawinigan
Central |
| **G1P**
Quebec City
West | **G2P**
*Not assigned* | **G3P**
*Not assigned* | **G4P**
*Not assigned* | **G5P**
*Not assigned* | **G6P**
Victoriaville
Central | **G7P**
Saint-Ambroise | **G8P**
Chibougamau | **G9P**
Shawinigan
Southeast |
| **G1R**
Quebec City
Saint-Louis-de-Gonzague-du-Cap-Tourmente | **G2R**
*Not assigned* | **G3R**
*Not assigned* | **G4R**
Sept-Îles
Maliotenam
Uashat | **G5R**
Rivière-du-Loup | **G6R**
Victoriaville
Saint-Christophe-d'Arthabaska | **G7R**
*Not assigned* | **G8R**
*Not assigned* | **G9R**
Shawinigan
Northwest |
| **G1S**
Quebec City
South | **G2S**
*Not assigned* | **G3S**
Shannon | **G4S**
Sept-Îles
Northwest | **G5S**
*Not assigned* | **G6S**
Victoriaville
East | **G7S**
Saguenay
Northeast Jonquière | **G8S**
*Not assigned* | **G9S**
*Not assigned* |
| **G1T**
Quebec City
Upper Riverbank | **G2T**
*Not assigned* | **G3T**
*Not assigned* | **G4T**
Les Îles-de-la-Madeleine
Grosse-Île | **G5T**
Dégelis | **G6T**
Victoriaville
Northwest | **G7T**
Saguenay
Southeast Jonquière | **G8T**
Trois-Rivières
Central and southeast | **G9T**
Shawinigan
(Grand-Mère) |
| **G1V**
Quebec City
Northeast Sainte-Foy | **G2V**
*Not assigned* | **G3V**
*Not assigned* | **G4V**
Sainte-Anne-des-Monts | **G5V**
Montmagny | **G6V**
Lévis
North | **G7V**
*Not assigned* | **G8V**
Trois-Rivières
Northeast | **G9V**
*Not assigned* |
| **G1W**
Quebec City
Southeast Sainte-Foy | **G2W**
*Not assigned* | **G3W**
*Not assigned* | **G4W**
Matane | **G5W**
*Not assigned* | **G6W**
Lévis
South | **G7W**
*Not assigned* | **G8W**
Trois-Rivières
West | **G9W**
*Not assigned* |
| **G1X**
Quebec City
West Sainte-Foy | **G2X**
*Not assigned* | **G3X**
*Not assigned* | **G4X**
Gaspé | **G5X**
Beauceville | **G6X**
Lévis | **G7X**
Saguenay
Central Jonquière | **G8X**
*Not assigned* | **G9X**
La Tuque
La Bostonnais |
| **G1Y**
Quebec City
(Cap-Rouge) | **G2Y**
*Not assigned* | **G3Y**
*Not assigned* | **G4Y**
*Not assigned* | **G5Y**
Saint-Georges
Central | **G6Y**
Lévis | **G7Y**
Saguenay
Southwest Jonquière | **G8Y**
Trois-Rivières
Central | **G9Y**
*Not assigned* |
| **G1Z**
*Not assigned* | **G2Z**
*Not assigned* | **G3Z**
Baie-Saint-Paul | **G4Z**
Baie-Comeau
Northeast | **G5Z**
Saint-Georges
Southeast | **G6Z**
Lévis | **G7Z**
Saguenay
Northwest Jonquière | **G8Z**
Trois-Rivières
Northeast | **G9Z**
*Not assigned* |

