title: Collaborations (Ravi Shankar and George Harrison album)

text:
Collaborations is a four-disc compilation box set by Indian classical musician Ravi Shankar and former Beatle George Harrison. Released in October 2010 on Dark Horse Records, it compiles two studio albums originally issued on that label – the long-unavailable Shankar Family & Friends (1974) and Ravi Shankar's Music Festival from India (1976) – and Chants of India, first issued on Angel Records in 1997. Although all three albums were originally Shankar releases, for which Harrison served in the role of music producer and guest musician, both Shankar and Harrison are credited as artists on the box set. Each of the collaborative projects represents a departure from Shankar's more typical work as a sitarist and performer of Hindustani classical ragas, with the box set showcasing his forays into, variously, jazz and rock, Indian folk and orchestral ensembles, and devotional music.

The fourth disc of Collaborations is a DVD containing previously unissued film of a performance by the Music Festival from India, recorded at London's Royal Albert Hall in September 1974. Filmed by director Stuart Cooper, the footage required substantial restoration for its 2010 release. An audio-only track on the DVD, prepared by Anoushka Shankar and Paul Hicks, provides a more complete record of the concert.

Issued nine years after Harrison's death, the limited-edition release coincided with celebrations for Shankar's 90th birthday and was overseen by Harrison's widow, Olivia. Among the lavish packaging for the compilation, each disc appears inside enlarged, 8½-inch sleeves, and each copy of the set is individually numbered. An accompanying book contains a foreword by American composer Philip Glass, rare photographs documenting Shankar and Harrison's 35-year friendship, and commentary from both artists on the projects featured in the box set. While Collaborations presents only a portion of Shankar and Harrison's work together, music critics have recognised it as a successful representation of the far-reaching cultural legacy of their partnership.

Background
In June 1966, while still a member of the Beatles, George Harrison met Indian classical musician Ravi Shankar in London and became a student of the sitarist. Harrison later said that, for himself, the music was "like an excuse", and that in reality he was searching for a "spiritual connection" with the culture of India. The association immediately brought Shankar and Indian music unprecedented popularity in the West, while Harrison's introduction of the sitar into the Beatles' sound inspired a new genre known as raga rock. By 1971, a year after the Beatles' break-up, and having established himself as a solo artist with his All Things Must Pass triple album (1970), Harrison began working with Shankar, as his producer. These 1971 projects, all released on the Beatles' Apple record label, included the soundtrack to the documentary film Raga; Shankar's Joi Bangla EP, recorded to raise international awareness for the plight of refugees of the Bangladesh Liberation War; and the live album The Concert for Bangladesh, which documented the UNICEF benefit concerts that Harrison and Shankar staged in New York that August.

Twenty-three years older than Harrison, Shankar described their relationship as, variously, that of father and son (with each one adopting either role); close friends and brothers; and teacher and student. Author Ian Inglis has commented on the various differences between the two musicians, in terms of age, culture and social status: "And yet, in another sense, those contrasting factors helped to prevent any personal or professional rivalries, produced spaces and separations that their music could fill, and ultimately created … a partnership that was never competitive, but perfectly complementary." While their collaborations continued only intermittently after the mid 1970s, the depth of their friendship remained, such that Harrison would credit Shankar as being "the person who has influenced my life the most". When Harrison died in November 2001, following a four-year battle with cancer, Shankar was at his bedside, along with members of Harrison's family.

Musical content
The 2010 box set Collaborations was one of several reissue projects celebrating Shankar's 90th birthday. It compiles three studio albums that he and Harrison worked on together between 1973 and 1996: Shankar Family & Friends (1974), Ravi Shankar's Music Festival from India (1976) and Chants of India (1997). The first two of these albums had long been out of print, and their inclusion in the box set marked the debut CD release for both titles. Disc four contains a previously unissued concert film from 1974, titled Music Festival from India – Live at the Royal Albert Hall.

Harrison's role on the three studio albums was mainly confined to that of a record producer, although his name appeared prominently on the front cover of Chants of India, and the latter was marketed as a collaborative work between Shankar and Harrison. Collaborations presents the albums in reverse chronological order, with Chants of India appearing on disc one.

Chants of India

Shankar and Harrison recorded the album between January and August 1996, with sessions taking place in the southern India city of Madras, and at Harrison's English home, Friar Park, in Henley-on-Thames. The majority of the selections consist of Vedic prayers and other Sanskrit-worded, Hindu religious texts that Shankar set to music. He also wrote new pieces in a similarly sacred vein, including "Prabhujee", the only song on the album to contain Hindi lyrics. Among the many musicians and singers on Chants of India were Shankar's daughter Anoushka, tablist Bikram Ghosh and santoor player Tarun Bhattacharya.

The album's creation resulted from Shankar and Harrison having renewed their close friendship in recent years; this following a period when, by his own admission, Shankar had partially withdrawal from his Western-musician friends in the late 1970s, stung by persistent criticism from the Indian press that he was "diluting" Indian classical music. Other projects that the pair undertook together in the mid 1990s include Ravi Shankar: In Celebration (1996), a four-disc career retrospective compiled by Harrison, and Raga Mala, Shankar's second autobiography, for which Harrison served as editor.

Shankar considered Chants of India to be among his best works, and he praised Harrison's contributions as a musician and producer on the album. Released on Angel Records in May 1997, the album was critically well received. In his book The Dawn of Indian Music in the West, Peter Lavezzoli describes it as "a quiet masterpiece, one of the most uplifting and musically engaging recordings of sacred music", while AllMusic critic Jim Brenholts writes: "Among records of this nature, this one is special." Chants of India was the last official musical collaboration between the two artists, after Harrison was diagnosed with cancer in August that year.

Ravi Shankar's Music Festival from India

Harrison first got the idea to stage what became the 1974 Music Festival from India during the Bombay sessions for his debut solo album, the 1968 film soundtrack Wonderwall Music, after hearing Shankar's orchestral work Nava Rasa Ranga. While in India in early 1974, Shankar and Harrison planned the venture, which consisted of a European tour by Shankar's hand-picked orchestra of Indian classical musicians, after which the ensemble would tour North America with Harrison and his band of Western musicians. For his orchestra, Shankar selected regular accompanists such as tabla player Alla Rakha and singers Lakshmi Shankar and Kamala Chakravarty; other established players including Shivkumar Sharma (santoor), Hariprasad Chaurasia (flute), Rijram Desad (percussion) and Kamalesh Maitra (tabla tarang); and musicians that went on to establish themselves internationally as a result of their participation, such as violinist L. Subramaniam and sarangi player Sultan Khan.

Before the European tour began in September 1974, Shankar and Harrison recorded a studio album with the sixteen Music Festival musicians at Friar Park. Using the facilities from his upstairs studio, FPSHOT, Harrison recorded the album in Friar Park's drawing room, overlooking the property's expansive gardens. Shankar wrote the pieces in a variety of traditional Indian folk and classical styles, often composing on his way to Henley from his London hotel, while travelling along the M4 motorway. Harrison later recalled his fear that Shankar's directions to the assembled musicians would create a musical "catastrophe", yet the result each time was "the most amazing thing". Among the tracks on Ravi Shankar's Music Festival from India, "Raga Jait" is Shankar's interpretation of that raga for an orchestral ensemble, and the ten-minute "Dehati" features extended interplay between the various percussionists. The album was released on Harrison's Dark Horse record label in February 1976.

Shankar Family & Friends

Shankar and Harrison began recording Shankar Family & Friends in Los Angeles in April 1973. In a marked departure from Shankar's more familiar work in the Hindustani classical style, the album was a fusion of several musical genres, particularly Indian classical, jazz and Western pop. The contributors ranged from American jazz proponents Tom Scott and Emil Richards to Indian players such as Rakha, Sharma, Chaurasia, Subramaniam, sarodiya Aashish Khan and, a former student and longtime associate of Shankar's, multi-instrumentalist Harihar Rao. Adopting the pseudonym "Hari Georgeson", since he was still contracted to EMI-affiliated Apple Records, Harrison contributed on electric and acoustic guitars, and autoharp. Shankar played sitar, surbahar and Moog synthesizer, and otherwise served as director and conductor at the sessions. Other participants included guitarist David Bromberg, members of the Los Angeles Symphony Orchestra, and electronic music artists Paul Beaver and Robert Margouleff.

One side of the original LP consisted of music that Shankar had composed for a ballet, titled Dream, Nightmare & Dawn, while among the album's other songs and bhajans was a rare English-language pop composition by Shankar, "I Am Missing You". Harrison arranged the latter track in a rock-music setting, with backing from Western musicians such as Scott, Billy Preston, Ringo Starr and Jim Keltner; sung by Lakshmi Shankar, this version of "I Am Missing You" was the first single released on Dark Horse Records, in September 1974. Music from Shankar Family & Friends featured in the setlist for the Harrison–Shankar North American tour later that year, during which the Music Festival personnel were accompanied on stage by Harrison and members of his touring band, such as Scott and Richards.

Music Festival from India – Live at the Royal Albert Hall
Harrison sponsored Shankar's Music Festival from India concerts through his Material World Charitable Foundation, for which the European tour was its debut event. The DVD issued on Collaborations is from the Music Festival's concert at the Royal Albert Hall, London, on 23 September 1974, the first date of the tour. The footage was shot by director Stuart Cooper, whose film Little Malcolm, made early the previous year, marked Harrison's first foray into film production.

After Harrison introduces Shankar to the London audience, Shankar conducts the musicians during the performance. He plays sitar on the twenty-minute "Raga Yaman Kalyan", however, accompanied by Rakha. Author Simon Leng recognises the Music Festival from India as the first Indian orchestra to have played in Europe, while Harrison's widow Olivia, in her role as producer of the compilation, notes singer and mridangam player T.V. Gopalkrishnan among the musicians who went on to have "incredible careers of their own".

