title: Hertha Feist

text:
Hertha Feist (1896–1990) was a German expressionist dancer and choreographer. She established her own school in Berlin, combining gymnastics with nudism and dance. In the 1930s, her ambitions were seriously curtailed by the Nazis.

Biography
Born in Berlin, Feist first studied with Émile Jaques-Dalcroze in Hellerau, Dresden, in 1914 before moving back to Berlin in 1917 to study under Olga Desmond. Thereafter she joined Rudolf von Laban, following him to various locations in the north of Germany and participating in his majestic Tanzbühne productions.

In 1923, she established her own school in Berlin and also taught at Carl Diem's sports academy, successfully combining gymnastics with nudism and dance. She continued to dance in Laban's productions, starring as Donna Elvira in his Don Juan (1926). Her school's freestyle movements were pictured at the Berlin Stadium. In 1927 she appeared in the only film made by the American Stella Simon.  The avant-garde film entitled Hands: The Life and Love of a Gentle Sex had its own score by Marc Blitzstein and it tells of an eternal triangle story using just the hands and forearms of the dancers.

In 1928, Feist toured with the Novembergruppe, presenting her Der Berufung in Germany, Poland, Switzerland and England. Her last major production was Gluck's Iphigénie en Aulide performed on the steps of the Pergamon Museum in May 1933. Her ambitions were then curtailed by the Nazis who closed her school and forced her to move into smaller quarters although she continued to attract many students.

After the war, she taught at the Volkshochschule Hannover from 1952 to 1965. Her last dance was performed for the inauguration of the Golden Rosenkreuz Temple at Bad Münder in 1965 where she lived at the time. From 1983, she returned to live in Hannover where she died on 9 July 1990.

See also
Women in dance
Olga Desmond

References

Literature
Peter, Frank-Manuel: Hertha Feist. Vornehme Eleganz und melancholische Wölkchen. Nachruf auf die Berliner Labanpädagogin. In: Tanzdrama. No. 13, 4th quarter 1990, pp. 34–37.

External links
Hertha Feist at SK Stiftung Kultur with several illustrations

1896 births
German female dancers
Expressionist choreographers
Expressionist dancers
Dancers from Berlin
German choreographers
1990 deaths


title: Kala (band)

text:
Kala (stylized in all caps) is a Filipino band that blends funk, nu-disco, acid jazz, electronic and rock music. Its members are Brian Tanchanco, JP Tanchanco, Jade Justine, and Andrew Contreras.

History

KALA's first full-length album came on the music scene in 2005 with their debut album under Sony BMG entitled Manila High. The group is most noted for its hit single “Jeepney” and is credited with the  resurgence of a distinct and defining genre of Filipino music known as “Manila sound”. The name “Kala” originates from the original members’ college cake-making venture called the “Kala Cake Project”.

In 2008, KALA underwent a self-imposed hiatus following the departures of bassist Lyle Pasco, lead guitarist JP Tanchanco and lead vocalist Mike Grape from the band.

In 2011, KALA resurfaced with new members Jade Justine and Voopee Elviña.

Following their come back, KALA performed in Jack Daniel's third Philippine tour entitled “Jack Daniel’s On Stage: Scouting Gigs” on November 22, 2013.

Lead guitarist Voopee Elviña died on December 4, 2015 after a battle with nasopharyngeal cancer.

KALAMAN

During a summer vacation in Boracay last 2004, some of the old band members had a picture posing in silhouette against the sunset. Various poses were made which represented each of the band members. Brian decided to combine prominent elements of each pose in order to blend it in one unifying image. This became the official logo of KALA. It represents convergence and harmony with the sharing of friendship, talents and passion from each of the band members.

Advocacy

In 2004, KALA started performing for Rock Ed Philippines, a nationwide volunteer group that offers alternative education to underprivileged Filipino youth through art, music, poetry, and the like. In the same year, the band released an EP entitled “RockEdition: For the Benefit of the Filipino Youth” by way of support for the UN's “Millennium Development Goals” and “Global Call to Action Against Poverty.”

In 2011, KALA performed for Rock Ed once again in their “Rock the Riles: Rocking for Education” tour.

Awards and nominations

Band members

Current members

Brian Tanchanco: lead vocals, keytar, keyboards, synths (2004-2008; 2010–present)
JP Tanchanco: lead guitar (2004-2008; 2015–present)
Jade Justine: bass guitar (2010–present)
Andrew Contreras: drums (2015–present)

Former members
Voopee Elviña: lead guitar, backup vocals (2010–2015, deceased)
Raymond Daylo: drums, backup vocals (2004-2008; 2010–2015)
Lyle Pasco: bass guitar (2005-2008)
William Gabaldon: bass guitar (2004-2005)
Mike Grape: lead vocals (2004-2008; 2010-2012)

Discography

Future Disco (2013)
Touch Me Kiss Me
Ella Villamor
Dr. Strange
Tipar
Imaginary Lucy
Future Disco
Libot
The Race
Pag Ikot
Feel My Love

Manila High (2005)
Pulis Pangkalawakan
Parapap
Jeepney
Sync of 8
South Side
Piso Pisong Paraiso
Manila High
Salamin
Bakbakan Na
Tubero
Weather Forecast
Jeepney (Nude Mix)

RockEdition: For the Benefit of the Filipino Youth (2004)
Pulis Pangkalawakan
Pira Pirasong Paraiso
Southside
Salamin
Bakbakan Na

Collaborations
The Best of Manila Sound: Hopia Mani Popcorn (Viva Records, 2006)
Environmentally Sound: A Select Anthology of Songs Inspired by the Earth (World Wide Fund for Nature, 2006)
Pinoy Soul Movement (Warner Music Philippines, 2007)

References

External links

Musical groups established in 2004
Manila sound groups
Acid jazz ensembles
Filipino rock music groups
Filipino funk rock musical groups
Musical groups from Metro Manila


title: Alan MacDonald (production designer)

text:
Alan MacDonald  (c. 1956 – 30 August 2017) was a British production designer. He was best known for his work on The Queen (2006), which earned him nominations for the Art Directors Guild Award for Excellence in Production Design for a Contemporary Film and Best Technical Achievement at the British Independent Film Awards, and for the Rajasthan-set The Best Exotic Marigold Hotel (2012) which earned him a nomination for the Art Directors Guild Award for Excellence in Production Design for a Contemporary Film.

In 2013, he designed the sets for the Academy Award-nominated film Philomena. He had also been a production designer for a number of advertisements for global firms including Coca-Cola, Levi's, Microsoft, Mercedes-Benz and Volkswagen, and was the theatrical designer for Kylie Minogue's 2002 "KylieFever2002" tour.

Filmography
 Absurd (1989) (short)
 Tunnel of Love (1991) (short)
 Man to Man (1992)
 Remembrance of Things Fast: True Stories Visual Lies (1994; Art Director)
 Love Is the Devil: Study for a Portrait of Francis Bacon (1998)
 Rogue Trader (1998)
 Nora (2000)
 The Jacket (2005)
 Kinky Boots (2005)
 The Queen (2006)
 The Edge of Love (2008)
 Chéri (2009)
 Tamara Drewe (2010)
 The Best Exotic Marigold Hotel (2012)
 Philomena (2013)
 The Best Exotic Marigold Hotel 2 (2015)
 The Program (2015)
 Sing Street  (2016)
 Victoria & Abdul  (2017)
 Mamma Mia! Here We Go Again (2018)

Personal life and death

He suffered from bipolar disorder. MacDonald died by suicide at his Covent Garden home on 31 August 2017, after spending two weeks as an in-patient at the private Nightingale Hospital at a cost of £20,000. His last two film credits, Victoria & Abdul (2017) and Mamma Mia! Here We Go Again (2018), were dedicated to his memory.

References

External links

1950s births
2017 deaths
British film designers
Year of birth uncertain
People with bipolar disorder


title: Oriental Education Society

text:
Oriental Education Society was established in the year 1992 by Javed Khan as a Public Charitable Trust providing higher education in the Mumbai and Navi Mumbai  region. It has 13 Institutes located on 4 campuses, which now have over 8000 students in all.

The colleges  are all recognized by various bodies of Govt. of India like the A. I. C. T. E., The Pharmacy council of India, National Council for Teachers Education; the degree courses are affiliated to the University of Mumbai.