### Rural

| **G0A**
Capitale-Nationale
1A0: Sainte-Christine-d'Auvergne
1E0: Beaupré
1H0: Boischatel
1L0: Cap-Santé
1N0: Château-Richer
1S0: Deschambault-Grondines (Deschambault)
1W0: Deschambault-Grondines (Grondines)
1X0: L'Isle-aux-Coudres
2A0: L'Isle-aux-Coudres (La Baleine)
2J0: Lac-Sergent
2K0: L'Ange-Gardien
2L0: Petite-Rivière-Saint-François
2M0: Les Éboulements
2R0: Neuville
2Y0: Portneuf
3A0: Rivière-à-Pierre
3B0: Saint-Alban
3C0: Sainte-Anne-de-Beaupré
3G0: Saint-Basile
3J0: L'Isle-aux-Coudres (Saint-Bernard-sur-Mer)
3K0: Sainte-Brigitte-de-Laval
3L0: Saint-Casimir
3P0: Sainte-Famille-de-l'Île-d'Orléans
3R0: Saint-Ferréol-les-Neiges
3S0: Saint-François-de-l'Île-d'Orléans
3T0: Saint-Gilbert
3V0: Saint-Hilarion
3W0: Saint-Jean-de-l'Île-d'Orléans
3X0: Saint-Joachim
3Y0: Les Éboulements (Saint-Joseph-de-la-Rive)
3Z0: Saint-Laurent-de-l'Île-d'Orléans
4A0: Saint-Léonard-de-Portneuf
4B0: Saint-Marc-des-Carrières
4C0: Sainte-Pétronille
4E0: Saint-Pierre-de-l'Île-d'Orléans
4H0: Saint-Thuribe
4J0: Saint-Tite-des-Caps
4K0: Saint-Urbain
4L0: Saint-Ubalde
4S0: Saint-Gabriel-de-Valcartier
4V0: Wendake
4Z0: Saint-Gabriel-de-Valcartier (CFB Valcartier) | **G0B**
*Not in use* | **G0C**
Gaspésie-Sud
1A0: Percé (Barachois)
1C0: New Richmond
1E0: Bonaventure
1G0: Percé (Cap-d'Espoir)
1H0: Caplan
1J0: Carleton-sur-Mer
1K0: Chandler
1L0: Pointe-à-la-Croix
1N0: Escuminac
1P0: Port-Daniel–Gascons (Gascons)
1T0: Cascapédia–Saint-Jules
1V0: Grande-Rivière
1W0: Grande-Rivière (West)
1X0: Pointe-à-la-Croix (L'Alverne)
1Y0: Maria
1Y1: Gesgapegiag
1Z0: New Carlisle
2A0: Chandler (Newport)
2B0: New Richmond
2E0: Nouvelle
2G0: Nouvelle (West)
2H0: Chandler (Pabos)
2J0: Chandler (Pabos Mills)
2K0: Paspébiac, Hope
2L0: Percé
2M0: Escuminac (Pointe-à-la-Garde)
2N0: Port-Daniel–Gascons (Port-Daniel)
2R0: Listuguj
2V0: Saint-Alphonse
2W0: Saint-Elzéar
2X0: Percé (Saint-Georges-de-Malbaie)
2Y0: Hope
2Z0: Carleton-sur-Mer (Saint-Omer)
3A0: Saint-Siméon
3B0: Sainte-Thérèse-de-Gaspé
3C0: Saint-Godefroi
3C1: Hope Town
3E0: Shigawake
3G0: Percé (Val-d'Espoir) | **G0E**
Gaspésie-Nord
1C0: La Martre (Cap-au-Renard)
1G0: Cloridorme
1K0: Grande-Vallée
1L0: Saint-Maxime-du-Mont-Louis (Gros-Morne)
1P0: Sainte-Madeleine-de-la-Rivière-Madeleine (Madeleine-Centre)
1R0: Sainte-Madeleine-de-la-Rivière-Madeleine (Manche-d'Épée)
1S0: Marsoui
1T0: Saint-Maxime-du-Mont-Louis (Mont-Louis)
1V0: Mont-Saint-Pierre
1W0: Murdochville
1Y0: Petite-Vallée
1Z0: Rivière-à-Claude
2B0: Sainte-Madeleine-de-la-Rivière-Madeleine (Rivière-la-Madeleine)
2C0: Rivière-à-Claude (Ruisseau-à-Rebours)
2E0: Saint-Maxime-du-Mont-Louis (L'Anse-Pleureuse)
2H0: La Martre | **G0G**
Côte-Nord & Anticosti
1A0: Aguanish
1B0: Baie-Johan-Beetz
1C0: Blanc-Sablon
1E0: Blanc-Sablon (Brador)
1G0: Côte-Nord-du-Golfe-du-Saint-Laurent (Chevery)
1H0: Sept-Îles (Clarke City)
1J0: Fermont
1L0: Sept-Îles (Gallix)
1M0: La Romaine
1N0: Côte-Nord-du-Golfe-du-Saint-Laurent (Harrington Harbour)
1P0: Havre-Saint-Pierre
1R0: Aguanish (L'Île-Michon)
1S0: Côte-Nord-du-Golfe-du-Saint-Laurent (Kegashka)
1T0: Gros-Mécatina (La Tabatière)
1V0: Longue-Pointe-de-Mingan
1W0: Blanc-Sablon (Lourdes-de-Blanc-Sablon)
1X0: Rivière-Saint-Jean (Magpie)
1Z0: Bonne-Espérance (Middle Bay)
2B0: Sept-Îles (Moisie)
2C0: Gros-Mécatina (Mutton Bay)