Considerable restoration was required to prepare Live at the Royal Albert Hall for release in 2010, since much of Cooper's footage had been lost during the ensuing decades or damaged. Olivia Harrison explained: "We laid music where we had picture and we cheated a little bit with picture where only sound existed to create over an hour of the concert …" A separate selection on the DVD presents the audio for a more complete version of the performance, lasting over 90 minutes. Also included is a short segment where Anoushka Shankar and Paul Hicks, as remaster producers, work on the concert audio in a San Diego studio and are visited by Shankar and Olivia.

Artwork and packaging

Collaborations was presented in an unusually lavish package, designed by Drew Lorimer and Olivia Harrison. Housed in a hinged box, the four discs sit on cardboard bases inside album covers measuring 8½ by 8½ inches, with the enlargement from CD and DVD dimensions allowing for a closer replication of the original LP jackets. A limited-edition release, each copy of the box set came with an individually numbered certificate of authenticity.

A 56-page, hardcover book contains quotes from Shankar and Harrison, commenting on their long friendship and the projects represented on the discs. Both artists' families supplied photographs for the book, while other pictures are credited to professional photographers Clive Arrowsmith, Dezo Hoffmann, Jan Steward and Carolyn Jones. The photo used on the front of the box was one of a series of pictures that Arrowsmith took at Friar Park in 1974, over the period when the Music Festival orchestra were recording and rehearsing there.

The book's foreword was supplied by American composer Philip Glass, with whom Shankar had collaborated on the 1990 album Passages. Glass writes of the Shankar–Harrison musical partnership as having "[made] waves ... on a tremendous scale and for a passionate worldwide audience", adding that its influence "reverberates, as clearly, even today".

Release
The box set was issued on Dark Horse Records, distributed by Rhino Entertainment, on 18 October 2010 in Britain, and 19 October in the United States. Announcing the release in August that year, Consequence of Sound described it as "a certified dream for world music/Beatles fans". Collaborations coincided with East Meets West Music's Shankar reissues such as the Nine Decades series and the DVD release of the long-unavailable Raga, which features 1968 footage of Harrison as well as the soundtrack he produced and originally issued on Apple. In America, the box set was available solely through Harrison's official website and the online retailer Amazon. At this time the Harrison estate undertook a similarly low-key campaign for the 40th anniversary of All Things Must Pass, which coincided with several reissue projects relating to the Beatles.

Collaborations entered Billboard magazine's Top World Albums list at number 3, its peak position on that chart. Having been Harrison's assistant at Dark Horse during the 1970s, Olivia Harrison promoted the release; in an interview with Spinner, she described the reissue project as a "labor of love for me".

Reception

In a five-star review for Goldmine magazine, Gillian Gaar considered that Collaborations "succeeded on crossover appeal" and had praise for the "mesmerizing" Music Festival album and concert DVD. Reviewing the box set for Uncut, John Lewis found Harrison "a little too respectful" in his deference to Shankar on the 1970s projects, although he admired Chants of India, saying: "there is a heaviness and intensity to each performance that makes this seemingly austere collection quite compelling to rock ears."

Terry Staunton of Record Collector commented that had John Lennon and Paul McCartney ceded more of their creative control in the Beatles to Harrison, "there might today be a stronger case for Ravi Shankar's claim to the fiercely-debated position of fifth Beatle." Staunton described Collaborations as an "intriguing series of East–West summits" and concluded: "It may have limited appeal … but this box set is a strong testament to two friends' mutual respect and their desire to push musical boundaries." In an article for Time Out New York on the various Beatles-related reissues of late 2010, Sophie Harris wrote: "You might not think that Vedic chanting is your thing, but as Philip Glass notes in the introduction to this gorgeous set, there's scarcely a musician in the world who hasn't been touched by the musical partnership [between Shankar and Harrison] … Contained herein: awesome, spooky-sounding chanting, a live DVD, a glossy book and much more to rejoice about."

While also comparing the collection to the more highly publicised reissues by Lennon and McCartney, Joe Marchese of The Second Disc praised Collaborations for its adventurous music, as well as the lavishness of the packaging. Of the three studio albums, he described Shankar Family & Friends as the "most commercial" and Music Festival from India as "exotic, but immediately transporting", and wrote that "joy and a celebratory feel exudes from [Chants of India]". Marchese added: "[The] albums illuminate an important aspect of the career of George Harrison, for sure. But they also remind one of the immense musical influence of Ravi Shankar ... These once hard-to-find LPs are presented with great integrity here."

Writing for AllMusic, Richie Unterberger qualifies the joint credit afforded Shankar and Harrison, saying: "Without downplaying the closeness of the two musicians' friendship and Harrison's genuine participation in all of these projects, it should be stated up front that this is much more Shankar's music than Harrison's, and much more Indian music than the rock for which Harrison was most famed." Unterberger describes the box set as "a bountiful gathering of some of Shankar's more accessible recordings" and highlights Chants of India as the most effective collaboration between the two artists. PopMatters contributor Sachyn Mital described the box set as "a special gift for [Shankar's] fans" on the occasion of his 90th birthday, and "worthy of a man of such esteemed stature". Mital concludes of the partnership: "The diligence of Harrison brought Ravi Shankar, Indian music and Eastern spirituality soundly into Western collective consciousness."

Track listing

Disc one – Chants of India

All selections are traditional, adapted by Ravi Shankar, except where noted.

 "Vandanaa Trayee" – 4:32
 "Omkaaraaya Namaha" – 1:53
 "Vedic Chanting One" – 3:12
 "Asato Maa" – 7:12
 "Sahanaa Vavavtu" – 4:26
 "Poornamadah" – 1:28
 "Gaayatri" – 3:26
 "Mahaa Mrityunjaya" – 4:43
 "Veenaa-Murali" – 3:36
 "Geetaa" – 2:13
 "Managalam" (Shankar, Dr Nandakumara) – 4:03
 "Hari Om" (Shankar) – 2:57
 "Svara Mantra" (Shankar) – 4:34
 "Vedic Chanting Two" – 2:13
 "Prabhujee" (Shankar) – 8:06
 "Sarve Shaam" – 5:09

Disc two – Ravi Shankar's Music Festival from India

All selections written by Shankar.
 "Vandana" – 2:44
 "Dhamar" – 5:23
 "Tarana / Chaturang" – 5:33
 "Raga Jait" – 9:48
 "Kajri" – 4:51
 "Bhajan" – 3:56
 "Naderdani" – 4:43
 "Dehati" – 10:09

Disc three – Shankar Family & Friends

All selections written by Shankar.
 "I Am Missing You" – 3:45
 "Kahān Gayelavā Shyām Saloné" – 2:55
 "Supané Mé Āyé Preetam Sainyā" – 4:15
 "I Am Missing You (reprise)" – 4:03
 "Jaya Jagadish Haré" (PD) – 4:54
Dream, Nightmare & Dawn (Music for a Ballet)
 "Overture" – 2:33
Part One (Dream):
 "Festivity & Joy" – 3:56
 "Love-Dance Ecstasy" – 3:13
Part Two (Nightmare):
 "Lust (Rāga Chandrakauns)" – 3:13
 "Dispute & Violence" – 2:43
 "Disillusionment & Frustration" – 2:50
 "Despair & Sorrow (Rāga Marwā)" – 3:04
Part Three (Dawn):
 "Awakening" – 3:05
 "Peace & Hope (Rāga Bhatiyār)" – 4:31

Disc four – Music Festival from India – Live at the Royal Albert Hall

All selections written by Shankar.

Concert film
 "Introduction by George Harrison"
 "Hymns from the Vedas"
 "Tappa (Raga Khamaj)"
 "Tarana (Raga Kirwani)"
 "Raga Jait"
 "Vilambit Gat, Drut Gat and Jhala (Raga Yaman Kalyan)"
 "Naderdani"
 "Krishna Krishna Bhajan (based on Raga Pancham-se-gara)"
 "Dehati"

Concert audio
 "Musicians Introduction"
 "Vandana"
 "Alap / Noom / Toom Jor (Raga Abhogi)"
 "Dhamar (Raga Vasanta in Tala Dhamar)"
 "Khyal (Raga Kedara in Tala Teental)"
 "Tarana (Raga Kirwani in Tala Ektal)"
 "Chaturang (Raga Yaman Kalyan in Tala Teental)"
 "Kajri"
 "Pallavi (Thani Avarthanam / Raga Bilahari in Tala Aditala)"
 "Thumri (Mishra Piloo in Tala Jat)"
 "Raga Mala (Garland of Ragas, based on Raga Khamaj in Tala Teental)"

Notes

References

Sources

 Keith Badman, The Beatles Diary Volume 2: After the Break-Up 1970–2001, Omnibus Press (London, 2001; ).
 Collaborations, book accompanying Collaborations box set (Dark Horse Records, 2010; produced by Olivia Harrison; package design by Drew Lorimer & Olivia Harrison).
 The Editors of Rolling Stone, Harrison, Rolling Stone Press/Simon & Schuster (New York, NY, 2002; ).
 Walter Everett, The Beatles as Musicians: Revolver Through the Anthology, Oxford University Press (New York, NY, 1999; ).
 Olivia Harrison, George Harrison: Living in the Material World, Abrams (New York, NY, 2011; ).
 Bill Harry, The George Harrison Encyclopedia, Virgin Books (London, 2003; ).
 Ian Inglis, The Words and Music of George Harrison, Praeger (Santa Barbara, CA, 2010; ).
 Peter Lavezzoli, The Dawn of Indian Music in the West, Continuum (New York, NY, 2006; ).
 Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006; ).
 Robert Rodriguez, Fab Four FAQ 2.0: The Beatles' Solo Years, 1970–1980, Backbeat Books (Milwaukee, WI, 2010; ).
 Nicholas Schaffner, The Beatles Forever, McGraw-Hill (New York, NY, 1978; ).
 Ravi Shankar, Raga Mala: The Autobiography of Ravi Shankar, Welcome Rain (New York, NY, 1999; ).
 Michael Simmons, "Cry for a Shadow", Mojo, November 2011, pp. 74–87.
 Gary Tillery, Working Class Mystic: A Spiritual Biography of George Harrison, Quest Books (Wheaton, IL, 2011; ).
 World Music: The Rough Guide (Volume 2: Latin and North America, Caribbean, India, Asia and Pacific), Rough Guides/Penguin (London, 2000; ).