Institutions run by the Oriental Education Society
Oriental Institute of Management, Vashi, Navi Mumbai
Oriental School of Business, Vashi, Navi Mumbai
OES International School, Vashi, Navi Mumbai
OES International School, Andheri, Mumbai
H K Institute of Management and Research, Oshiwara, Mumbai
H K College of Pharmacy, Oshiwara, Mumbai
H K College of Education, Oshiwara,
Oriental College of Pharmacy, in Sanpada, Navi Mumbai
Sanpada College of Commerce and Technology, Sanpada, Navi Mumbai
Oriental College of Education. in Sanpada, Navi Mumbai
Sanpada College of Commerce and Technology (Junior College), Sanpada, Navi Mumbai
Oriental College of Commerce and Management, Andheri, Mumbai
Oriental College of Education and Research, Andheri, Mumbai
Oriental College of Commerce and Management (Junior College), Andheri, Mumbai

References

External links
 Official website (Oriental Education Society) | www.oes.edu.in
 Oriental Institute of Management | www.oim.edu.in
 OES International School | www.oesis.edu.in
 Sanpada College of Commerce and Technology | www.scct.edu.in
 Oriental college of Pharmacy | www.ocp.edu.in
 Oriental College of Commerce and Management | www.occm.edu.in

Educational organisations in Maharashtra
1992 establishments in Maharashtra
Organisations based in Mumbai
Organizations established in 1992


title: Guo Jian

text:
Guo Jian (; born 26 January 1962) is a Chinese Australian artist.  His work has been exhibited and collected in Germany, France, Belgium, Sweden, US, Mexico, Australia, New Zealand, Hong Kong and China, including Musée de Picardie in France, Brussels Art Festival,  the Art Gallery Of New South Wales, the Queensland Gallery of Modern Art (GoMA) and the National Gallery of Australia (NGA).

He has been featured in The New York Times, CNN, The Sydney Morning Herald, the Australian Broadcasting Commission (ABC), Artist Profile magazine and on the cover of The Wall Street Journal Asia Weekend Magazine.

He is part of a movement of contemporary Chinese artists whose work is characterised as Cynical Realism, which began in the 1990s in Beijing.  Born a year after the  Great Leap Forward, his art is heavily influenced by the last fifty years of political upheaval and violence in China, a period that included the Great Proletarian Cultural Revolution in the 1960s and 70s, the Sino Vietnamese war in the early 1980s, and the Tiananmen Square massacre in 1989.

At age seventeen, he enlisted in China’s People’s Liberation Army (PLA) during a recruitment drive to support the Sino-Vietnamese war, initiated by the country’s then leader Deng Xiaoping.

A central theme to Guo Jian’s art derives from his observations of the application of propaganda and the arts to both motivate soldiers and sway public opinion. His perspective comes from his experiences as a propaganda poster painter in the PLA and propaganda officer in a transport company, then later from the outside looking back in as a student demonstrator during the Tiananmen Square protests in the spring of 1989.

His art also explores common themes and approaches in both Chinese propaganda and Western propaganda.

Art and influences
Stylistically, Guo Jian’s work falls within the Cynical Realism grouping that has been attached to many contemporary Chinese artists who draw from their experiences over the last four decades in China. Their work is broadly a response to the dominant government driven form of propaganda-laden art known as Socialist Realism. While studying art at Minzu University of China the 85 New Wave Movement emerged, which also had a profound impact on his work.

Guo Jian’s art focuses on the use of the female celebrity as a model patriot, a tool to motivate, influence, manipulate and ultimately serve as Ulyssean Siren. His work looks at the commonalities between the purity of the Chinese army’s Entertainment Soldier  (文艺兵 Pinyin: wényìbīng or文工团 Pinyin: wéngōngtuán) performers and their Western counterparts. In the book STUDIO, Australian Painters on the Nature of Creativity, author John McDonald noted:

“A poster of two girls in army uniforms posed in front of the Great Wall shows how little Guo Jian actually makes up. His paintings may seem improbable but they are near reflections of Madam Mao’s Model Revolutionary Operas, and the over-the-top style of army propaganda. The message, to boys from the provinces like Guo Jian, was that beautiful girls love a man in uniform. Under capitalism or communism, sex sells.”

He highlights the implied innocence and the underlying eroticism of women used to manipulate and motivate men in uniform and in society as a whole. He delves into the sexualisation of propaganda, heroism, patriotism and persuasion. What first appears as humour is a lament at the use of sex to seduce men to war. Guo’s continual references in his paintings to his time in the P.L.A. derive from the traumatic nature of the experience. Gou recalls:

‘I used to have nightmares all the time...  Then in the library, I was looking at some pictures of China during the Cultural Revolution and I realized what was triggering these nightmares. Since coming to Australia ten years ago, I’d pushed memories of my years in the Chinese army, and of Tiananmen, out of my mind. But seeing these images triggered memories, and once I stated to use them in my paintings, I stopped having bad dreams.’”

Biography

Early life
Guo Jian 郭健 was born in 1962, in Duyun 都匀市 the capital of Qiannan Buyei and Miao Autonomous Prefecture in the autonomous prefecture of Guizhou province贵州省in Southwest China. Guizhou borders Guangxi, Yunnan, Hunan and Sichuan provinces. At 176,000 km2 (68,000 sq. ml) Guizhou is approximately the size Florida or two thirds the size of the United Kingdom. One of China's most ethnically diverse provinces; minority groups make up almost 40% of Guizhou’s population of 35 million people. Guo Jian’s family is from the Buyei 布依族 ethnic minority group.

Growing up during the Cultural Revolution (1966–1976) had a significant impact on Guo Jian’s generation. This was a period of China’s history characterized as the “Lost Decade” when the country was victim to the internal political power struggles between Mao Zedong and his more moderate opponents. The populace were subjected to a perpetual climate of intense and relentless political indoctrination, struggle sessions and community violence which created a climate of general mistrust even of neighbours and one’s own family members. More broadly, millennia of traditions, culture, society and beliefs were abandoned or destroyed as part of the Four Olds campaign.

“The depiction of soldiers has personal and political symbolism for Guo; not only was he a People’s Liberation Army soldier, but, as he has said:
‘My grandmother told me that the People’s Liberation Army had executed my grandfather.... I was shocked.... My father was a soldier. He had to denounce his own father, knowing he’d be killed too if he tried to defend him. And then in 1989, there I was, a former soldier, nearly killed by the P.L.A. myself on Tiananmen Square”

During the 60s and 70s, as most people in China did not have access to radio information, news and government propaganda were disseminated by village big character posters loudspeakers and political posters. Emerging from this period as a young man, Guo Jian joined the PLA to escape from his country town, find his independence, and serve his country. Already an aspiring artist, he hoped to join the PLA and study at one of the army’s art colleges.

Military Experience (1979-82)
In 1978, Guo Jian was approached by the Minzu University of China, the national level university designated for ethnic minorities, but was told to wait one more year to enrol in the art department. Shortly after, PLA recruiters came to Guo Jian’s town and told him he could enter the army’s art college if he enlisted.

Guo Jian joined the PLA in 1979. One month after enlisting, he was informed that the army’s art college entry policies had changed and he could no longer automatically enter the college. As part of Deng Xiaoping’s reform policies, soldiers now had to undertake a formal entrance application process to enter military college. Guo Jian was initially assigned to the Telegraph Corps, 41st Division, 14th Corps, Yunnan Direction (the West Front) commanded by the Front Headquarter of Kunming Military Region in Kaiyuan 开远city. He was also given responsibility overseeing the armoury, and was promoted to squad leader.

His artistic interests and talents were recognised and he was assigned to a squad of “Entertainment Soldiers”  as a propaganda poster artist. During this time, (and even to the present day ) the military took visual arts, theatre and performing arts as important tools for political indoctrination, propaganda, to promote and communicate the communist party’s ideology as well as boost morale.

In 1982 Guo Jian resigned from the army and returned to his home town and worked as a propaganda officer in a local transportation company. For a period he also worked as a long-haul truck driver.

University and after (1985-92)
In 1985 Guo Jian was one of just three students accepted into Minzu University of China art department in Beijing, out of 6000 applicants who sat the entrance exam from his province alone. He initially studied traditional Chinese painting, calligraphy, and ink wash painting focussing on figurative art and eventually graduated with a Bachelor of Arts in Chinese painting and literature.