2E0: Nutashkuan, Natashquan
2G0: Bonne-Espérance (Old Fort)
2L0: Rivière-au-Tonnerre
2N0: Rivière-Saint-Jean
2P0: Bonne-Espérance (Rivière-Saint-Paul)
2R0: Saint-Augustin
2T0: Matimekosh, Schefferville
2V0: Rivière-au-Tonnette (Sheldrake)
2W0: Côte-Nord-du-Golfe-du-Saint-Laurent (Tête-à-la-Baleine)
2Y0: L'Île-d'Anticosti
2Z0: Kawawachikamach |
| --- | --- | --- | --- | --- |
| **G0H**
Manicouagan
1A0: Baie-Trinité
1B0: Pessamit
1C0: Chute-aux-Outardes
1E0: Franquelin
1G0: Godbout
1M0: Pointe-aux-Outardes
1N0: Pointe-Lebel
1P0: Colombier
1R0: Port-Cartier (Rivière-Pentecote)
1S0: Ragueneau | **G0J**
Gaspésie-Ouest
1A0: Albertville
1C0: Baie-des-Sables
1E0: Cap-Chat
1G0: Cap-Chat (Est)
1H0: Cap-Chat (Capucins)
1J0: Causapscal
1K0: Grosses-Roches
1M0: Lac-au-Saumon
1N0: Saint-Zénon-du-Lac-Humqui
1P0: La Rédemption
1R0: L'Ascension-de-Patapédia
1S0: Métis-sur-Mer
1T0: Les Méchins
1V0: Matapédia, Ristigouche-Sud-Est
1X0: Padoue
1Z0: Price, Grand-Métis
2A0: Routhierville
2B0: Saint-Adelme
2C0: Saint-Alexandre-des-Lacs
2E0: Saint-Alexis-de-Matapédia
2G0: Saint-André-de-Restigouche
2H0: Sainte-Angèle-de-Mérici
2J0: Saint-Damase
2K0: Sainte-Félicité
2L0: Sainte-Flavie
2M0: Sainte-Florence
2N0: Saint-François-d'Assise
2P0: Sainte-Irène
2R0: Saint-Jean-de-Cherbourg
2T0: Sainte-Jeanne-d'Arc
2V0: Saint-Léandre
2W0: Saint-Léon-le-Grand
2Y0: Sainte-Marguerite-Marie
2Z0: Saint-Moïse
3A0: Saint-Noël
3B0: Saint-Octave-de-Métis
3C0: Sainte-Paule
3E0: Saint-René-de-Matane
3G0: Saint-Tharcisius
3H0: Saint-Ulric
3J0: Saint-Vianney
3K0: Sayabec
3L0: Val-Brillant
3N0: Saint-Cléophas | **G0K**
Bas-Saint-Laurent-Est
1A0: Esprit-Saint
1B0: La Trinité-des-Monts
1C0: Les Hauteurs
1H0: Saint-Anaclet-de-Lessard
1K0: Saint-Charles-Garnier
1L0: Saint-Donat
1M0: Saint-Gabriel-de-Rimouski
1P0: Sainte-Luce
1R0: Saint-Marcellin
1S0: Saint-Narcisse-de-Rimouski
1T0: Biencourt
1V0: Lac-des-Aigles
1W0: Lac-des-Aigles (Saint-Guy) | **G0L**
Bas-Saint-Laurent-Ouest
1A0: Auclair
1B0: Rimouski
1E0: Témiscouata-sur-le-Lac
1G0: Cacouna
1J0: Pohénégamook
1K0: L'Isle-Verte, Notre-Dame-des-Sept-Douleurs
1L0: L'Isle-Verte
1M0: Kamouraska
1P0: Saint-Eugène-de-Ladrière
1S0: Lejeune
1T0: Saint-Marc-du-Lac-Long
1V0: Saint-Juste-du-Lac (Lots-Renversés)
1W0: Mont-Carmel
1X0: Témiscouata-sur-le-Lac (Notre-Dame-du-Lac)
1Y0: Notre-Dame-du-Portage
1Z0: Packington
2B0: Rivière-Bleue
2C0: Rivière-Ouelle
2E0: Notre-Dame-des-Neiges
2G0: Saint-Alexandre-de-Kamouraska
2H0: Saint-André-de-Kamouraska
2J0: Saint-Antonin
2K0: Saint-Arsène
2L0: Saint-Athanase
2M0: Saint-Bruno-de-Kamouraska
2N0: Saint-Clément
2P0: Saint-Cyprien
2R0: Saint-Denis-De La Bouteillerie
2V0: Saint-Éloi
2W0: Saint-Elzéar-de-Témiscouata
2X0: Saint-Épiphane
2Y0: Saint-Eusèbe
2Z0: Saint-Fabien
3B0: Sainte-Françoise
3C0: Saint-François-Xavier-de-Viger
3E0: Saint-Gabriel-Lalemant
3G0: Saint-Germain-de-Kamouraska
3J0: Sainte-Hélène-de-Kamouraska
3K0: Saint-Honoré-de-Temiscouata
3L0: Saint-Hubert-de-Rivière-du-Loup
3M0: Saint-Jean-de-Dieu
3N0: Saint-Jean-de-la-Lande
3P0: Saint-Joseph-de-Kamouraska
3R0: Saint-Juste-du-Lac
3S0: Saint-Louis-du-Ha! Ha!
3T0: Saint-Mathieu-de-Rioux
3V0: Saint-Médard
3W0: Saint-Modeste
3X0: Saint-Pacôme
3Y0: Saint-Pascal
3Z0: Saint-Paul-de-la-Croix
4A0: Saint-Philippe-de-Néri