2010 compilation albums
Ravi Shankar albums
George Harrison compilation albums
Albums produced by George Harrison
Dark Horse Records compilation albums
Reissue albums


title: Likoma Islands (Malawi Parliament constituency)

text:
Likoma Islands is a constituency for the National Assembly of Malawi, located in the Likoma District of Malawi's Northern Region. It elects one Member of Parliament by the first past the post system. The constituency is currently represented by DPP MP George Kamwanja.

Election results

References

Constituencies of the National Assembly of Malawi


title: Fateh Singh (Delhi politician)

text:
Chaudhary Fateh Singh, also known as Fateh Singh, is an Indian politician from the Aam Aadmi Party (AAP) in Delhi. He was member of the Sixth Legislative Assembly of Delhi and represented Gokalpur (Assembly constituency) of Delhi. Earlier, he was a member of the Bharatiya Janata Party (BJP). He was a member of First Legislative Assembly of Delhi and served as its deputy speaker from 1995 to 1998.

Personal life
He is a materials dealer. He is the son of Saktoo Singh. He is a Bachelor of Arts (BA) from Chaudhary Charan Singh University (CCS university) of Uttar Pradesh. He is married; his wife is a housewife.

Political career
Fateh Singh contested the 1993 Delhi Legislative Assembly elections in the Nand Nagari assembly constituency, which was reserved for scheduled castes, on a Bharatiya Janata Party (BJP) ticket. He got 13,429 votes and defeated his nearest rival Rup Chand of the Indian National Congress (INC) by a margin of 781 votes. He became member of the First Legislative Assembly of Delhi and was elected the deputy speaker from 1995 to 1998. He also was on the Rules Committee, as the deputy speaker.

Fateh Singh contested as an independent in 2008 Delhi Legislative Assembly elections from Gokalpur (Assembly constituency). He got 10,262 votes and came fourth. Bahujan Samaj Party's Surendra Kumar won, while BJP's Ranjeet Singh was third.

Fateh Singh defected to the Aam Aadmi Party (AAP) from the BJP in December 2014, with three other BJP leaders. This was officially announced in an AAP rally at Shahdara. He contested the 2015 Delhi Legislative Assembly elections from Gokalpur and got 71,240 votes, defeating the sitting MLA (member of Legislative Assembly) Ranjeet Singh of the BJP by the margin of 31,968 votes.

References

Delhi MLAs 2015–2020
Deputy Speakers of the Delhi Legislative Assembly
Living people
Place of birth missing (living people)
Aam Aadmi Party politicians from Delhi
Bharatiya Janata Party politicians from Delhi
1957 births


title: Wrestling at the 2015 Pan American Games

text:
Wrestling competitions at the 2015 Pan American Games in Toronto were held from July 15 to 18 at the Hershey Centre (Mississauga Sports Centre) in Mississauga. Due to naming rights the arena will be known as the latter for the duration of the games.  The competition is split into two disciplines, Freestyle and Greco-Roman which were further divided into different weight categories. Men competed in both disciplines whereas women only took part in the freestyle events, with 18 gold medals awarded. Wrestling has been contested at every Pan American Games.

Competition schedule

The following is the competition schedule for the wrestling competitions:

Medal table

Medalists

Men's events
Freestyle

Greco-Roman

Women's events

Freestyle

Participating nations
A total of 22 countries have qualified athletes. The number of athletes a nation has entered is in parentheses beside the name of the country.

Qualification

A total of 150 wrestlers can qualify to compete at the games. The winner of each weight category 2014 South American Games, 2014 Pan American Championships and 2014 Central American and Caribbean Games will qualify for the Games. The top five in the 2015 Pan American Championship also qualify. The host country (Canada) is guaranteed a spot in each event, but its athletes must compete in both the 2014 and 2015 Pan American Championship. A further six wildcards (four men and two women) will be awarded to nations without any qualified athlete but took part in the qualification tournaments.

See also
Wrestling at the 2016 Summer Olympics

References

Events at the 2015 Pan American Games
Pan American Games
2015
International wrestling competitions hosted by Canada


title: Malaysia at the 1974 British Commonwealth Games

text:
Malaysia competed in the 1974 British Commonwealth Games held in Christchurch, New Zealand from 24 January to 2 February 1974.

Medal summary

Medals by sport

Medallists

Athletics

Men
Track event

Women
Field event

Key
Note–Ranks given for track events are within the athlete's heat only
Q = Qualified for the next round
q = Qualified for the next round as a fastest loser or, in field events, by position without achieving the qualifying target
NR = National record
N/A = Round not applicable for the event
Bye = Athlete not required to compete in round

Badminton

Cycling

Track
Sprint

Time trial

Scratch race

Shooting

Men

Swimming

Men

Women

Weightlifting

Men

References

Malaysia at the Commonwealth Games
Nations at the 1974 British Commonwealth Games
1974 in Malaysian sport


title: Orocrambus clarkei

text:
Orocrambus clarkei is a moth in the family Crambidae. It was described by Alfred Philpott in 1930. This species is endemic to New Zealand. It is known from Mount Moltke, Minaret Peak, Homer Saddle and the Humboldt Range.

The wingspan is 20–26 mm. Adults have been recorded on wing from December to January.

Subspecies
Orocrambus clarkei clarkei (Mount Moltke, Minaret Peak)
Orocrambus clarkei eximia (Salmon, 1946) (Homer Saddle, Humboldt Range)

References

Crambinae
Moths described in 1930
Moths of New Zealand
Endemic fauna of New Zealand
Endemic moths of New Zealand


title: Orocrambus corruptus

text:
Orocrambus corruptus is a moth in the family Crambidae. It was described by Arthur Gardiner Butler in 1877. It is endemic to New Zealand. It is known from the lowland and intermontane region areas of eastern and central South Island. The habitat consists of poorly drained areas up to 750 meters and old pastures.

The wingspan is 15–20 mm. Adults have been recorded on wing from September to early December and again in February in some areas.

The larvae have been reared on Funaria species, Poa annua, Bromus dactylis and Trifolium repens.

References

Crambinae
Moths of New Zealand
Moths described in 1877
Endemic fauna of New Zealand
Taxa named by Arthur Gardiner Butler
Endemic moths of New Zealand


title: Orocrambus crenaeus

text:
Orocrambus crenaeus is a moth in the family Crambidae. It was described by Edward Meyrick in 1885. It is endemic to New Zealand, where it is known from the South Island. The habitat consists of alpine grasslands.

The wingspan is 31–38 mm. Adults have been recorded on wing from December to February. Adults of this moth are known to pollinate Brachyscome sinclairii.

References

Crambinae
Moths described in 1885
Moths of New Zealand
Endemic fauna of New Zealand
Taxa named by Edward Meyrick
Endemic moths of New Zealand


title: Orocrambus cultus

text:
Orocrambus cultus is a moth in the family Crambidae. It was first described by Alfred Philpott in 1917 from specimens collected by Merlin Owen Pasco. It is endemic to New Zealand, where it is known from Cecil Peak.

The wingspan is about 20 mm. The forewings are deep yellowish brown with dusky black markings on the costa and dorsum. Adults have been recorded on wing in January.

References

Crambinae
Moths described in 1917
Endemic fauna of New Zealand
Moths of New Zealand
Endemic moths of New Zealand


title: Orocrambus cyclopicus

text:
Orocrambus cyclopicus is a moth in the family Crambidae. It was described by Edward Meyrick in 1883. In 1975 David E. Gaskin wrongly synonymised Crambus sophistes with Orocrambus cyclopicus.

It is endemic to New Zealand. This species has been recorded from the eastern South Island and the southern part of the North Island. The habitat consists of lowland to alpine grasslands.

The wingspan is 22–30 mm. Adults have been recorded on wing from January to May.

The larvae feed on Bromus hordeaceus and Arrhenatherum elatius.

References

Crambinae
Moths described in 1883
Moths of New Zealand
Endemic fauna of New Zealand
Taxa named by Edward Meyrick
Endemic moths of New Zealand


title: Willem van Genk

text:
Willem van Genk (April 2, 1927 – May 12, 2005) was a Dutch painter and graphic artist, celebrated as one of the leading masters of Outsider Art. Throughout his life he lived with severe mental distress, experiencing symptoms related to autism and schizophrenia. On account of his passion for trains, buses, and train stations, he called himself the "King of Stations".

Van Genk's panoramic cityscapes and fragmented collages express his feelings about modern authority, feelings which were shaped by an abusive father who, in addition to administering his own beatings, left him exposed to a traumatic experience at the hands of the Gestapo during the German occupation of the Netherlands in the Second World War.