The same year, China began to open up to the world, and with it China’s “85 New Wave Movement”  of modern art began. For the first time new opportunities arose to see and study modern foreign art trends, as well as foreign political theories and philosophies.  The American artist, Robert Rauschenberg held the first officially sanctioned American art show in China in fifty years, held at Beijing’s National Art Museum of China. Rauschenberg's installation works inspired many young artists at the time.

In April 1989 the liberal ex-communist party leader Hu Yaobang died. Initially a small group of students began to commemorate his death and called for his legacy to be reassessed. Over the next few months the protesters numbers grew.

Like many students at the time, Guo Jian took part in the student protests and hunger strikes. Facing the soldiers together with the other students, he saw himself on both sides of the divide, both as a student and as the soldier. Guo Jian survived and graduated from university in July 1989, but his participation in the protest movement meant he was banned from being given employment through the formal job placement system for graduates at that time.

Guo Jian was part of the initial group of artists who moved to the outskirts of Beijing to Yuanmingyuan (the site of The Old Summer Palace ruins) and formed the Yuanmingyuan artists’ community. The artists’ move was motivated by a desire to get away from Beijing’s post 1989 restrictive environment, while being close to what was at that time a still liberal Beijing University campus.  In Yuanmingyuan Guo Jian began his professional painting career.

Leaving China (1992)
Following the Tiananmen protests and subsequent crackdown of 1989, the art sector and the overall social and political environment in Beijing and across China, remained restrictive, and conservative. As a result of pressure from the authorities, Guo Jian decided to leave China. In 1992 he immigrated to Australia. After arriving in Sydney, Guo Jian took up labouring jobs to finance himself and painted at night. His artwork gained the attention of curators and critics and his reputation grew.

In 2006, one of Australia’s leading portrait artists, Chinese Australian Shen Jiawei, included a portrait of Guo Jian entitled ‘Guo Jian and Elly’1998, in a group exhibition at the Australian Portrait Gallery in Canberra.

Back To China (2005)
Guo Jian returned to China in 2005 to explore production techniques options for developing his sculpture ‘One World One Dream’ (aka “Dirty Mind”). He resided in Songzhuang art colony East of Beijing.

In 2014 Guo Jian was interviewed on the Australian TV series "Two Men In China" about his art and his sculpture of Tianianmen Square.

Subsequently, in June, 2014 Guo Jian was interviewed by Tom Mitchell, Beijing correspondent for the Financial Times newspaper. As a result of that interview, a full page story was published in the weekend edition's "Lunch with the FT" section of the Financial Times immediately prior to the June 4th anniversary. The day after the offending article in the globally distributed newspaper hit newsstands, Guo Jian was arrested by Chinese authorities at his studio  and detained for several weeks. As news of his arrest and detainment generated international news coverage Guo Jian was eventually deported to Australia for "visa issues".

Analysis and themes
The subjects and themes in Guo Jian’s work largely revolve around the relationship between entertainment and violence, aggression and lust, glamour and vice, corruption and destruction.

In her book, “Breakout - Chinese Art Outside China”, Melissa Chiu, a leading authority on Asian contemporary art, highlighted some of the prominent themes in Gou Jian’s work and their cultural and political significance:

Excitement series
“Guo’s paintings executed in Australia between 1995 and 1997 explore the sideshow theater as a site of latent violence. The main characters are soldiers being entertained by circus performers such as acrobats, knife-throwers and fire-eaters. Excitement Sideshow – Qi Gong (1995) is a good example of the cacophony of activity depicted in this series. P.L.A. soldiers, dressed in full uniform, including soft hats, are seated on both sides of the painting, providing a framing device for the performance: a woman lies on her back with her face grimacing at them while a man poised to cut her in half with a chopping knife stands by her side. This chaotic scene has many contrasts. The tension created by the performance involving knives, for example, is offset by the soldiers’ casual behavior of passing a cigarette between them during the performance.... The different layers in these paintings are metaphors for the social stratification of Chinese society, for example, between peasants, soldiers and performers.” (Chiu, 2007, P 192)

“In addition to the repetition of figures, Guo’s paintings are also redolent of figures of threat and danger. The atmosphere is always crowded and claustrophobic, creating a sense of expectation that something bad is about to happen. It derives partly from Guo’s use of the P.L.A. soldiers, which we associate with war and violence, and partly from the strong intimation of debauchery and sexual deviancy.”  (Chiu, 2007, P 194)

“Guo’s paintings from 1998 to 1999 are much more ambitious in scale and content. They include images of soldiers and generals from the P.L.A., again, but this time in front of various recognizable Chinese scenes. Excitement: Great Landscape No. I (1998), for example, is dense with nearly twenty different figures of soldiers, generals, women (some naked and some wearing underwear) and men in everyday clothes populating a landscape of mountains and a bathing pool. If we focus on the right hand side of the painting alone, we see a woman in red underwear eating chocolate ice cream, a soldier on a rocking horse (painted black and white), a woman bathing naked in the pool with her breasts exposed the water, and a man in green shorts poised to dive off a mountain peak into the water. These figures don’t engage with one another at all, and their scale in the landscape is not pictorially correct, at least according to the principles of linear perspective, since some are oversized while others appear miniaturized by comparison. The layering of imagery is reminiscent of collage techniques, with the foreground figures sitting uneasily against the background landscape. This is intentional, used by the artist to convey the utter artificiality of the scene - a world controlled by corrupt and debauched P.L.A., officers and Party officials. By showing the army soldiers without their uniforms, Gou further disrupts the authority invested in them.”  (Chiu, 2007, P 194)

“Guo’s Excitement: Great Tiananmen (1998) from the same series is an even more potent caricature of the P.L.A., portraying soldiers and generals as immoral and ineffectual. Against the backdrop of the gate of Tiananmen, Guo fills the painting with a mass of figures. To the right hand side, groups of soldiers congregate together with the cigarettes in their hands, as if posing for a photograph, a common site at Tiananmen Square. Their image is painted in black and white, like an old photograph, perhaps a reference to the past. The seeming innocence of these young soldiers is contrasted against the violent acts of other soldiers around them. In the upper right-side corner, of example, three soldiers hold a man’s arms and neck, restraining him so that he can’t move, while in the center of the work another soldier pins a naked man to the ground. A black official car with Deng Xiaoping standing up and through the sunroof runs over a naked man. Although the men in this painting are mostly soldiers, the women are shown to be the temptresses who are either naked or wearing red lace underwear and remnants of army uniforms, cavorting recklessly with the soldiers. A fighter plane flies low across the Square amid the small air explosions that resemble anti-aircraft fire. Gou’s Excitement: Great Tiananmen is a strange assemblage of erotic and violent acts, united only by the themes of disorder and conflict. This painting is a statement on the decay and corruption of the P.L.A., made all the more pointed by the inclusion of poppy flowers in the foreground – a reference to the drug industry in China.(Chiu, 2007, P 194)

The Day Before I Went Away series

“One of the few respites from the cycle of propaganda and exercise was the occasional visit of singers and dancers brought in to perform for troops before they headed to war – a heightened experience for these groups of agitated, isolated young men. In the series of satirical paintings “The Day before I went Away” (2008), Guo Jian offers impressions of how young woman were positioned by the army in these covertly erotic performances to manipulate the soldiers to the point of sexual hysteria and blood lust.”

The PLA’s Entertainment Soldiers, also known ‘Military Performing Troupes’, ‘Song and Dance Troupes’ or ‘Military Art Troupes’  were initially recognised by Mao Zedong as an important element of ‘art as a form of media’ which was one of the most effective forms of propaganda.  For Mao “revolution was art; art was revolution”, and art as a form of mass media was possibly one of the most effective and long lasting impressions that could be left on a people, and was left on the Chinese people.

From the earliest days of China’s civil war in the 1930s through to current times, these performance troupes have served to romanticize ideals of the communist party’s struggle. As of 2013 Chinese government employed 10,000 military troupe performers in thirty PLA troupe groups.

Among the most famous and important entertainment soldiers are; Song Zuying (宋祖英) is known as "mother of communist China”. In 1991, she joined the PLA Naval Song and Dance Troupe as a national first-class singer. As of 2009, she was a non-combatant rear admiral in China’s Naval Song and Dance Troupe. She was widely rumoured to have been the long-time mistress of Jiang Zemin, the General Secretary of Communist Party of China from 1989 to 2002; Peng Liyuan (彭麗媛) born 1962, is a Chinese contemporary folk singer and performing artist. She joined the PLA in 1980 when she was 18 and began as an ordinary soldier, but with her vocal talent later performed during frontline tours to boost troop morale during the Sino-Vietnamese border conflicts. She is the wife of China’s current paramount leader and head of state Xi Jinping, and as such referred to as the "Chinese First Lady" by American and Chinese media. Prior to Xi Jinping becoming leader, his wife was far more famous in China than her husband. She holds the civilian rank equivalent to major general; Li Shuangjiang (李双江) a Chinese tenor and a Major-General in the PLA’s Naval Song and Dance Troupe. He sold three million albums when he was thirty-two years old.