4B0: Saint-Pierre-de-Lamy
4C0: Saint-Simon-de-Rimouski
4E0: Saint-Valérien
4G0: Sainte-Rita
4H0: Saint-Michel-du-Squatec
4K0: Trois-Pistoles | **G0M**
Région de Beauce
1B0: Saint-Martin
1C0: Courcelles-Saint-Évariste (Courcelles)
1G0: La Guadeloupe, Saint-Hilaire-de-Dorset
1H0: Lambton
1J0: Saint-Côme–Linière
1K0: Notre-Dame-des-Pins, Saint-Simon-les-Mines
1L0: Saint-Alfred
1M0: Sainte-Aurélie
1N0: Saint-Benjamin
1P0: Saint-Benoît-Labre, Lac-Poulin
1R0: Saint-Éphrem-de-Beauce
1S0: Courcelles-Saint-Évariste (Saint-Évariste)
1T0: Saint-Gédéon-de-Beauce
1V0: Saint-Honoré-de-Shenley
1W0: Saint-Ludger
1X0: Saint-Philibert
1Y0: Saint-Prosper
1Z0: Saint-René
2A0: Saint-Théophile
2B0: Saint-Victor
2C0: Saint-Zacharie
2E0: Saint-Robert-Bellarmin |
| **G0N**
Chaudière-Sud
1B0: Saint-Joseph-de-Coleraine, Saint-Julien
1C0: Sainte-Clotilde-de-Beauce
1E0: Disraeli
1E1: Sainte-Praxède
1E2: Saint-Jacques-le-Majeur-de-Wolfestown
1G0: Sacré-Cœur-de-Jésus
1H0: East Broughton
1J0: Saint-Jacques-de-Leeds
1K0: Kinnear's Mills
1M0: Saint-Adrien-d'Irlande
1N0: Saint-Ferdinand
1P0: Saint-Frédéric
1R0: Saint-Jules
1S0: Adstock
1T0: Saint-Pierre-de-Broughton
1V0: Saint-Séverin
1X0: Tring-Jonction | **G0P**
Centre-du-Québec-Est
1A0: Ham-Nord
1A1: Saints-Martyrs-Canadiens
1B0: Saint-Norbert-d'Arthabaska
1C0: Notre-Dame-de-Ham
1G0: Saint-Fortunat
1H0: Sainte-Hélène-de-Chester
1J0: Chesterville
1K0: Saint-Pierre-Baptiste
1L0: Sainte-Sophie-d'Halifax
1M0: Saint-Valère | **G0R**
Appalaches
1A0: Armagh
1B0: Saint-Cyprien
1C0: Beaumont
1E0: Berthier-sur-Mer
1G0: Notre-Dame-Auxiliatrice-de-Buckland
1H0: Cap-Saint-Ignace
1L0: Saint-Luc-de-Bellechasse
1M0: Frampton
1N0: Honfleur
1P0: Saint-Antoine-de-l'Isle-aux-Grues
1S0: Lac-Etchemin
1T0: Lac-Frontière
1W0: La Durantaye
1X0: L'Islet
1Y0: Sainte-Justine
1Z0: La Pocatière
2A0: Sainte-Anne-de-la-Pocatière
2B0: L'Islet
2C0: L'Islet
2H0: Notre-Dame-du-Rosaire
2J0: Saint-Fabien-de-Panet
2L0: Saint-Louis-de-Gonzague
2M0: Saint-Adalbert
2N0: Saint-Anselme
2P0: Sainte-Apolline-de-Patton
2R0: Saint-Aubert
2S0: Saint-Camille-de-Lellis
2T0: Saint-Charles-de-Bellechasse
2V0: Sainte-Claire
2W0: Saint-Cyrille-de-Lessard
2X0: Saint-Damase-de-L'Islet
2Y0: Saint-Damien-de-Buckland
2Z0: Sainte-Euphémie-sur-Rivière-du-Sud
3A0: Saint-François-de-la-Rivière-du-Sud
3C0: Saint-Gervais
3E0: Saint-Henri
3G0: Saint-Jean-Port-Joli
3H0: Saint-Just-de-Bretenières
3J0: Saint-Lazare-de-Bellechasse
3K0: Sainte-Louise
3L0: Sainte-Lucie-de-Beauregard
3M0: Saint-Magloire
3N0: Saint-Malachie
3R0: Saint-Marcel
3S0: Saint-Michel-de-Bellechasse
3T0: Saint-Nazaire-de-Dorchester
3V0: Saint-Nérée-de-Bellechasse
3W0: Saint-Onésime-d'Ixworth
3X0: Saint-Pamphile
3Y0: Saint-Paul-de-Montminy
3Z0: Sainte-Perpétue
4A0: Saint-Philémon
4B0: Saint-Pierre-de-la-Rivière-du-Sud
4C0: Saint-Raphaël
4E0: Saint-Roch-des-Aulnaies
4G0: Sainte-Rose-de-Watford
4H0: Sainte-Sabine
4J0: Saint-Vallier
4L0: Saint-Léon-de-Standon
4M0: Tourville
4P0: Sainte-Felicité
4R0: Saint-Omer | **G0S**
Chaudière-Nord
1B0: Saint-Patrice-de-Beaurivage
1G0: Deschaillons-sur-Saint-Laurent
1H0: Dosquet
1J0: Fortierville
1K0: Inverness
1L0: Notre-Dame-du-Sacré-Cœur-d'Issoudun
1M0: Saint-Janvier-de-Joly
1N0: Laurier-Station
1P0: Laurierville
1S0: Lotbinière
1T0: Notre-Dame-de-Lourdes
1V0: Lyster