Van Genk's art has been widely exhibited in Europe, where it is also in many museum collections, including those of the Stedelijk Museum, the Dr. Guislain Museum in Ghent, the Collection de l’Art Brut in Lausanne, the Lille Metropole Musee d’Art Modern, d’Art Contemporain et d’Art Brut (LaM), the Croatian Museum of Naïve Art in Zagreb, and the Museum of Everything in London.
Raw Vision, the leading magazine covering Art Brut, ranks van Genk among the "masters of outsider art". At the beginning of 2005, the year of the artist's death, van Genk's Keleti Station, now in the collection of the Museum of Everything in London, sold for a hundred thousand dollars at New York's Outsider Art Fair, thus setting the record for most expensive work ever sold by a living outsider artist. On that occasion, Roberta Smith, the chief art critic of The New York Times, praised the piece "as the leading candidate for best in show". At least one other critic has identified van Genk as the most important Dutch outsider artist.

Willem van Genk: Mind Traffic, the first solo exhibition of the artist in the United States, was presented from September 10 through November 30, 2014, at the American Folk Art Museum in New York City.

Life

Early years
Willem van Genk was born in 1927 in Voorburg, Netherlands. When he was five, his mother died, leaving the young boy dependent on his abusive father and, especially, his nine sisters. In school Willem was a poor student, except in art; playing to his strength, he preferred to doodle throughout the day instead of paying attention in class. He was especially weak in mathematics, which outraged his father, who forced Willem to add and subtract the number of blows as he beat him.
Willem was expelled from primary school, and then failed at vocational school. He also began a sign-painting course, but did not finish it. These early failures and abuses fostered an inferiority complex, from which art was the only outlet. In art van Genk was exceptionally skilled, and he would use his skill to assume the perspective of a godlike overseer of the modern metropolis.
During the Second World War, the Netherlands were occupied by Nazi Germany. Van Genk's father was a member of the Dutch resistance, and hid Jews in the family home. Maddeningly, their fate is not recorded in the literature on the artist. In 1944 when Willem was seventeen years old, the Gestapo visited the family apartment in the Magnoliastraat in search of the father, who was not there. In his stead Willem was interrogated by the Gestapo, who beat the adolescent, subjecting him, in the words of his eldest sister, to "a few heavy clouts." This trauma was the origin of van Genk's later obsession with long raincoats, as the Gestapo men on this occasion wore "high-buttoned leather jackets." This was a formative event in van Genk's life. As though appropriating their cloaks of power, van Genk would eventually collect hundreds of long raincoats, which he treated as a sort of fetish, a prophylactic protecting the paranoid artist against what he thought of as the ubiquitous threat of his enemies.

When van Genk's father married for a third time after the war, he threw his troubled son out of the house. After losing his job he was forced to slave away at pointless tasks in something like a Victorian workhouse for the Dutch disabled. This compulsory labor was known as "labor for the inferior," a derogatory term which haunted the artist the rest of his life. Van Genk told his friend Dick Walda: "I have never gotten over it, I think. Being labelled as 'inferior'. The bosses there make sure you know about it. They're more like concentration camp bullies than bosses."  The experience was degrading, and van Genk took it as justification for his paranoia. At this time he first received help for his mental problems, but thereafter he still often had paranoid episodes and heard unreal voices.
In the year 1958 he registered with the Royal Academy in The Hague. The director Joop Beljon recognized immediately the quality of his work, but also that the young artist was beyond the reach of the faculty's lessons. At the director's suggestion van Genk was allowed to take his own path at the academy, and consequently he remained an autodidact. At this time van Genk was noticed for the first time, with the journalist R.E. Penning praising his work as "panoramas of Lilliput towns as seen by Gulliver."

In 1964, Beljon organized the first solo exhibition of van Genk's work in Hilversum. The Dutch writer W.F. Hermans opened the show and commented that his works “are frighteningly beautiful, but they will remind many of something they would rather forget.” But high prices meant few sales, and mixed publicity, some of which insulted the artist's mental capacities, partly motivated van Genk's withdrawal from this early public attention. Furthermore, he was his own harshest critic, unable to bear the sound of his recorded voice. A television interview to publicize the exhibition so horrified the artist that for decades he refused to be filmed, photographed, or taped. Van Genk's inferiority complex was thus a major impediment to the development of his career as an artist.

Van Genk withdrew from publicity, but continued to work and exhibit. In 1966 eight works sold at a show by the Galerie Alfred Schmela in Düsseldorf; notably, the prestigious Stedelijk Museum, Amsterdam's museum of modern art, bought van Genk's painting Metrostation Opera.
With his successes in the mid-1960s, van Genk was finally able to indulge his passionate interest in cities by visiting them in person. His art through 1960 was devoted to relatively straightforward panoramic depictions of cityscapes, views that the artist culled from the printed material he perused, such as travel guides, postcards, and magazines. Now he visited many cities, including Stockholm, Madrid, Rome, Moscow, Budapest, Frankfurt, and wall-divided Berlin. Landmark architecture from these cities, especially train stations, feature in many works by the artist.

In the 1970s van Genk's career as an artist continued with modest success. He was included at the Düsseldorf IKI art fair in 1974, but nothing of his sold. Initially represented by Pieter Brattinga, by the 1970s van Genk was represented by the gallery De Ark. The gallery's last show in 1976 before being taken over by the Hamer Gallery, which continued to represent the artist, was devoted to van Genk's work. Also in 1976 van Genk was included in two group shows devoted to “naïve” art, in Amsterdam and Haarlem respectively. He was included in Nederlandse Naieve Kunst (“Dutch Naïve Art”), a volume surveying fourteen figures, with van Genk's work represented by three color reproductions.
In the 1980s van Genk achieved a new height of international recognition. In 1984 he was included in the World Encyclopedia of Naïve Art, with almost a full-page reproduction of his painting Madrid, which the Collection de l’Art Brut in Lausanne acquired the same year along with a second work, “50 Years of the Soviet Union,” for “2,500 and 3,000 guilders respectively,” relatively modest sums which angered the artist against his dealer Nico Van Der Endt.  The following year the Collection de l’Art Brut acquired three works on paper by the artist, marking a commitment to represent his work in depth that culminated in a major exhibition of the museum's collection in 1986, which “establishe(d) Van Genk's international reputation.” The show was a critical success in the Francophone lands of Europe, and London's prestigious Southbank Centre responded to the show by borrowing three works by van Genk for a travelling exhibition called “In Another World,” which toured across Britain.

Final years and death
Now with his reputation securely established, van Genk's prices continued to rise while his works continued to be exhibited, both in several group exhibitions and no less than four monographic exhibitions just in the 1990s. Yet this burgeoning success did not satisfy van Genk's wish to live a normal life. By 1995 he was becoming increasingly withdrawn, a recluse holed up in his apartment, where he was the subject of many complaints from his neighbors, who objected to the awful smells and loud nocturnal “thumping” emanating therefrom.
The following year in 1996 van Genk was involuntarily seized by the police from his Hague apartment and committed to a sanatorium. A police officer commented to van Genk's dealer, Nico van der Endt, whom the artist had desperately summoned to the scene: “We know all about Mr Van Genk. His file's a metre thick.” The floor of the apartment was found “almost entirely covered with a thin layer of dog faeces, stamped thin and dried out.” The authorities killed van Genk's dog Coco, who was evidently not housebroken. After three months, van Genk was released and allowed to return home, but his apartment, which had been such a peculiar live-in Gesamtkunstwerk, had been drastically transformed by cleaning, to the violated artist's chagrin. Not long thereafter, the police again involuntarily seized van Genk, who was placed under ‘compulsory psychiatric treatment for a maximum of six months because he was charged for the “nuisance caused to neighbors.”’ The approbation of the art world had not entailed the wider social acceptance of this troubled, difficult figure.

The year after his involuntary commitment, he suffered a first stroke. That same year, 1997, the artist made his last drawing, thus closing his career as an artist. That year also saw the publication of the first monographic account of the artist's career, Dick Walda's book Koning der stations, along with the preparation of another monographic catalogue to accompany a retrospective exhibition, Ans Van Berkum's Willem van Genk: A Marked Man and his World. The retrospective exhibition that Van Berkum's monograph accompanied opened at De Stadshof (now defunct) in Zwolle the following year in 1998, then travelled to Bönnigheim and Lausanne. But before this exhibition opened, van Genk suffered another stroke while travelling in Stockholm; this would be the last of his travels. In 1998, as the De Stadshof Museum was negotiating the purchase of ten works by Willem van Genk for the impressive sum of 225,000 guilders (in anticipation of the retrospective exhibition and book publication), the artist himself was committed to a nursing home. Months before the artist's death of heart failure in 2005, his picture Keleti Station sold for $100,000, which made the moribund artist “the most expensive living outsider artist.”

Trauma and mental illness
Van Genk's life and work is of special interest to those fascinated by the relationship between mental illness and artistic creativity. Like other famous Outsider Artists such as Adolf Wölfli and Martín Ramírez, van Genk had from extreme mental distress. Ever since the early 1920s, when Hans Prinzhorn published his study on The Artistry of the Mentally Ill (which was quickly adopted as an inspiration by the Surrealists in Paris), the artwork of the mentally ill has been a topic of considerable interests to artists, scholars, and the public at large. Yet this history is as marred by invidious classifications as it is marked by uplifting respect for the creativity of suffering eccentrics. Van Genk himself was notably interested in this subject, which he experienced as an insulting challenge to his existence as an artist. He owned Johannes H. Plokker's Art from the Mentally Disturbed: The Shattered Vision of Schizophrenics in no fewer than three languages. In his rather polemical study Plokker denies the ability of the mentally ill to make real art, which Plokker argues presupposes an “integrated personality.” The severity of this judgment, which takes refuge in incredibly neat distinctions between the sick and healthy, goaded van Genk on, worsening his persecution complex yet motivating him to disprove his enemies by creating his art.