Trigger Happy series
Guo’s more recent works are based on the Red Detachment of Women, a Cultural Revolution ballet of a battle between evil landowners and good Communist soldiers. The composition of this series of paintings, titled “Trigger Happy”, is more formal and structured than in previous works. Trigger Happy XI (2000), for example features a line of almost identical women leaning forward with their hands on their knees, gazing directly at the viewer. They wear nothing but army helmets as a kind of superficial protection against an airplane on fire, nose-diving toward the ground in the distance. In front of them, a ballerina from the Red Detachment of Women, wearing an army uniform of blue shirt and shorts, performs an arabesque on ballet pointed-shoes with her arms out-stretched, holding a red kerchief and a gun in her right hand. The contrasts between the naked women and the ballerina suggests a tension between two stereotypes of women (the seductress and the dutiful women) as well as past and present perceptions of the P.L.A....  In a further comment upon the current status of the P.L.A., Guo included in the painting a male soldier crouched on the ground clutching a gun. He wears only green underpants and a metal helmet, yet his body is covered in perspiration. His mouth is open and smiling and his eyes are half-closed, as if aroused.  p. 196

Red Detachment of Women 红色娘子军 is an iconic Chinese ballet premiered in 1964 and was one of the Eight Model Operas that dominated the national stage during the Cultural Revolution. It is best known in the West as the ballet performed for President Richard Nixon on his visit to China in February 1972. In 2013, the National Ballet of China performed it at the Theatre du Chatelet in Paris, together with Swan Lake. In 2014 the ballet was performed during the (China Central Television) CCTV Chinese New Year Gala, to an TV audience of 750 million people.

Key collections
2013	1979 2010, oil on canvas 50 x 60 cm collection of Professor David Robert Walker the Australian academic historian.
2011	Study for The Day Before I Went Away 2010 acrylic on canvas 160 x 140 cm collection of Geoff Raby former Australian ambassador to China 2007–2011
2010	The Day Before I Went Away 2008 oil on canvas 150 x 100 cm collection of Lucy Turnbull (wife of Australian politician Malcolm Turnbull) Lord Mayor of Sydney Australia 2003–04
2010   I like the Blue Sea 2010 oil on canvas 182 x 300 cm collection of Robert Wilks Melbourne Australia
2010   One World One Dream aka Dirty Mind 2004 resin glass 110 x 70 cm x 70 cm collection of Geoff Raby former Australian ambassador to China 2007–2011
2008	The Day Before I Went Away 2008 oil on canvas 152 x 213 cm Queensland Gallery of Modern Art (GoMA), Brisbane, Australia
2007	Excitement Sideshow – Qigong 1997 oil on canvas 116 x 92 cm collection of Robert Wilks Melbourne Australia
2004	Self portrait 2003 oil on canvas 160 x 140 cm collection of Thomas Berghuis (curator at the Solomon R. Guggenheim Museum, New York)
2003	Gangsters Paradise 2003 oil on canvas, 160 x 140 cm Casula Powerhouse Liverpool Sydney Australia
2002	Bubbles of Yum/Girls of Romance 2002 oil on canvas 117 x 132 cm collection of Robert Wilks Melbourne Australia
2002   The Day before I Went Away #4 2002 oil on canvas 152 x 213 cm ‘Bokchoy Tang Restaurant’, Federation Square, Flinders St, Melbourne Australia
2000	Trigger Happy 2000 oil on canvas 152 x 213 cm, Collection Nonda Katsalidis, Melbourne Australia
2000   Trigger Happy II 1999 oil on canvas 146 x 198 cm collection of Denis Moriarty and Brendan Shanahan, Melbourne Australia
2000   Trigger Happy XI 2000 oil on canvas 136 x 119 cm collection of Dan Sutter, Sydney Australia
2000   Excitement, Great Landscape No 1 1998 oil on canvas 122 x 200 cm Collection of Magistrate Gail Madgwick Sydney Australia
2001	Wet Dreams 1999 oil on canvas 177 x 132 cm collection of Beau Neilson White Rabbit Gallery Sydney Australia
1999	Cruising 1999 oil on canvas 146 x 198 cm National Gallery of Australia, Canberra
1999   Trigger Happy IX 1999 oil on canvas 180 x 200 cm National Gallery of Australia, Canberra
1999   National Anthem 1999 oil on canvas 146 x 197 cm collection of Sam Neill New Zealand
1999   Trigger Happy 1999 oil on canvas 146 x 198 cm collection of Sam Neill Sydney Australia
1998	Big Screen 1996 oil on canvas 145 x 198 cm 37th Fisher’s Ghost Festival Art Award, Joint Winner Open Section Campbelltown City Bicentennial Art Gallery Australia

Private collections in China, Hong Kong, Mexico, Sweden, Belgium, France, New Zealand, Australia and USA

Commissions
2011	Portrait acrylic on canvas 160 x 140 cm commissioned by Geoff Raby former Australian Ambassador to China 2007–2011
2010	I like the Blue Sea oil on canvas 180 x 300 cm commissioned by Robert Wilks Melbourne Australia
2010   Excitement 95 x 145 cm commissioned by Ken West Founder of Big Day Out music festival Melbourne Australia
2009   Portrait of Michelle 180 x 300 cm oil on canvas – commissioned by Robert Wilks Melbourne Australia
2000–2006	Trigger Happy and Great Tiananmen enlarged print reproductions used as backdrop for main stage of Big Day Out music festival Melbourne, Sydney, Brisbane Australia; Auckland New Zealand
2002	Gilberson – Revolution, Artwork used as backdrop and theme of the band’s MTV music video clip
2001 	Trigger Happy Visible Arts Foundation Installation Art Project, Republic Tower, for Nonda Katsalidis, Melbourne, Australia

Exhibitions

Solo exhibitions
2012     	Guo Jian, Burwood Gallery, Sydney Australia
2010     	The Cast And Crew, 4A Center for Contemporary Asian Art, Sydney Australia
2009     	New Works by Guo Jian, Arc One Gallery, Melbourne, Australia
2007     	New Works by Guo Jian, Galerie Anne Lettree, Paris, France
2006     	New Works by Guo Jian, Arc One Gallery, Melbourne, Australia
2005     	New Works by Guo Jian, Michael Reid gallery, Sydney, Australia
2002     	Bubbles of Yum, Ray Hughes Gallery, Sydney, Australia
2001     	Mama’s Trippin’, Heidi Museum of Modern Art, Melbourne, Australia
2000     	Mama’s Trippin, Canberra Contemporary Art Space, Gorman House, Canberra, Australia
1999     	Trigger Happy, Ray Hughes Gallery, Sydney, Australia
1998	Double Happiness is a Warm Gun, Tin Sheds Gallery, University of Sydney, Australia
1994    	Little Bastards, Headspace Gallery, Sydney, Australia