1W0: Saint-Narcisse-de-Beaurivage
1X0: Parisville
1Y0: Saint-Édouard-de-Lotbinière
1Z0: Saint-Agapit
2A0: Sainte-Agathe-de-Lotbinière
2C0: Saint-Antoine-de-Tilly
2E0: Saint-Apollinaire
2G0: Saint-Bernard
2H0: Sainte-Croix
2J0: Saint-Elzéar
2K0: Leclercville
2M0: Saint-Flavien
2N0: Sainte-Françoise
2P0: Saint-Gilles
2R0: Sainte-Hénédine
2S0: Saint-Isidore
2V0: Saint-Joseph-de-Beauce, Saint-Joseph-des-Érables
2W0: Saint-Lambert-de-Lauzon
2X0: Sainte-Marguerite
3A0: Saint-Odilon-de-Cranbourne
3C0: Saint-Sylvestre
3E0: Saints-Anges
3G0: Scott
3H0: Val-Alain
3J0: Vallée-Jonction
3K0: Villeroy | **G0T**
Le Fjord
1A0: Baie-Sainte-Catherine
1E0: Forestville
1G0: Les-Bergeronnes
1K0: Les Escoumins
1L0: Notre-Dame-des-Monts
1P0: Portneuf-sur-Mer
1S0: Saint-Aimé-des-Lacs
1V0: Saint-Irénée
1X0: Saint-Siméon
1Y0: Sacré-Coeur
1Z0: Longue-Rive
2A0: Tadoussac |
| **G0V**
Saguenay-Lac-Saint-Jean-Est
1A0: Saguenay (Alouette)
1B0: Bégin
1C0: Saint-David-de-Falardeau
1G0: Saint-Charles-de-Bourget
1H0: Ferland-et-Boilleau
1J0: L'Anse-Saint-Jean
1L0: Saint-Honoré
1M0: Saint-Félix-d'Otis
1N0: Petit-Saguenay
1P0: Rivière-Éternité
1S0: Saint-Fulgence
1T0: Sainte-Rose-du-Nord | **G0W**
Saguenay-Lac-Saint-Jean-Ouest
1B0: Saint-Eugène-d'Argentenay, Notre-Dame-de-Lorette
1C0: Mistissini
1E0: Sainte-Jeanne-d'Arc
1G0: Chambord
1H0: Chapais
1K0: Saint-Augustin
1M0: Saint-François-de-Sales
1N0: Desbiens
1P0: Saint-Thomas-Didyme
1R0: Girardville
1T0: Hébertville-Station
1V0: Lac-Bouchette
1X0: Lamarche
1Y0: L'Ascension-de-Notre-Seigneur
1Z0: Larouche
2B0: Saint-Ludger-de-Milot
2G0: Péribonka
2H0: Mashteuiatsh
2K0: Saint-André-du-Lac-Saint-Jean
2L0: Saint-Bruno
2M0: Saint-Edmond-les-Plaines
2P0: Saint-Gédéon
2R0: Sainte-Hedwidge
2S0: Labrecque
2T0: Sainte-Monique
2V0: Saint-Nazaire
2X0: Saint-Henri-de-Taillon
3B0: Obedjiwan
3C0: Oujé-Bougoumou | **G0X**
Mauricie
1A0: Batiscan
1B0: Wôlinak
1C0: Champlain
1E0: Charette
1H0: Grandes-Piles
1J0: Hérouxville
1L0: Shawinigan (Lac-à-la-Tortue)
1M0: Lac-aux-Sables
1N0: Saint-Mathieu-du-Parc
1R0: La Tuque (La Croche)
1S0: Lemieux
1V0: Manseau
1W0: Notre-Dame-de-Montauban
2B0: Saint-Séverin
2C0: Trois-Rives
2E0: Saint-Roch-de-Mékinac
2G0: Saint-Adelphe
2J0: Sainte-Anne-de-la-Pérade
2K0: Saint-Barnabé
2L0: Saint-Boniface
2M0: Sainte-Cécile-de-Lévrard
2N0: Saint-Élie-de-Caxton
2P0: Saint-Étienne-des-Grès
2R0: Sainte-Geneviève-de-Batiscan
2V0: Shawinigan (Saint-Jean-des-Piles)
2W0: Sainte-Marie-de-Blandford
2X0: Saint-Maurice
2Y0: Saint-Narcisse
2Z0: Saint-Pierre-les-Becquets
3A0: Saint-Prosper-de-Champlain
3B0: Saint-Sévère
3C0: Sainte-Sophie-de-Lévrard
3E0: Saint-Stanislas
3G0: Sainte-Thècle
3H0: Saint-Tite
3J0: Notre-Dame-du-Mont-Carmel
3K0: Saint-Luc-de-Vincennes
3L0: Yamachiche
3M0: La Tuque (Clova)
3N0: Lac-Édouard
3P0: La Tuque (Parent)
3R0: Wemotaci | **G0Y**
L'Érable
1A0: Audet
1B0: Beaulac-Garthby
1C0: Lac-Drolet
1E0: Milan
1E1: Val-Racine
1G0: Nantes, Marston
1H0: Piopolis
1J0: Sainte-Cécile-de-Whitton
1L0: Saint-Romain
1M0: Saint-Sébastien
1N0: Stornoway
1P0: Stratford
1R0: Saint-Augustin-de-Woburn | **G0Z**
Centre-du-Québec-Nord
1A0: Aston-Jonction
1B0: Saint-Louis-de-Blandford
1C0: Daveluyville, Maddington Falls
1E0: Sainte-Eulalie
1G0: Saint-Samuel
1H0: Saint-Sylvère
1J0: Saint-Wenceslas
1K0: Saint-Rosaire |