Willem van Genk had symptoms related to autism and paranoid schizophrenia. Even before his traumatic adolescent incident at the hands of the Gestapo, young Willem had great difficulty learning in certain subjects, yet some perceived his remarkably tangled talent. Then the experience with the Gestapo, compounded by abuse from his father, contributed to a lifelong paranoia, which in turn became a defining characteristic of his art. Van Genk's fear of authority was arguably at least partly justified by traumas inflicted upon him: childhood abuse by his father and the Gestapo, involuntary servitude in a workhouse for the mentally disabled as a young adult, then ultimately his two arrests and involuntary commitments to psychiatric care as an old man. But if he had good reason to feel himself persecuted by powerful figures and bureaucracies, the consequence was undeniably a maladjusted, antisocial paranoia, such that, to cite the most striking example, his apartment was discovered carpeted by a layer of dog excrement.

The artist had a variety of symptoms. He repeatedly confessed to hearing unreal voices—a classic symptom of schizophrenia. He was quite lonely, once telling his dealer Nico Van Der Endt, whom he addressed in the third person, "Nico Van Der Endt is the most solid comrade I've got, and that's purely on a commercial basis."  He also had a hoarding compulsion, in evidence not only in his obsessive collecting of raincoats (eventually numbering in the hundreds) but also in his reluctance to part with his own work.

Sexuality
The artist also had sexual anxieties: in 1987 he complained that the proliferation of hair salons across The Hague was “restricting his freedom of movement. The sight of long hair in frothy shampoo arouse(d) sexual feelings that he ha(d) difficulty keeping under control…” The following year in 1988 van Genk made a painting called The Hairdresser's Salon, a composite image divided by a grid into 32 equally sized squares, with macabre imagery suggesting, in conjunction with his revealing comment, a fear of women.

Van Genk's sexual frustration was variously expressed. In 1980 he commented: “If they take my dog away, I’ll molest the little boys.” Later he complained, “You're discriminated against because you don't have a little lady friend, they think you're a fairy, there are two gays living in my street, and the thing is, they look down at you too, you can't expect anything from them either.” Prompted by such comments, as well as the inscription ‘“Artistic” homosexual in the Ark’ (originally in Dutch, ‘“Artistieke’ homophiel in de Ark’) in van Genk's Self-portrait in the Ark ("Zelfportrait in de Ark"), Van Der Endt confronted the artist:  “So you're a homosexual?” The artist replied, “No, no, that was a mistake.” Whatever the mystery of Van Genk's desire really was, it was not resolved in his lifetime.
Nico Van Der Endt suggests that the artist's libido was displaced onto fetish objects, and that van Genk was especially  “aroused” by trains and raincoats. Van Der Endt has also made the related suggestion that van Genk's work is loaded with sexual subtexts: trains and zeppelins as phallic symbols of potency, raincoats as condom-like prophylactics, and more. This sexualized reading, though it may indeed clarify the artist's confused and frustrated feelings, is inadequate as an explanation of the artist's conscious intentions. Van Der Endt himself explicitly allows that it is “impossible to offer one comprehensive interpretation,” but claims that essentially “his work is concerned with order, power and impotence.”

Reputation as outsider
Van Genk occupies a paradoxical position as one of the official masters of Outsider Art. Raw Vision, the leading magazine devoted to the subject, has twice included van Genk on its list of masters, and the artist has been the subject of considerable attention from European museums devoted to Outsider Art/Art Brut. In 2014 was the subject of an exhibition at the American Folk Art Museum, the leading American museum in this field.

Van Genk the man was certainly an outsider, with his mental difficulties resulting in his social marginalization. As a boy he repeatedly failed in schools, as a young man he was forced into compulsory labor for the disabled, and as an old man he was at least twice involuntarily committed to psychiatric institutions. He complained of his friendlessness. In the straightforward, common sense of the word, there can be no denying that, as a person, van Genk was an outsider.

Yet his status as an Outsider Artist was questioned by the Los Angeles County Museum of Art (LACMA) on the occasion of its survey exhibition “Parallel Visions” in 1992, when the museum held van Genk's partial success in achieving official recognition against him. Van Genk, with his hoarding compulsion, hated to part with his work: one monograph claims that he felt parting with a painting was like having a limb amputated.  Yet he also desired official recognition, so his dealer devised a strategy of dissemination whereby, on the rare occasion when the dealer was allowed to sell a work, it was invariably to a museum. According to LACMA this strategic dissemination of works to museums, in order to maintain a minimal livelihood for the artist and elevate his status, violated “a basic criterion: outsider art must not be created for the public.” If accepted, however, this exclusion would place van Genk outside any clear categorization as an artist. Furthermore, it was only the paintings and drawings which were made with the idea of public exhibition in mind: the trolleybuses and raincoat hoard were, on the contrary, private projects, qualifying as Outsider Art even in accordance with LACMA's exclusive definition.

Work

Genres
Art historians have distinguished four categories within van Genk's work:
approximately 100 drawings and paintings
his installation “Bahnhof Arnheim” and his collection of self-made trolleybuses
his collection of raincoats
his library
This scheme, including non-traditional art objects, is premised on the notion that the artist's life was itself an artwork, a notion current at the time through the legacy of Marcel Duchamp, the work of Joseph Beuys, the rise of performance art, etc. However, the artist's dealer Nico Van Der Endt disapproved of this classification, writing in his Chronicle: “I am not comfortable with the idea of exhibiting the raincoats, which are not art objects.” It is likewise unconventional to classify a library as a work of art, although it is common for art historians to consider an artist's books in order to reconstruct the artist's thought and possible source material.

Paintings and drawings
Willem van Genk made around 100 paintings, collages, and drawings, most of which feature cityscapes. These works are usually big (“between one and two metres wide”) and the product of extensive labor (“he tended to work on each one for a couple of years”). There are about 80 paintings/collages, “five monochrome etchings,” and finally a number of large ballpoint drawings that constitute the artist's late work.
Through 1960, the images were relatively traditional, panoramic depictions of European metropolises, with an especial emphasis on transportation: trains and train stations, zeppelins, trolleybuses, etc.  Later in the artist's career he adopted a modernist syntax of fragmentation, often cutting up pictures and recombining them in composite images distinguished by a jumpy, visual staccato. Several “painted boards or sheets of different sizes, put and held together with small nails and tape” were thus brought together to constitute a single composite work. While this montage technique of composition is by no means unique either to van Genk or artists struggling with debilitating mental illness (Willem de Kooning, for example, did something similar), in his case it is especially suggestive, as this fragmented syntax may be thought to parallel the symptoms of schizophrenia.

The artist incorporated images from other visual media into his collages: advertising copy, waste materials, and cuts of paper from travel brochures and history books. His work has an obsessive, cacophonous character that parallels the overwhelming scale and abrupt juxtapositions of the modern city. Titles and headlines were used as a commentary within the composite image. Composing with the different elements of the modern metropolis, the artist assumed a position of mastery, as if exercising an omnipotent supervision over the city and all its economic, social, and political processes.

Raincoats
Willem van Genk's fascination with long raincoats may be traced directly to the traumatic experience of his youth, when he was mistreated by the Gestapo, the men of which are recorded to have worn long leather jackets on the occasion. Van Genk incessantly collected long jackets, mostly of cheap plastic, eventually filling his apartment with hundreds. Van Genk seems to have treated these raincoats as fetishes endowed with sexual and defensive power. It seems as though van Genk thought that the Gestapo's power to harm was an emanation of their costumes, and that he sought to protect himself from the dangers of the world by appropriating their outerwear. Raincoats also appear as images in his paintings.

The collection of raincoats, eventually numbering in the hundreds, is the prime example of van Genk's hoarding fetish. The artist explained, "I once discarded a raincoat, and looking back, I regret that." When Van Gank was arrested and institutionalized and his apartment cleared in 1998, dozens of raincoats were removed.
As noted above (see "Genres"), the classification of van Genk's hoard of raincoats as works of art is controversial, and was not accepted by his dealer Nico Van Der Endt. Yet the raincoats entered the collection of the Museum De Stadshof in Zwolle at the initiative of Ans Van Berkum, and were interpreted as an integral part of van Genk's oeuvre in her 1998 monograph on the artist. The jackets have subsequently been included in exhibitions on the artist.

The Arnheim Bus Station Installation
Beginning in the 1980s, van Genk made nearly 70 miniature trolleybuses, constructing these toy-like models “out of plate material and selected waste material.” These trolleybuses were the constituent parts of a bigger installation of the Arnheim Bus Station that gradually colonized the living room of van Genk's apartment.

Library
In an essay on van Genk's library, Patrick Allegaert and Bart Marius repeatedly suggest that it should be considered an integral part of van Genk's artistic oeuvre. Van Genk read widely in at least three languages, with fluency in German and English as well as Dutch. His library housed books on many subjects reflecting his wide-ranging interests: "general art history, music history, art brut and naive art, Soviet Russian aviation, trains, buses, trams, sexuality, countries and cities, world history..." Allegaert and Marius note that there were no books on psychiatry in van Genk's library. Although Allegaert and Marius argue for the exceptional import of van Genk's library, claiming that "it is part of his artistic production," they only show how van Genk used his library as source material, an image bank to draw on and transform in his drawings, paintings, and collages: "And herein lies the importance of his library," they write. "The realism and accurateness of his work were made possible thanks to the visual memory bank to which van Genk had access in his books." It is not uncommon, however, for artists to use books as source material. What is uncommon is to consider the source material part of the artistic production.