Selected group exhibitions
2013	First China - ASEAN Art Biennale, Nanning, Guangxi Zhuang Autonomous Region China
2013   We: 1994–2013 – The 20th Anniversary Collective Exhibition of China Songzhuang Artists, Songzhuang Art Gallery, Beijing China
2013   Not A Stranger, 2013 China Songzhuang Foreign Artists Works Show, Songzhuang Huandao Gallery, Beijing China
2012 	First Contemporary Art Show Of Weibo, Songzhuang Art Gallery, Songzhuang Art Colony, Beijing China
2012   Today – Collective Exhibition, Songzhuang Four Times Art Museum, Beijing China
2010    DHZ (dehistoricalised zone) Contemporary Art Centre of South Australia, Adelaide Australia
2010   Crossover Songzhuang Art Festival Australian part, Beijing China
2009	The China Project, Queensland Gallery of Modern Art (GoMA), Brisbane, Australia
2008 	From MAO TO NOW, Armory Gallery, Newington Armory, Sydney, Australia
2008   50X50 SUMMER SHOW, Arc One Gallery, Melbourne, Australia
2008   Songzhuang Dreamtime, Songzhuang, Beijing China
2008   Chinese Voices Chinese Stories, OSAGE, Hong Kong
2008   Southern Skies Chinese Artists In Australia, The Australian Embassy, Beijing, China
2008   The Converted Image, DAX Art Space, Beijing, China
2008   China Project, Galeriaomr O M R, Mexico City, Mexico[26]
2007 	Backbone Strength, Arts Mansion, Beijing, China
2006	Guo Jian, Arc One Gallery, Melbourne Australia
2004 	ARTV, Australian Centre for the Moving Image & SBS, Melbourne Australia
2004   Sulman Prize, Art Gallery Of New South Wales, Sydney, Australia
2003	Liverpool Art Prize, Liverpool, NSW, Australia
2003   Bendigo Art Prize, Bendigo, Vic, Australia
2003   Group Show January, Ray Hughes Gallery, Sydney, Australia
2002	Sir John Sulman Prize, Art Gallery Of New South Wales, Sydney, Australia
2002   The Year In Art Exhibition, S H Ervin Gallery, Sydney, Australia
2002   Guo Jian, Bubbles of Yum, Ray Hughes Gallery, Sydney Australia
2000	Australian Drawing Biennale, Drill Hall, Australian National University, Canberra, Australia
2000   Contemporary Australian Art, Musee De Picardie, Amiens, France
2000   Thinking Aloud...A Drawing Show, Ray Hughes Gallery, Sydney, Australia
2000   Chinese Australian Art, National Gallery of Australia, Canberra, Australia
1998	Beyond China, Campbelltown City Bicentennial Art Gallery, Sydney, Australia
1997	3 X 3 Demonstration Art, Sydney, Australia
1996	3 X 3 (Video), Touring Berlin, Germany & Auckland, New Zealand
1992	Yuanmingyan Artists Exhibition, Brussels Art Festival, Belgium
1992   Forest Art Exhibition, Beijing, China
1991	Yuanmingyuan Art, Goethe Institute, Dayuan Guesthouse, Beijing, China
1991   Studio 149, Yuanmingyuan, Beijing, China
1990	Paintings Of Guo Jian And Zhang Ge, Beijing Art Gallery & Beijing
1990   Friendship Hotel, Beijing, China
1988 	China Central Minorities Institute Selection, China Art Gallery, Beijing, China
1981	Provincial Military Art Exhibition, Yunan, China

References

External links

 Guo Jian - official web site

Australian contemporary artists
Chinese contemporary artists
Painters from Guizhou
1962 births
Living people
Bouyei people


title: Yutaka Takagi

text:
is a professional Japanese baseball player.

Family
He has three sons of the football player.
His eldest son Toshiyuki is playing in Cerezo Osaka, Yoshiaki are currently playing in Albirex Niigata, and his third son Daisuke is playing in Gamba Osaka.

External links

1958 births
Living people
Baseball people from Yamaguchi Prefecture
Chuo University alumni
Japanese baseball players
Nippon Professional Baseball infielders
Yokohama Taiyō Whales players
Yokohama BayStars players
Nippon Ham Fighters players
Japanese baseball coaches
Nippon Professional Baseball coaches


title: Emma Lonsdale

text:
Emma Lonsdale (born 24 April 1984) is a freestyle skier who competes in the halfpipe. Her Olympics debut was at the 2014 Winter Olympics in Sochi, competing for Team GB.

Early life and education
Emma Lonsdale was born on 24 April 1984 in Langcliffe, Settle, North Yorkshire, England. Lonsdale began skiing at the age of 2, and soon became amongst the members of the Kendal Snowsports club. Her secondary school was Settle High School. She (in addition to the majority of the GB skiing team) learned how to ski on Snowflex, which has led to the team being called the "fridge kids".

Skiing career
Lonsdale competed in alpine skiing for 16 years. However, she switched sports to freestyle skiing, where she trialled several disciplines: mogul, aerial, and skiercross. She eventually decided to participate in halfpipe skiing. At the 2008 X Games, Lonsdale finished in ninth place in halfpipe, and at the FIS Alpine World Ski Championships 2011 she finished in 11th place. She has won the halfpipe at the British Championships every year from 2003 to 2011.

She has also worked as a lifeguard.

Olympics
Lonsdale's debut in the Olympics was the 2014 Winter Games in Sochi, where she competed at the halfpipe for Team GB. She was confirmed as in the squad in late January. Her first action is in the qualifying round on 20 February 2014. Her aim is to win a medal. At the Olympics, she was due to compete with Rowan Cheshire, James Machon and Murray Buchan, but Cheshire was forced to withdraw due to an accident in training at the Rosa Khutor Extreme Park, leaving Lonsdale as Britain's only competitor in the women's halfpipe. Lonsdale is due to compete using Whitedot skis.

Family
Lonsdale's brother Ben also skis, with the Royal Air Force.

References

Living people
1984 births
Sportspeople from Yorkshire
English female freestyle skiers
Olympic freestyle skiers for Great Britain
Freestyle skiers at the 2014 Winter Olympics


title: Bijahil Chalwa

text:
Bijahil Chalwa (born 30 November 1990) is an Indonesian professional footballer who plays as a forward for Liga 3 club Persibo Bojonegoro.

Club career

Persela Lamongan
He scored his first hattrick in a 3–0 win against Persebaya Surabaya on 10 February 2014.

Honours
Persibo Bojonegoro
 Piala Indonesia: 2012

References

External links

 Bijahil Chalwa at Liga Indonesia

1990 births
Living people
People from Bojonegoro Regency
Indonesian men's footballers
Indonesian Premier Division players
Liga 1 (Indonesia) players
Liga 2 (Indonesia) players
Persibo Bojonegoro players
Persikabo Bogor players
Persela Lamongan players
Bhayangkara Presisi Indonesia F.C. players
PSS Sleman players
Persiba Balikpapan players
PS Barito Putera players
Kalteng Putra F.C. players
Persik Kediri players
PS Mitra Kukar players
Sulut United F.C. players
Men's association football forwards
Footballers from East Java


title: The Gay Adventure

text:
The Gay Adventure is a 1936 British comedy film directed by Sinclair Hill and starring Yvonne Arnaud, Barry Jones and Nora Swinburne. It was made at Welwyn Studios by the independent company Grosvenor Films. It was based on the 1931 play of the same name by Walter C. Hackett.

Cast
 Yvonne Arnaud as Julie
 Barry Jones as Darnton
 Nora Swinburne as Fay d'Allary
 Betty Worth as Baby
 Sybil Grove as Miss Darnton
 Finlay Currie as Porter
 Guy Middleton as Aram
 Robert Holmes as d'Allary
 Anthony Holles as Charles
 Kenneth Warrington as Mickey Blane
 Ralph Truman as Buck
 Percy Parsons as Pete
 Andreas Malandrinos as Hotel Manager

References

Bibliography
 Low, Rachael. Filmmaking in 1930s Britain. George Allen & Unwin, 1985.
 Wood, Linda. British Films, 1927-1939. British Film Institute, 1986.

External links

1936 films
British comedy films
British black-and-white films
1936 comedy films
Films directed by Sinclair Hill
Films shot at Welwyn Studios
British films based on plays
1930s English-language films
1930s British films
English-language comedy films


title: List of mills in North Yorkshire

text:
This is a list of the wool, cotton and other textile mills in North Yorkshire

Arncliffe

Askrigg

Aysgarth

Bainbridge

Bentham

Bewerley

Bilton With Harrogate

Birstwith

Bishop Thornton

Brearton

Carleton

Cononley

Cowling

Dacre

Embsay With Eastby

Farnhill

Fewston

Gargrave

Giusburn

Grassington

Hartlington

Hartwith Cum Winsley

Hawes

Healey With Sutton (Healey)

Heslington

Hartwith Cum Winsley

Ingleton

Kirkby Malham

Knaresborough

Langcliffe

Lothersdale

Menwith With Darley

Mickley (Azerley)

Plompton

Scriven (Harrogate;Knaresborough)

Settle

Skipton

Sutton-in-Craven (Sutton)

Thornthwaite With Padside

Thruscross

Winksley

York

References

Footnotes

The National Monument Record is a legacy numbering system maintained
by English Heritage. Further details on each mill may be obtained from this url. http://yorkshire.u08.eu/

Notes

Bibliography

External links

 01
North Yorkshire
North Yorkshire
Lists of buildings and structures in North Yorkshire
North Yorkshire
History of the textile industry


title: Greek Street (film)

text:
Greek Street (US title Latin Love) is a 1930 British musical film directed by Sinclair Hill and starring Sari Maritza, William Freshman and Martin Lewis. It was made by Gaumont British at their Lime Grove Studios in Shepherd's Bush. The film's sets were designed by Andrew Mazzei. The film takes its title from Greek Street in Central London.