title: Williams process

abstract: The Williams process or Williams double matting process is a matte creation technique patented by the American cinematographer Frank D. Williams in 1918. Unlike prior matte techniques, it allowed for the integration of the actors' movements with previously shot backgrounds. Due to this invention, Williams was able to found his own film lab, the Frank Williams Studio or Frank Williams Laboratories, devoted to the creation of all sorts of special effects and where key figures of the special effects industry such as John P. Fulton worked.

text:
# Williams process

The ***Williams process*** or ***Williams double*** ***matting process*** is a matte creation technique patented by the American cinematographer Frank D. Williams in 1918. Unlike prior matte techniques, it allowed for the integration of the actors' movements with previously shot backgrounds.

Due to this invention, Williams was able to found his own film lab, the Frank Williams Studio or Frank Williams Laboratories, devoted to the creation of all sorts of special effects (not just the Williams process) and where key figures of the special effects industry such as John P. Fulton worked.

## Origin

In 1912 Frank Williams began working on his future invention under precarious conditions: he alternated periods of time working as a cameraman and saving money with others dedicated to working on his project, usually in the bathroom of wherever he was living in at the moment. His first attempt to use the William process was that same year, while he worked as a cameraman for the director Mack Sennet, but he did not succeed. The problem lay in the cameras and printers of the time as well as the film available, which made it impossible for it to work. However, Williams kept at it, and in 1917 he got help from the producer Adolph Zukor, who allowed Williams to work in his lab. Despite everything, the problems he had encountered in 1912 had not been solved and he failed again.

It was not until 1922, during the production of *Wild Honey*, that he succeeded thanks to the improvement of film quality and the use of tripods and a special printing machine. This printer, that Williams built himself, was accurate to a ten thousandth of an inch and, according to the plans, cost 18,000 dollars.