Themes and meaning
Cityscapes predominate as the main subject of van Genk's work, and within the city he was especially drawn to transport sites. For this latter reason he referred to himself as “King of Stations.” This title, designating a ruler, points to the theme of power, which has assumed a singular importance in the literature on the artist. As a consequence of various events in his life, the artist was acutely sensitive to power and powerlessness. While he fancied himself the all-powerful “King of Stations,” he was really an outsider, disabled and powerless, who felt himself attacked from all sides. Abused as a child by his father and as an adolescent by the Gestapo, subjected to compulsory labor as a young man (an experience he compared to being bullied in a concentration camp), and involuntarily seized on two occasions by the police in old age, Willem van Genk was as much a victim of external forces as he was of his own inner compulsions.

The 1944 incident with the Gestapo must have been especially terrifying in van Genk's case, since the Nazis were killing mentally disabled people like him starting in October 1939. The Gestapo incident was the origin of van Genk's obsessive raincoat fetish, with the artist appropriating the long jackets worn by the Gestapo in order to project an image of powerfulness and defend himself against enemies, real and imagined. Although this is the clearest case of the abuse of power translated into van Genk's art, this theme permeates his work.

Van Genk's life and work are both of a piece, with the art created in a desperate attempt to gain some autonomous control over his repeatedly violated life. In his panoramic images of cities, in Nico Van Der Endt's words, van Genk “is like a master architect wielding his power over the entire city.” In other words, these images are megalomaniacal fantasies at odds with the dominated circumstances of the artist's life. By the 1960s, however, the artist had achieved enough freedom to indulge his passion for travel after years of dreaming about foreign cities. van Genk's enthusiasm for travel is clearly reflected in his images of various cities.

Nico Van Der Endt has suggested that van Genk's art encodes a sexual symbolism, with trains, buses, and zeppelins as phallic symbols of power and the raincoats as condom-like wrappers. “The image of the locomotive,” he writes, “has an unmistakably sexual import: a powerful, gleaming black monster with fire inside, pumping its pistons and ejaculating hot, white steam.”
Van Genk, with abundant personal reasons to hate and fear Fascism, initially admired Communism as its putative opposite. In his art there are many depictions of Moscow, which reflect this early sympathy for Soviet Communism. As van Genk's longtime dealer, Nico van der Endt, has related, van Genk “saw Moscow as the capital city of the world's wretched outcasts. Even so, van Genk, like many others, ultimately lost all his faith in the political left, and in politics altogether. ‘Every culture discriminates’, he once said.” A painting of Prague from the mid-1970s, by its reference to the socialist reformer Alexander Dubček, suggests that the violent Soviet suppression of the Prague Spring in 1968 was decisive in van Genk's disavowal of communism. Thereafter the artist most admired the social democracies of Scandinavia. His last trip was to Stockholm, where he suffered his debilitating second stroke in 1997. When Nico Van Der Endt, who became the artist's dealer and closest associate, first encountered the work, he thought it was inimitable, before remembering Kafka's The Trial: "A tightly packed, teeming, and gloomy cityscape. I could not get over it. I had never seen anything like it before. I could not compare it to anything else. Yes, Kafka. The Trial. That is the first thing that I thought of."

References

Allegaert, Patrick; Calliau, Annime; van Berkum, Ans; Marius; Bart. Willem van Genk: Building A World of His Own. Tielt: Lanoo, 2010. 144 pages.
Allegaert, Patrick and Marius, Bart. "Art Travel Books." pp. 10–25.
Van Berkum, Ans. "A Bird Above the City." pp. 32–103.
Bijalji-Merin, Oto; et al. World Encyclopedia of Naïve Art. London: Fredrick Muller,
1984.
Van Berkum, Ans; Satink, Carolien; van der Endt, Nico. Willem van Genk: een getekende wereld/ Willem van Genk: A marked man and his world. Zwolle: Uitgeverij Waanders b.v., 1998.
Van der Endt, Nico. Willem van Genk: Chronicle of a Collaboration. Amsterdam: Uitgave, 2014. 136 pages. (In Dutch and English.)
Walda, Dick. Koning der stations. Amsterdam: De Schalm, 1997. (In Dutch.)

1927 births
2005 deaths
20th-century Dutch painters
Dutch male painters
Dutch printmakers
Outsider artists
People from Voorburg
20th-century printmakers
People with schizophrenia
Dutch people with disabilities
Artists with autism
Ballpoint pen art
20th-century Dutch male artists


title: Orocrambus dicrenellus

text:
Orocrambus dicrenellus is a moth in the family Crambidae. This species was first described by Edward Meyrick in 1882 under the name Crambus dicrenellus. It is endemic to New Zealand. It has been recorded from the central part of the South Island.

The wingspan is 29–33 mm. Adults have been recorded on wing from November to February.

References

Crambinae
Moths described in 1882
Moths of New Zealand
Endemic fauna of New Zealand
Taxa named by Edward Meyrick
Endemic moths of New Zealand


title: Orocrambus enchophorus

text:
Orocrambus enchophorus is a moth in the family Crambidae. It was described by Edward Meyrick in 1885. It is endemic to New Zealand. It has been recorded from the South Island and North Island. The lives in lowland to alpine grassland habitat.

Description

The wingspan is 24–40 mm. Adults have been recorded on wing from November to February.

The larvae feed on Poa annua, Poa cita (formerly Poa caespitosa), Agrostis tenuis, Bromus catharticus and Festuca arundinacea.

References

Crambinae
Moths of New Zealand
Moths described in 1885
Endemic fauna of New Zealand
Taxa named by Edward Meyrick
Endemic moths of New Zealand


title: Orocrambus ephorus

text:
Orocrambus ephorus is a moth in the family Crambidae. It was described by Edward Meyrick in 1885. It is endemic to New Zealand. It has been recorded from the South Island. The species' preferred habitat consists of alpine tussock grasslands.

The wingspan is 31–39 mm. Adults have been recorded on wing from November to February.

References

Crambinae
Moths described in 1885
Moths of New Zealand
Endemic fauna of New Zealand
Taxa named by Edward Meyrick
Endemic moths of New Zealand


title: Orocrambus fugitivellus

text:
Orocrambus fugitivellus is a moth in the family Crambidae. It is endemic to New Zealand. It is classified as critically endangered by the Department of Conservation.

Taxonomy
This species was first described by George Hudson in 1950 using a specimen collected by R. D. Dick in 1939 in an area adjacent to Grays River in the Mackenzie country. Hudson named the species Crambus fugitivellus. In 1975 David Edward Gaskin assigned Crambus fugitivellus to the genus Orocrambus. The type specimen of O. fugitivellus is held in the Hudson collection at Museum of New Zealand Te Papa Tongarewa.

Description
The larvae of this species have yet to be described. The wingspan of the adult male is 18–19 mm. In appearance the adult male of O. fuitivellus is similar to O. aethonellus but differs in the more abrupt tapering of its forewings and the very oblique termen. The female of the species is brachypterous.

Distribution
Orocrambus fugitivellus is endemic to New Zealand. The Grays River wetlands in the Mackenzie Basin is the only area where this species has been recorded. Male adults of the species have been recorded on wing in February and are active during the day.

Host plants
Although this species inhabits shrub/grasslands its host plants have yet to be discovered.

Conservation status
This species has the "Nationally Critical" conservation status under the New Zealand Threat Classification System. It has been recommended that the type locality of O. fugitivellus, the Grays River wetlands, be protected to help conserve the species.

References

External links

 Holotype specimen of species

Crambinae
Moths described in 1950
Taxa named by George Hudson
Endangered biota of New Zealand
Endemic moths of New Zealand


By location
 Lists of fossiliferous stratigraphic units in Africa
 List of fossiliferous stratigraphic units in Antarctica
 Lists of fossiliferous stratigraphic units in Asia
 List of fossiliferous stratigraphic units in the Caribbean
 Lists of fossiliferous stratigraphic units in Europe
 Lists of fossiliferous stratigraphic units in North America
 Lists of fossiliferous stratigraphic units in Canada
 Lists of fossiliferous stratigraphic units in the United States
 Lists of
 Lists of

By preserved taxon
 List of dinosaur-bearing stratigraphic units
 List of phytosaur-bearing stratigraphic units
 List of plesiosaur-bearing stratigraphic units
 List of pterosaur-bearing stratigraphic units
 List of thalattosuchian-bearing stratigraphic units

See also
List of fossil sites

Stratigraphy

fossiliferous stratigraphic
Fossiliferous stratigraphic


title: Orocrambus geminus

text:
Orocrambus geminus is a moth in the family Crambidae. It was described by Brian H. Patrick in 1991. It is endemic to New Zealand. The species has been recorded in Central Otago. The habitat consists of wet low alpine areas.

References

Crambinae
Moths described in 1991
Moths of New Zealand
Endemic fauna of New Zealand
Endemic moths of New Zealand


title: Lists of fossiliferous stratigraphic units in the United Kingdom

text:
List of fossiliferous stratigraphic units in England
List of fossiliferous stratigraphic units in Wales
List of fossiliferous stratigraphic units in Scotland
List of fossiliferous stratigraphic units in Northern Ireland

United Kingdom geology-related lists
 United Kingdom


title: Malaysia at the 1978 Commonwealth Games

text:
Malaysia competed in the 1978 Commonwealth Games held in Edmonton, Alberta, Canada from 3 to 12 August 1978.