Cast
 Sari Maritza as Anna
 William Freshman as Rikki
 Martin Lewis as Mansfield Yates
 Bert Coote as Sir George Ascot
 Renee Clama as Lucia
 Bruce Winston as Max
 Peter Haddon as Businessman
 Rex Maurice as Businessman
 Stanelli as Business Man
 Fanny Wright as Wife
 Arthur Hambling as Alfie
 Andreas Malandrinos as Carlo
 Eric Pavitt as Boy

References

Bibliography
 Low, Rachael. Filmmaking in 1930s Britain. George Allen & Unwin, 1985.
 Wood, Linda. British Films, 1927-1939. British Film Institute, 1986.

External links

1930 films
British musical films
British black-and-white films
1930 musical films
Films directed by Sinclair Hill
Films shot at Lime Grove Studios
Films set in London
Gainsborough Pictures films
1930s English-language films
1930s British films
English-language musical films


title: RJ Padilla

text:
Ronnel Jake Antonio Padilla (; born January 22, 1989) is a Filipino former actor and comedian. He starred in the film Sa Ngalan ng Ama, Ina at mga Anak (2014) and also appeared in La Visa Loca (2005). He is the son of Rommel Padilla and Annabelle Antonio, brother of Matt Padilla and Roanna Padilla, and half-brother of Daniel Padilla.

Career
Padilla's career began in 2005 when he first appeared in Robin Padilla's movie, La Visa Loca.

In 2011, he became one of the participants in ABS-CBN's reality show Pinoy Big Brother: Unlimited.

In 2012, Padilla transferred to GMA Network. He worked with Dennis Trillo and Marian Rivera in the Philippine adaptation of the Korean drama Temptation of Wife.

In 2013, before joining the gag show Bubble Gang, his final project in ABS-CBN is Apoy Sa Dagat, where he portrayed the role of young Anton.

Personal life
He is married to Rosalie Bianca Abdelsayed since October 18, 2015. They have two children named Raniaah Amira (born 2013) and Royce Aaliyah (born 2016).

In 2017, Padilla left the entertainment industry and migrated to Australia with his family.

Filmography

Television

Film

References

External links

1989 births
Living people
RJ
Filipino male television actors
Filipino male film actors
Filipino male comedians
Participants in Philippine reality television series
Pinoy Big Brother contestants
ABS-CBN personalities
GMA Network personalities
Actors from Angeles City
Male actors from Pampanga
Filipino sketch comedians


title: Tomohiro Kuroki

text:
Tomohiro Kuroki (黒木 知宏, born December 13, 1973 in Hyūga, Miyazaki, Japan) is a former Nippon Professional Baseball pitcher.

External links

1973 births
Baseball players at the 2000 Summer Olympics
Chiba Lotte Marines players
Japanese baseball coaches
Living people
Nippon Professional Baseball coaches
Nippon Professional Baseball pitchers
Olympic baseball players for Japan
Baseball people from Miyazaki Prefecture


title: Marika Hackman

text:
Marika Louise Hackman (born 17 February 1992) is an English vocalist, multi-instrumentalist and songwriter.

Hackman has released a mini-album, That Iron Taste (2013), and four full-length albums: We Slept at Last (2015); I'm Not Your Man (2017); Any Human Friend (2019) and Covers (2020). She has also released four EPs: Free Covers (2012), Sugar Blind (2013), Deaf Heat (2014), and Wonderland (2016).

In 2023, Marika Hackman released a new song called "No Caffeine".The track is taken from the album “Big Sigh” which is her first studio album in four years. She describes the album as the ‘hardest record she’s ever made’

Early life
Hackman was born in Hampshire, England, and raised in Selborne and Devon. Her mother and Finnish father met during their work as animators. Hackman watched little television as a child. She and her older brother, Ben, a dance music producer who releases material under the name "Hackman", were instead encouraged to find other creative outlets. Hackman is a self-taught guitarist and began learning when she was 12. She had lessons in piano from the age of 4, and lessons in the bass guitar and drums from the age of 10.

She received a scholarship to attend Bedales School as a day pupil from ages 11 to 17, where she met and befriended supermodel Cara Delevingne. Together, they formed a short-lived cover band called "The Clementines", with Hackman playing drums and Delevingne playing guitar and singing. Hackman performed at Mulberry's Park Lane launch dinner, celebrating the release of Delevingne's collection in February 2014.

At 18, she moved to Brighton, England, where she studied art foundation for a year and planned on earning a degree in fine arts. Instead, she later chose to pursue music full-time.

Music career

Early career (2012–2013)

Hackman's first release was an EP of covers, which was available for digital download in October 2012. The following February, she released her first mini-album, That Iron Taste, featuring songs of her own composition. The album was released in physical formats and as a digital download. It was produced by alt-J's Charlie Andrew. In 2013, she toured Australia and Europe as an opening act for Laura Marling, to support the release of That Iron Taste. The music video for her song "Cannibal" was filmed at Bedales School in March 2013. She later released two more EPs, Sugar Blind on 9 December 2013 and Deaf Heat on 4 April 2014, via iTunes. Both EPs contain songs written by Hackman as well as one cover song.

Debut album: We Slept at Last (2014–2017)
Hackman began recording her full-length debut album in 2014 with producer Charlie Andrew. She debuted new material from the album, including the songs "Skin" and "Ophelia", while on tour in 2013 with Laura Marling. In late September 2014, the album's title was announced as We Slept at Last and was released on 16 February 2015. The album features 12 new songs written by Hackman and does not feature any material from her previous EPs. Hackman embarked on a headlining solo tour throughout the UK in support of the album in November 2014. The album's lead single, "Drown", premiered in mid-October and was officially released on 8 December 2014. On 17 November 2014, "Drown" was announced as a shortlisted contender for DJ Zane Lowe's "Hottest Record of 2014" on BBC Radio 1. It ranked No. 89 out of 100 songs. She also appeared as a featured vocalist on alt-J's song "Warm Foothills", from their second album "This Is All Yours". On 8 January 2015 she premiered the album's second single, "Animal Fear", for DIY Magazine. On 13 January 2015, "Before I Sleep", another track from her debut album, was streamed exclusively on the website Earmilk, as well as her SoundCloud account. Hackman previewed material from the album in the days leading up to its release. The album is available to stream in its entirely on her official SoundCloud account, and features a distinctive blue colour scheme. The deluxe edition of the album includes all of the songs from Hackman's EPs. "Animal Fear" was released as the album's second single on 16 February 2015, the same day as the release of We Slept at Last.

On 18 February 2015, Hackman played material from her debut album at The Cob Gallery in Camden, London. An art exhibit, featuring the album's artwork of 24 photographs, was displayed during the show. She embarked on a solo headlining tour throughout the UK during March and April 2015. Fenne Lily provided support to Marika during these dates, which were generally well received by the press The tour continued with shows throughout Europe during the spring and summer of 2015.

On 25 June 2015, Laura Marling announced that Hackman and Johnny Flynn would join her on tour for a series of concerts in North America during July and August 2015. The concerts would be Hackman's first time performing material in North America. Hackman's fourth single, "Next Year", was released on 14 August 2015.

The album was generally well-received, with The Guardians review rating it four out of five stars, and calling Hackman's work "superbly understated and atmospheric", noting that the "unsettling quality" was a distinguishing factor.

Second album: I'm Not Your Man (2017)
Hackman signed with Sub Pop for her second album, I'm Not Your Man. "Boyfriend", the first single from the album, debuted on Hackman's VEVO channel on 22 February 2017 in the form of a music video. The album features the London band The Big Moon as backing vocalists and instrumentalists. The cover art was designed by Tristan Pigott.

The album was released 2 June 2017. The Guardians four-star (out of five) review praised Hackman's "sweetly sung cut-glass vocals" and for having "risen from the alt-folk scene". The Observer's review (rating 3/5 stars) called the album "witty, raucous and honest", noting that Hackman, despite a new sound, "keeps the best of her former incarnation", adding to the "balance and variety" of the album. Pitchfork declared the album "bracing" and "darkly funny", "melodically strong" and "full of surprises", giving a rating of 7.5/10.