## How it works

The Williams process relies on the properties of film. Firstly, the actors were filmed in front of a black background—although white or blue backgrounds were used later—and that was printed on high contrast film several times until a copy known as the holdout matte was achieved, which showed the black silhouette of the actors over a completely white background. That copy was inverted to make the cover matte, with the background black and the foreground white. Upon integrating the holdout matte and the desired background, the image was printed upon the white parts of the film while keeping the black silhouette untouched. Then, the original film was united with the new material and, using the cover matte, it was printed upon the white parts, the white silhouette, to achieve the final copy.

For a long time, this was the only method available for creating moving mattes; but it presented some issues. The number of copies that had to be made caused a very difficult to deal with halo effect. Moreover, though the process was suitable for colour films, the results were not very convincing in black and white films.

## Use

This technique was used for the first time in 1922 in *Wild Honey* with the help of Universal's art director Elmer Sheeley. It was also used in F.W. Murnau's *Sunrise: A Song of Two Humans* in 1927. Later, due to its popularization, the Williams process was also used in films such as *The Lost World*, *King Kong*, *Ben Hur* and *The Invisible Man*, where it was of particular importance.

### The Invisible Man

*The Invisible Man*, directed in 1933 by James Whale and based on a novel of the same name by H.G. Wells, raised an important challenge for special effects specialists: making someone invisible. A great team was assembled to carry out this task, headed by John P. Fulton, chief of Paramount's special effects department and formerly mentored by Frank Williams, who also worked in this film. In order to make Claude Rains, the main actor, invisible, the Williams process was used along with stop-motion and wires. Additionally, over 64,000 frames were manually edited in post-production to get rid of any telling signs.

A year after the premiere, John P. Fulton wrote this about the production of the film for *American Cinematographe*r:

> We used a completely black set—walled and floored with black velvet, to be as nearly non-reflective as possible. Our actor was garbed from head to foot in black velvet tights, with black gloves, and a black headpiece rather like a diver's helmet. Over this, he wore whatever clothes might be required. This gave us a picture of the unsupported clothes, moving around on a dead black field. From this negative, we made a print, and a duplicate negative, which we intensified to serve as mattes for printing. Then, with an ordinary printer, we proceeded to make our composite: first we printed from the positive of the background and normal action, using the intensified, negative matte to mask off the area where our invisible man's clothing was to move. Then we printed again, using the positive matte to shield the already printed area, and printing in the moving clothes from our "trick" negative.

In other words, the leading actor and the background were covered in a black anti-reflective material—velvet—and over it Rains wore the character's clothing; this recording was to be combined with the background, filmed individually. However, a holdout matte (a high contrast copy with the background and actor's body all in black and the clothes in white) had to be made first and inverted in order to get the cover matte. Then the holdout matte was combined with the regular film—which showed the background, objects or other actors—so it was printed on the white parts, the background and the velvet-covered Claude Rains. Lastly, to get the final version of the scene, the cover matte was used to protect the already printed parts of the celluloid so that only the character's clothes could be printed.

## Evolution

Though the Williams process surpassed by far Norman Dawn's glass mattes, a better technique was found: the Dunning process or Dunning-Pomeroy Self Matting Process, which was patented in 1927 by C. Dodge Dunning.

The Dunning process was based on panchromatic film's properties, which produces black and white pictures despite being sensible to all the colours. It was shot in a particular way: the background had to be blue, while yellow-orange lights lighted the foreground elements. Due to colour separation, a matte appeared naturally in the specially lit areas. Using a bi-pack camera or an optical printer, it was then combined with the shot of the desired background, which was toned to be the same yellow-orange colour.

Later, rear projection (also known as process shooting) was used. Although the method already existed before the thirties, it was not until then that it was systematized thanks to technical improvements of the time. The first rear projection method was an animation technique patented by Willis O'Brien in 1933 based on the frame-by-frame projection of the previously shot images onto glass or a translucent screen while the animation was carried out on the foreground. This was perfected for the 1933's film *King Kong* with the help of Sidney Saunders—head of RKO's paint department, who built a special screen made of cellulose to avoid flaws—and Linwood Dunn—cocreator of the Acme-Dunn optical printer.

Another variant of the rear projection technique came to be with the boom of sound films and the consequent need to film in studios. Similarly to the other approaches, the actors were to be filmed while the previously filmed background was projected onto a screen. Until then, this had been impossible due to the lack of powerful projectors that could be coordinated with cameras in order to avoid projection problems. A big contribution was the three-headed projector, invented by Farciot Edouart—head of the transparencies department and, later, of special effects at Paramount—and established in the late thirties.