Medal summary

Medals by sport

Medallists

Athletics

Men
Track and road events

Field event

Women
Track events

Key
Note–Ranks given for track events are within the athlete's heat only
Q = Qualified for the next round
q = Qualified for the next round as a fastest loser or, in field events, by position without achieving the qualifying target
NR = National record
N/A = Round not applicable for the event
Bye = Athlete not required to compete in round

Badminton

Shooting

Men

Swimming

Women

Weightlifting

Men

References

Malaysia at the Commonwealth Games
1978 in Malaysian sport
Nations at the 1978 Commonwealth Games


title: Danny Pittman

text:
Danny Ray Pittman (born April 3, 1958) is a former American football wide receiver who played five seasons in the National Football League (NFL) with the New York Giants and St. Louis Cardinals. He was drafted by the New York Giants in the fourth round of the 1980 NFL Draft. He first enrolled at Pasadena City College before transferring to the University of Wyoming and attended John Muir High School in Pasadena, California.

References

External links
Just Sports Stats
College stats

Living people
1958 births
Players of American football from Louisiana
American football wide receivers
African-American players of American football
Wyoming Cowboys football players
New York Giants players
St. Louis Cardinals (football) players
Players of American football from Memphis, Tennessee
21st-century African-American people
20th-century African-American sportspeople


title: Suomen leijona

text:
Suomen leijona (), The Lion of Finland, is a marker light and radio beacon in the Northern Baltic Sea operated by the Finnish Maritime Administration, located approximately  Southwest of the island of Utö, six kilometers outside the Finnish territorial waters but inside the country's exclusive economic zone.

Suomen leijona lighthouse
The original Suomen leijona (), The Lion of Finland, was a caisson lighthouse; a steel tower resting on a concrete caisson, equipped with a helicopter platform and powered by a wind generator. The lighthouse had a futuristic design with a helipad on the top of a downward tapering tower, which made great demands on the foundation and the bottom of the tower. In 1992 it was discovered that the foundation had been under-mined and that the lighthouse was threatening to collapse. The problem was remedied by filling with rubble, but the problem recurred in 2004. Deemed too dangerous to repair the lighthouse, it was demolished in 2005 and replaced by the much smaller, marker light / radio beacon.

References

External links
the lighthouse tower at Kotka, similar to the original light-house

Lighthouses completed in 1987
Towers completed in 1987
Lighthouses in Finland


title: Scott Paluch

text:
Scott Paluch is the director of player development for USA Hockey and a former ice hockey player and coach.

Career
After being selected by St. Louis in the 5th round of the 1984 NHL Entry Draft, Paluch debuted for Bowling Green a year after the Falcons won the National Championship. In four years under Jerry York Paluch was the team's top scoring defenseman three times, helping the Falcons win a regular season title and tournament title while also serving as team captain in his senior season. After graduating Paluch played two seasons with Peoria before retiring.

Paluch returned to Bowling Green as a volunteer assistant coach in 1990-91, remaining there until 1994 when he followed his former coach, Jerry York, to Boston College. Paluch remained in Boston for eight years before returning to his alma mater as head coach, replacing Buddy Powers in 2002–03. Paluch was tasked with repairing the fading program and while the Falcons produced some respectable years, Paluch was unable to get Bowling Green a winning season. Shortly after the 2008 economic crash, it was revealed that eliminating the University's varsity program was being considered as a way to save money. In the midst of the program's uncertainty Paluch accepted an offer to join USA Hockey, leaving assistant coach Dennis Williams to serve as interim coach for the 2009–10 season.

Paluch has continued with USA Hockey since 2009 and is currently the Regional Manager, American Development Model.

Career statistics

Head coaching record

Awards and honors

References

External links

1966 births
Living people
Boston College Eagles men's ice hockey coaches
Peoria Rivermen (AHL) players
Bowling Green Falcons men's ice hockey players
Bowling Green Falcons ice hockey coaches
Sportspeople from Chicago
St. Louis Blues draft picks
Ice hockey coaches from Illinois
Ice hockey people from Chicago
American men's ice hockey defensemen
AHCA Division I men's ice hockey All-Americans


title: Karonga North West (Malawi Parliament constituency)

text:
Karonga North West is a constituency for the National Assembly of Malawi, located in the Karonga District of Malawi's Northern Region. It elects one Member of Parliament by the first past the post system. The constituency is currently represented by Democratic Progressive Party MP James Bond Kamwambi.

Election results

References

Constituencies of the National Assembly of Malawi


title: Domenico Mondo

text:
Domenico Mondo (1734 in Capodrise near Caserta – 1806 in Naples) was an Italian painter, active in both a late Baroque  and Neoclassical styles.

Biography
He studied under Francesco Solimena. Mondo became director of the Neapolitan Royal Academy of Fine Arts from 1789–1805. He was the author of an altarpiece at Sant'Aspreno ai Vergini in Naples, and frescoes in the Royal Palace of Caserta in 1785, like the Le Armi di Casa Borbone sostenute dalle virtù, in the Alabardieri room. He also painted for the parish churches of Sant'Andrea Apostolo and of the Immaculate Conception of Capodrise; and for the church of Ave Gratia Plena in Marcianise. In the palace of Caserta, he painted decorations for the Hall of the Alabardieri, a job for which he was chosen by Luigi Vanvitelli.

References

1734 births
1806 deaths
18th-century Italian painters
Italian male painters
19th-century Italian painters
Painters from Naples
19th-century Italian male artists
18th-century Italian male artists


title: Malaysia at the 1982 Commonwealth Games

text:
Malaysia competed in the 1982 Commonwealth Games held in Brisbane, Queensland, Australia from 30 September to 9 October 1982.

Medal summary

Medals by sport

Medallists

Badminton

References

Malaysia at the Commonwealth Games
Nations at the 1982 Commonwealth Games
1982 in Malaysian sport


title: FC Advis Khmelnytskyi

text:
FC Advis Khmelnytskyi was a Ukrainian football club from Khmelnytskyi. In 1994–95 and 1995–96 seasons played at the professional level. In 1995 it merged with FC Temp Shepetivka, after which Temp in the Ukrainian First League was replaced with Temp-Advis, while Advis – with Temp-Advis-2. Thus, FC Advis Khmelnytskyi became the second squad of the new Temp-Advis club. However after playing only seven games in a new season, the team withdrew and its results were annulled.

League and cup history

{|class="wikitable"
|-bgcolor="#efefef"
! Season
! Div.
! Pos.
! Pl.
! W
! D
! L
! GS
! GA
! P
!Domestic Cup
!colspan=2|Europe
!Notes
|}

References

Football clubs in Khmelnytskyi Oblast
Advis Khmelnytskyi
Sport in Khmelnytskyi, Ukraine
Association football clubs disestablished in 1998
1998 disestablishments in Ukraine


title: Karonga Central (Malawi Parliament constituency)

text:
Karonga Central is a constituency for the National Assembly of Malawi, located in the Karonga District of Malawi's Northern Region. It elects one Member of Parliament by the first past the post system. The constituency is currently vacant.

Election results

References

Constituencies of the National Assembly of Malawi


title: The Commonwealth (Pittsburgh)

text:
The Commonwealth was a weekly newspaper published in Pittsburgh, Pennsylvania from 1805 to 1818, before continuing as The Statesman until 1836. It was the city's third newspaper, and one of several in the ancestral lineage of the Pittsburgh Post-Gazette.

Origin
The Commonwealth was born out of dissension in the ranks of the Democratic-Republican Party in Pennsylvania. The conflict pitted a moderate "Constitutionalist" faction (called "Quids" by opponents), supporting Governor Thomas McKean, against the "Friends of the People," who favored radical legal and judicial reform and sought to defeat the governor's re-election. Ephraim Pentland, a 20-year-old journalist who had been employed at the Aurora in Philadelphia, established the Commonwealth to give voice in Pittsburgh to the radical cause in opposition to the Quid-oriented Tree of Liberty and the Federalist-leaning Gazette. The paper first appeared on 24 July 1805 as a four-column folio sold at $3 per year. It adopted the Pennsylvania state motto — "Virtue, Liberty and Independence" — as its own.

Stewart-Bates duel
Pentland's columns teemed with personal abuse, which grew especially bitter following McKean's victory over Simon Snyder in the 1805 gubernatorial election. An editorial on Christmas Day bashed Tarleton Bates and Henry Baldwin, associates of the Tree of Liberty'''s nominal publisher Walter Forward, as "despicable sycophants" and "two of the most abandoned political miscreants that ever disgraced the state." Bates struck back at his detractor on the street, with two or three lashes of a cowhide whip. Pentland some time later issued a challenge to a duel, which Bates declined. In publishing his account of the affair in the Tree of Liberty, Bates gave offense to Thomas Stewart, a merchant who had carried Pentland's challenge to Bates. Stewart, after failing to receive an apology, challenged Bates, who fatefully accepted. In the duel Bates was killed on the second exchange of fire.

Pentland departure, successors
In 1810 Pentland left journalism to focus on his law practice and political career. The Commonwealth passed under the direction of Benjamin Brown, previously associated with the Washington, Pennsylvania Reporter. Brown, whose political views were similar to Pentland's, remained with the paper until 1814.

Following Brown's departure, a succession of others carried on the Commonwealth until 1818. Members of one publishing group, upon taking charge, complained that "They have found the establishment which has fallen into their hands sickening from the neglect of its former friends, and drooping from the desertion of its old patrons."

The Statesman
In 1818, Pentland re-established control of the paper with printer Silas Engles and renamed it The Statesman. Pentland had by this time become less radical in his politics.

Pentland's father-in-law, Senator Abner Lacock, who had regularly contributed columns to the Commonwealth, used the Statesman as a political weapon and was sometimes suspected of writing for the paper under the alias "Hannibal."