Third album: Any Human Friend (2019)
On 23 April 2019, Hackman shared a teaser video with the caption "A _ _  H _ _ _ _  F _ _ _ _ _", hinting at the title of her upcoming third album. The following day, she released the lead single, "I'm Not Where You Are". On 22 May, the album's title was revealed to be Any Human Friend, and it was made available to pre-order. It was released on 9 August 2019. The album was produced by Hackman and David Wrench, and significantly features synthesizers. Hackman has described the lyrical content of the album as "quite sexual" and "blunt, but not offensive". She wanted to write about sexuality in a "unifying and sexy" way, in contrast to sexual lyrics that objectify the subject. The second single from the album, "The One", was released on 13 June 2019. Hackman has described it as "probably the poppiest song I’ve ever written".

The Guardian, in a four-star review, observed that, on Hackman's "most accomplished record to date", she "flits between self-reflection and self-loathing" in "glorious songs" characterised by "a general wry frankness". Pitchfork called the album "a singular, extraordinarily horny, and occasionally bleak pop record", about "those quiet moments of reckoning with what it means to be alive, young, and cautiously enamoured of it all", also observing Hackman, with her "coolly unimpressed alto" as "not interested in being coy or mincing words". The Independent's review calls the album "blunt and bold" with a "dark sexual energy" on which "Hackman’s beatific voice sits atop methodically messy instrumentals".

For this album cycle, Hackman toured in the United Kingdom, Europe and the United States.

Fourth album: Covers (2020)
This album of covers was produced during Hackman's time in lockdown during the COVID-19 pandemic, including songs from Beyoncé, The Shins, and Elliott Smith. Released on 13 November 2020, the album was noted by NME in its four-star review to be "intimate and inventive", representing "soothing familiarity with the excitement of the new". Hackman "straddles the line between... well-known tunes and something fresher", the reviewer observing that "the results are gorgeous". She shot the music videos for covers in a disused London Swimming pool.

On 19 July 2023, Hackman was featured on the single "Call Me A Lioness", released in celebration of the 2023 FIFA Women's World Cup. The single also featured Olivia Dean and Melanie C, among others.

Personal life
Hackman currently resides in the East End of London. She was in a four-year relationship with musician Amber Bain until 2018.

Discography

Studio albums

Extended plays

Singles

As lead artist

As featured artist

Promotional singles

Guest appearances

Music videos

As lead artist

As featured artist

Guest appearances

Awards and nominations

References

External links
 Website
 Primary Talent Profile
 Sub Pop Records Artist Profile
 Transgressive Records Publishing Profile

1992 births
Living people
English women singer-songwriters
English singer-songwriters
English folk singers
English women guitarists
People educated at Bedales School
English people of Finnish descent
British lesbian musicians
Lesbian singers
English LGBT singers
English LGBT songwriters
Lesbian songwriters
Dirty Hit artists
21st-century English women singers
People from Selborne
21st-century British LGBT people
Virgin EMI Records artists
Musicians from Hampshire
Musicians from Devon


title: Tillinger

text:
Tillinger is a surname. Notable people with the surname include:

 Emma Tillinger Koskoff (born 1972), American film producer
 John Tillinger (born 1938), American theatre director and actor

See also
 Dillinger (surname)
 Hillinger


title: P-9 Project

text:
The P-9 Project was the codename given during World War II to the Manhattan Project's heavy water production program. The Cominco operation at Trail, British Columbia, was upgraded to produce heavy water. DuPont built three plants in the United States: at the Morgantown Ordnance Works, near Morgantown, West Virginia; at the Wabash River Ordnance Works, near Dana and Newport, Indiana; and at the Alabama Ordnance Works, near Childersburg and Sylacauga, Alabama. The American plants operated from 1943 until 1945. The Canadian plant at Trail continued in operation until 1956. Three nuclear reactors were built using the heavy water produced by the P-9 Project: Chicago Pile 3 at Argonne, and ZEEP and NRX at the Chalk River Laboratories in Canada.

Origins
Heavy water is a form of water that contains a larger than normal amount of the hydrogen isotope deuterium, also known as heavy hydrogen, rather than the common hydrogen-1 isotope that makes up most of the hydrogen in ordinary water. Deuterium was discovered by Harold Urey in 1931 and he was later able to concentrate it in water. His mentor Gilbert Newton Lewis isolated the first sample of pure heavy water by electrolysis in 1933.

Although a scientific curiosity from the start, considerable interest in heavy water was aroused in 1939 when Hans von Halban and Lew Kowarski suggested that heavy water could be used as a neutron moderator in a nuclear reactor using natural uranium. They carried out experiments on uranium using ordinary water, but had found that the hydrogen atoms absorbed neutrons, thus preventing the desired chain reaction. Heavy water though, was an ideal moderator. The Office of Scientific Research and Development (OSRD) put Hugh S. Taylor, a British physicist at Princeton University in charge of heavy water research. Taylor and Urey began looking at means for producing heavy water on an industrial scale. For his plutonium project, Arthur H. Compton requested  of it. The heavy water project was codenamed the "P-9 Project" in October 1942.

The problem with using heavy water was that it was scarce, and scientists could not readily acquire the quantities required by a reactor. At Columbia University in the United States, Enrico Fermi and Leó Szilárd attempted to use graphite as a moderator instead. This turned out to be possible, but the graphite had to be very pure, as impurities, particularly boron, tended to absorb neutrons. On 2 December 1942, Fermi's team initiated the first artificial self-sustaining nuclear chain reaction in an experimental reactor known as Chicago Pile-1. For the Manhattan Project, this was a crucial step towards the manufacture of plutonium in a reactor for use in an atomic bomb, but much larger reactors were required for mass production.

Trail
Cominco had been involved in heavy water research since 1934, and produced it at its Teck Cominco smelter plant in Trail, British Columbia. On 26 February 1941, the Canadian National Research Council inquired about its ability to produce heavy water. This was followed on 23 July 1941 by letter from Taylor that offered a National Defense Research Committee (NDRC) contract to produce , for which the NDRC was prepared to pay $5 per pound for low-grade and $10 for high-grade heavy water. At the time it was selling for up to $1,130 a pound.

Cominco's president, Selwyn G. Blaylock, was cautious. There might be no post-war demand for heavy water, and the patent on the process was held by Albert Edgar Knowles, so a profit-sharing agreement would be required. In response, Taylor offered up $20,000 for plant modifications. There the matter rested until 6 December 1941, when Blaylock had a meeting with the British physicist G. I. Higson, who informed him that Taylor had become discouraged with Cominco, and had decided to find an alternative source of heavy water. Blaylock invited Taylor to visit Trail, which he did from 5 to 8 January 1942. The two soon found common ground. Blaylock agreed to produce heavy water at Trail, and quickly secured approval from the chairman of the board, Sir Edward Beatty. A contract was signed on 1 August 1942.

To the existing $10 million plant consisting of 3,215 cells consuming 75 MW of hydroelectric power, secondary electrolysis cells were added to increase the deuterium concentration in the water from 2.3% to 99.8%. For this process, Taylor developed a platinum-on-carbon catalyst for the first three stages while Urey developed a nickel-chromia one for the fourth stage tower. Seven new parcels of land were acquired totalling  were leased by the U.S. government. Construction was undertaken by Stone & Webster.  The final cost was $2.8 million. The Canadian Government did not officially learn of the project until August 1942, shortly before construction began the following month. It was completed on 30 June 1943, at a cost of $2,604,622.

Production rose steadily from  in June 1943 to  in January 1944,  in January 1945 and  in January 1946. The running cost of the plant averaged $32,979 per month over the period from June 1943 to December 1946, when the Manhattan Project was replaced by the Atomic Energy Commission. This worked out to $39 per pound. Trail's heavy water production continued until 1956.

American sites

The Director of the Manhattan Project, Brigadier General Leslie R. Groves, Jr., had, in November 1942, recruited DuPont as the prime contractor for the construction of a plutonium production complex. Although DuPont's preferred designs for the nuclear reactors were helium cooled and used graphite as a moderator, DuPont still expressed an interest in using heavy water as a backup, in case the graphite reactor design proved infeasible for some reason. For this purpose, it was estimated that  of heavy water would be required per month. As the plant at Trail, which was then under construction, could produce  per month, more capacity was required.