Finally, the last invention based on the Williams process was the sodium vapour process or yellow screen, developed by Petro Vlahos for Disney's *Mary Poppins* and perfected by Ub Iwerks. For this technique the actors had to be positioned in front of a white background lit by sodium-vapour lamps, which produce a very characteristic wavelength (of about 589.3 nm). Using a special prism, the filmed material was separated so that the actor's actions were printed onto black and white film and a matte was created, which had to be inverted before uniting everything. However, given that Disney was the sole owner of the material necessary (the prism, lights, trained technicians, etc.) to carry out this process and that in and of itself the sodium vapour process was tedious and complex, it ended up being replaced by refined blue screen technology.


title: Phillips Farm

abstract: Phillips Farm, also known as Percy-Pitt Farm, is a historic home located at Suffolk, Virginia. The farm house was built about 1820, and is a 30-feet square, 1+1⁄2-story, frame house. It has an English basement, gable roof, and features clerestory dormer windows. In 1848, a 13 feet by 30 feet addition was added to the west of the original structure. It is one of a few regional examples of a building commonly called a clerestory house or a clerestory dormer house. It was added to the National Register of Historic Places in 1998.

text:
# Phillips Farm

**Phillips Farm**, also known as Percy-Pitt Farm, is a historic home located at Suffolk, Virginia. The farm house was built about 1820, and is a 30-feet square, 1+12-story, frame house. It has an English basement, gable roof, and features clerestory dormer windows. In 1848, a 13 feet by 30 feet addition was added to the west of the original structure. It is one of a few regional examples of a building commonly called a clerestory house or a clerestory dormer house.

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

## InfoBox

|  | |
| --- | --- |
| Phillips Farm | |
| U.S. National Register of Historic Places | |
| Virginia Landmarks Register | |
|  | |
| View from the road | |
|  | |
| Location | 6353 Godwin Blvd., Suffolk, Virginia |
| Coordinates | 36°52′40″N 76°35′3″W / 36.87778°N 76.58417°W / 36.87778; -76.58417 |
| Area | 6.5 acres (2.6 ha) |
| Built | c. 1820 (1820), 1848 |
| Architectural style | Federal, Clerestory House |
| NRHP reference No. | 98001318 |
| VLR No. | 133-0695 |
| Significant dates | |
| Added to NRHP | October 30, 1998 |
| Designated VLR | May 16, 2006 |


title: Matthew Kennelly

abstract: Matthew Francis Kennelly is a senior United States district judge of the United States District Court for the Northern District of Illinois.

text:
# Matthew Kennelly

**Matthew Francis Kennelly** (born October 6, 1956) is a senior United States district judge of the United States District Court for the Northern District of Illinois.

## Education and career

Kennelly was born in 1956 in Marion, Indiana. He graduated from University of Notre Dame with a Bachelor of Arts degree in 1978 and Harvard Law School with a Juris Doctor in 1981, where he was Executive Director of the Harvard Legal Aid Bureau. He served in private practice in Chicago, Illinois, from 1981 to 1982. He served as a law clerk for Judge Prentice Marshall of the United States District Court for the Northern District of Illinois from 1982 to 1984. He reentered private practice in 1984 and served in that capacity until his appointment to the federal bench in 1999.

## Federal judicial service

On January 26, 1999, Bill Clinton nominated Kennelly to be a judge on the United States District Court for the Northern District of Illinois to a seat vacated by Paul Edward Plunkett. He was confirmed by the United States Senate on April 15, 1999, and received his commission on April 22, 1999. He assumed senior status on October 7, 2021.

## Notable rulings

He gained widespread attention when he presided over the case of ACLU v. AT&T in 2006, "a lawsuit filed by the American Civil Liberties Union of Illinois on behalf of author Studs Terkel and other activists who said their constitutional rights were violated because of an NSA program of gathering phone company records."

The court is persuaded that requiring AT&T to confirm or deny whether it has disclosed large quantities of telephone records to the federal government could give adversaries of this country valuable insight into the government's intelligence activities.

Kennelly ruled that Terkel and the other plaintiffs in the lawsuit did not show that their particular records were seen by the government; therefore, they had no standing in suing the government.

## InfoBox

| Matthew Kennelly | |
| --- | --- |
| Kennelly in 2019 | |
|  | |
| Senior Judge of the United States District Court for the Northern District of Illinois | |
| **Incumbent** | |
| **Assumed office**
October 7, 2021 | |
| Judge of the United States District Court for the Northern District of Illinois | |
| **In office**
April 22, 1999  October 7, 2021 | |
| Appointed by | Bill Clinton |
| Preceded by | Paul Edward Plunkett |
| Succeeded by | Nancy L. Maldonado |
|  | |
| Personal details | |
| Born | (1956-10-06) October 6, 1956
Marion, Indiana, U.S. |
| Education | University of Notre Dame (BA)
Harvard University (JD) |
|  | |