Groves therefore authorized DuPont to establish additional heavy water facilities at the Morgantown Ordnance Works, near Morgantown, West Virginia; at the Wabash River Ordnance Works, near Dana and Newport, Indiana; and at the Alabama Ordnance Works, near Childersburg and Sylacauga, Alabama. Although known as Ordnance Works and paid for under Ordnance Department contracts, they were built and operated by the United States Army Corps of Engineers. Locating them at Ordnance plants saved the cost of acquiring land, since it was already owned by the government, and they already had personnel and utilities, including steam generating equipment. The three American plants used a process different from Trail's; heavy water was extracted by distillation, taking advantage of the slightly higher boiling point of heavy water. This was not considered to be an efficient process, but it was known to work and scale to an industrial process, and therefore represented less risk than other proposals. Morgantown, Wabash and Alabama were expected to produce ,  and  respectively of heavy water per month, with a concentration of 99.75%.

Morgantown
The Morgantown Ordnance Works (MOW) began as an  chemical production facility operated by DuPont during the Second World War, with construction on the main facility starting in the summer of 1940. Originally producing ammonia for use in the manufacture of explosives, the MOW also produced alcohol, hexamine, and formaldehyde before being expanded to produce heavy water for use in the P-9 Project. Works at Morgantown were undertaken by DuPont under a cost-plus fixed fee contract, as was the works at Wabash and Alabama. Construction commenced on 7 January 1943, and was substantially completed ahead of the 1 September scheduled date. The facilities were progressively brought into operation between 29 May and 28 August 1943. The cost was $3,490,069. DuPont's fixed fee was originally $154,882, but this was voluntarily reduced to $88,588 because the cost of construction was considerably less than the $6,034,000 originally estimated.

The electrolytic finishing plant was established at Morgantown because that plant was under the control of DuPont's Ammonia Division. At this plant the output from the distillation plants, which was about 90% heavy water, was broken down by electrolysis into hydrogen and oxygen. The light hydrogen tends to be drawn off first, leaving the heavy water behind. This process was repeated through several stages to yield a finished product that was 99.75% heavy water. After the water reached a concentration of 99.75%, the heavy water was then transported by rail to the University of Chicago where it was used as a potential moderator for the first nuclear reactors constructed in the United States.

Following the end of the war, DuPont ended their operations at the MOW and the site was leased to various chemical companies until the early 1950s before standing vacant until 1962 when the area was purchased from the United States General Services Administration for the price of $1.25 million by the Morgantown Community Association. The property was then conveyed to the newly created Morgantown Ordnance Works, Inc., owned by local industrialist J.W. Ruby, who began converting the site into an industrial park. In 1984, part of the site was formally proposed to be added to the Environmental Protection Agency's (EPA) Superfund National Priorities List and was added to the list two years later in 1986. Remedy construction began in 2001 and included the consolidation of contaminated materials into an on-site landfill which was covered with a multi-layer cap. The remedy also included long-term monitoring and institutional controls and was completed in 2003. On 21 August 2018, the EPA removed the Ordnance Works Disposal Areas from the Superfund National Priorities List along with eight other sites.

Wabash
Construction commenced on 23 January 1943, and was substantially completed on 22 October. Stages of the P-9 distillation plant became operational between 17 June and 18 September 1943. Total cost was $7,493,157, including DuPont's fee of $152,472, which was voluntarily reduced from $272,776 because the plant was constructed for substantially less than the allocated $13,665,000.

Alabama
Construction commenced on 11 February 1943, and was completed on 15 November. Stages of the P-9 distillation plant became operational between 29 May and 4 September 1943. Total cost was $3,466,171, including DuPont's fee of $70,368, which was voluntarily reduced from $184,680 because the plant was constructed for substantially less than the allocated $8,285,000.

Production

The three American plants never achieved the intended production of  per month. A series of suggestions for improving production was considered, and the most promising were carried out. The most successful of these was the reconstruction of the first stage towers at Morgantown to reduce leakage, which resulted in a considerable improvement in performance. However, by this time, early 1945, it was decided that production was sufficient, and the expense of doing this at the other plants could not be justified.

The P-9 distillation plant at Alabama was closed in June 1945, that at Wabash in July, and the one at Morgantown in August. The electrolytic finishing plant at Morgantown was closed in September. Intermediate product remaining when the plants were closed was sent to Trail. This resulted in approximately  of extra production at Trail. Between February 1944 and August 1945, the electrolytic finishing plant at Morgantown, which finished the product for all three plants, produced an average of  per month, for a total of .

The electrolytic finishing plant also processed  from heavy water recovered from Germany by the Manhattan Project's Alsos Mission.  The average monthly production cost was $72,000 for Morgantown, $154,000 at Alabama and $197,400 at Wabash, for a total of $423,400. Thus, heavy water cost $186 per pound, excluding the $11,967,000 cost of the plants. If this is included, it cost $550 per pound, compared to $111 per pound at Trail.

Intermediate product was shipped from Wabash and Alabama by rail in sealed metal containers. The finished product was shipped by rail from Morgantown via the Monongahela Railway and Trail via the Canadian Pacific Railway to the Manhattan Project's Metallurgical Laboratory at the University of Chicago. Heavy water from Trail was used for Chicago Pile 3 at Argonne, the first reactor using heavy water and natural uranium. Designed by Eugene Wigner and built under the direction of Walter Zinn, it went critical on 15 May 1944. An allocation of heavy water was used by the Chalk River Laboratories to build ZEEP under Kowarski's direction, which went critical in September 1945. This was followed by its NRX reactor in 1947, which was also moderated by heavy water. Like CP-3 and ZEEP it was used for scientific research, and not for plutonium production.

Demand for heavy water increased in the early 1950s. The heavy water facility at Wabash, now renamed the Dana Plant by the Atomic Energy Commission, was reopened, and DuPont resumed production of heavy water in May 1952. The site was used a pilot plant for a new production process using hydrogen sulphide. The heavy water facility was closed again in early 1957. The facility, and a larger complex at the Savannah River Site had fulfilled its purpose, supplying heavy water for the plutonium production reactors at Savannah River.

Notes

References

History of the Manhattan Project
Isotope separation facilities of the Manhattan Project
DuPont
Teck Resources


title: Cocea

text:
Cocea is a Romanian surname. Notable people with the surname include:

Alice Cocéa (1899–1970), Romanian-born French actress and singer
Dina Cocea (1912–2008), Romanian actress
Dinu Cocea (1929–2013), Romanian actor, film director and screenwriter
N. D. Cocea (1880–1949), Romanian journalist, writer, critic and activist
Sofia Cocea (1839-1861), Moldavian, later Romanian essayist, poet and activist

Romanian-language surnames


title: Yoshiaki Fujioka

text:
is a Japanese former professional baseball pitcher who is currently a pitching coach for the Yokohama DeNA BayStars of Nippon Professional Baseball (NPB). He has played in Nippon Professional Baseball (NPB) for the Fukuoka SoftBank Hawks, Hokkaido Nippon-Ham Fighters and BayStars.

Career
Fukuoka SoftBank Hawks selected Fujioka with the third selection in the .

On March 26, 2006, Fujioka made his NPB debut.

On November 28, 2020, Fujioka announced his retirement and become pitching coach for the BayStars.

References

External links

 NPB.com

1985 births
Living people
Baseball people from Osaka Prefecture
Fukuoka SoftBank Hawks players
Hokkaido Nippon-Ham Fighters players
Japanese baseball coaches
Japanese baseball players
Nippon Professional Baseball coaches
Nippon Professional Baseball pitchers
People from Toyonaka, Osaka
Yokohama DeNA BayStars players


title: Yoksan Ama

text:
Yoksan Ama (born 22 September 1986) is an Indonesian professional footballer who currently plays as a forward.

Career

Perseru Serui
Ama was part of the team that successfully got Perseru promoted to the Indonesia Super League for the first time in their history, after beating Persik Kediri by a penalty shoot-out in the 2013 Liga Indonesia Premier Division knockout stage semi-final.

Ama scored his first two goals in the Indonesia Super League in a match that ended 4–1 for Perseru Serui against Persepam Madura United on 2 February 2014.

Honours

Club
Perseru Serui
Runner-up
 Liga Indonesia Premier Division: 2013

References

External links

 Player profil at goal.com

1986 births
Living people
Indonesian men's footballers
Indonesian Premier Division players
Liga 1 (Indonesia) players
Perseru Serui players
Men's association football forwards
Footballers from Papua