The Statesman passed through the hands of John W. Young, and was owned in 1824 by John C. and P. C. M. Andrews. Looking toward that year's presidential election, the latter editors came out for caucus candidate William H. Crawford and against the popular Andrew Jackson. Opposition to Jackson was to be an enduring characteristic of the journal.

An 1826 directory spoke of the Statesman as "in a more flourishing condition than it has been for many years, owing to the late improvement of its appearance and the addition to the editorial department." In the same year the paper announced a semiweekly edition with the title Statesman and Pittsburgh Public Advertiser, which is not known to have lasted long.

Butler era
In July 1827, John B. Butler, formerly of the Ravenna, Ohio Western Courier, bought the Statesman and assumed its management. Butler continued the paper's anti-Jackson stance, and during the presidential campaign of 1828, supposedly put out Coffin Handbills attacking Jackson.

Under Butler's direction the Statesman became a proponent of the nascent Whig Party.

An active Freemason, Butler feuded editorially with the Times and the Gazette, which in the 1830s were the local Anti-Masonic organs.

Consolidation
In 1836 the Statesman was sold to and consolidated with another Whig journal, the Advocate. Published daily, the Advocate also issued a weekly edition, which, as the successor of the weekly Statesman, was renamed the Weekly Advocate and Statesman. The Advocate was eventually absorbed by the Gazette, a predecessor of the Pittsburgh Post-Gazette''.

References

Defunct newspapers published in Pittsburgh
Defunct weekly newspapers
Publications established in 1805
Publications disestablished in 1836
1805 establishments in Pennsylvania
1836 disestablishments in Pennsylvania


title: Karonga Nyungwe (Malawi Parliament constituency)

text:
Karonga Nyungwe is a constituency for the National Assembly of Malawi, located in the Karonga District of Malawi's Northern Region. It elects one Member of Parliament by the first past the post system. The constituency is currently represented by Kenneth Ndovie, who won on independent ticket. Kenneth Ndovie is currently affiliated with the United Transformation Movement [UTM].

Election results

References

Constituencies of the National Assembly of Malawi


title: Karonga South (Malawi Parliament constituency)

text:
Karonga South is a constituency for the National Assembly of Malawi, located in the Karonga District of Malawi's Northern Region. It elects one Member of Parliament by the first past the post system. The constituency is currently represented by People's Party MP Malani Mtonga.

Election results

References

Constituencies of the National Assembly of Malawi


title: Sean Hill (American football)

text:
Sean Terrell Hill (born August 14, 1971) is a former American football defensive back who played three seasons with the Miami Dolphins of the National Football League (NFL). He was drafted by the Dolphins in the seventh round of the 1994 NFL Draft. Hill played college football at Montana State University and attended Widefield High School in Colorado Springs, Colorado. He was also a member of the Detroit Lions. He was inducted into the Montana State University Hall of Fame as part of the class of 2016.

References

External links
Just Sports Stats
Fanbase profile

Living people
1971 births
Players of American football from Michigan
American football defensive backs
African-American players of American football
Montana State Bobcats football players
Miami Dolphins players
People from Dowagiac, Michigan
21st-century African-American sportspeople
20th-century African-American sportspeople


title: Malaysia at the 1990 Commonwealth Games

text:
Malaysia competed in the 1990 Commonwealth Games held in Auckland, New Zealand from 24 January to 3 February 1990.

Medal summary

Medals by sport

Medallists

Athletics

Men
Track event

Field event

Women
Track event

Key
Note–Ranks given for track events are within the athlete's heat only
Q = Qualified for the next round
q = Qualified for the next round as a fastest loser or, in field events, by position without achieving the qualifying target
NR = National record
N/A = Round not applicable for the event
Bye = Athlete not required to compete in round

Badminton

Cycling

Road

Track
Points race

Swimming

Men

References

Malaysia at the Commonwealth Games
Nations at the 1990 Commonwealth Games
1990 in Malaysian sport


title: Leandro Marín

text:
Lucas Leandro Marín (born 22 January 1992) is an Argentine footballer who plays for Spanish club Inter de Madrid as a right-back.

Club career
Leandro scored his first goal against Rosario Central in the 2014 Copa Sudamericana on 4 September 2014, the match ended 1-1.

Career statistics

References

External links

1992 births
Living people
People from Neuquén
Argentine men's footballers
Argentine expatriate men's footballers
Men's association football defenders
Boca Juniors footballers
Club Atlético Tigre footballers
Arsenal de Sarandí footballers
FC Lausanne-Sport players
Club Atlético Patronato footballers
Internacional de Madrid players
Argentine Primera División players
Swiss Super League players
Primera Federación players
Argentine expatriate sportspeople in Switzerland
Argentine expatriate sportspeople in Spain
Expatriate men's footballers in Switzerland
Expatriate men's footballers in Spain


title: Orocrambus haplotomus

text:
Orocrambus haplotomus is a moth in the family Crambidae. It was described by Edward Meyrick in 1883. This species is endemic to New Zealand. O. haplotomus has been recorded from the areas around Lake Te Anau and Lake Wakatipu in the South Island.

The wingspan is 19–28 mm for males and 25–30 mm for females.

References

Crambinae
Moths described in 1883
Moths of New Zealand
Endemic fauna of New Zealand
Taxa named by Edward Meyrick
Endemic moths of New Zealand


title: Orocrambus harpophorus

text:
Orocrambus harpophorus is a moth in the family Crambidae. It was described by Edward Meyrick in 1882. It is endemic to New Zealand. The species has been recorded from the South Island and North Island.

The wingspan is 25–29 mm.

References

Crambinae
Moths described in 1882
Moths of New Zealand
Endemic fauna of New Zealand
Taxa named by Edward Meyrick
Endemic moths of New Zealand


title: Orocrambus heliotes

text:
Orocrambus heliotes is a moth in the family Crambidae. It was described by Edward Meyrick in 1888. This species is endemic to New Zealand.  O. heliotes has been recorded in the South Island and the North Island. The habitat it prefers consists of swampy tussock grasslands and margins of slow-moving streams.

The wingspan is 14–17 mm for males and 15–20 mm for females. Adults have been recorded from early November to early February.

The larvae feed on Sphagnum, Funaria and Breutelia species, as well as Juncus bufonius.

References

Crambinae
Moths described in 1888
Moths of New Zealand
Endemic fauna of New Zealand
Taxa named by Edward Meyrick
Endemic moths of New Zealand


title: Orocrambus heteraulus

text:
Orocrambus heteraulus is a moth in the family Crambidae. It was described by Edward Meyrick in 1905. It is endemic to New Zealand. This species has been recorded to inhabit the Humboldt Range and the Routeburn Valley.

The wingspan is 28–35 mm. Adults have been recorded from in December and February.

References

Crambinae
Moths described in 1905
Endemic fauna of New Zealand
Moths of New Zealand
Taxa named by Edward Meyrick
Endemic moths of New Zealand


title: Orocrambus horistes

text:
Orocrambus horistes is a moth in the family Crambidae. It was described by Edward Meyrick in 1902. O. horistes is endemic to New Zealand, where it has only been recorded from the Chatham Islands.

The wingspan is 25–29 mm. Adults have been recorded from December to January.

References

Crambinae
Moths described in 1902
Moths of New Zealand
Endemic fauna of New Zealand
Taxa named by Edward Meyrick
Endemic moths of New Zealand


title: Orocrambus isochytus

text:
Orocrambus isochytus is a moth in the family Crambidae. It was described by Edward Meyrick in 1888. This species is endemic to New Zealand.  It is found in the Nelson area as defined by the Crosby codes, the New Zealand Area Codes for recording specimen localities.  It has been recorded from Mount Arthur and Mount Peel. The habitat of this species consists of alpine tussock grasslands.

The wingspan is 35–41 mm. Adults have been recorded from December to February.

References

Crambinae
Moths described in 1888
Moths of New Zealand
Endemic fauna of New Zealand
Taxa named by Edward Meyrick
Endemic moths of New Zealand


title: Malaysia at the 1994 Commonwealth Games

text:
Malaysia competed in the 1994 Commonwealth Games held in Victoria, British Columbia, Canada from 18 to 28 August 1994.

Medal summary

Medals by sport

Medallists

Athletics

Men
Track events

Field events

Women
Track events

Key
Note–Ranks given for track events are within the athlete's heat only
Q = Qualified for the next round
q = Qualified for the next round as a fastest loser or, in field events, by position without achieving the qualifying target
NR = National record
N/A = Round not applicable for the event
Bye = Athlete not required to compete in round

Badminton

Boxing

Men

Cycling

Road

Track
Points race

Scratch race

Gymnastics

Artistic
Women

Rhythmic

Lawn bowls

Four bowlers represented for Malaysia in lawn bowls.

Shooting

Men

Women

Weightlifting

Men

References

1994 in Malaysian sport
Malaysia at the Commonwealth Games
Nations at the 1994 Commonwealth Games


title: Orocrambus jansoni

text:
Orocrambus jansoni is a species of moth in the family Crambidae. It is endemic to New Zealand. This species is classified as "At Risk, Naturally Uncommon" by the Department of Conservation.

Taxonomy
This species was described by David Edward Gaskin in 1975 using a specimen he collected at Waiouru. The holotype specimen is held at the New Zealand Arthropod Collection.

Description
Gaskin described the species as follows:

Distribution
This species is endemic to New Zealand. It has been recorded from the central part of the North Island, east of Mount Ruapehu.

Biology and behaviour
O. jansoni are active during the day. Adults have been recorded on the wing from December to February. The female of the species is a more reluctant flier than the male. The species has been trapped with ultra-violet light as well as mercury vapour lamp traps. It has also been collected by netting or sweeping likely grasses.

Host species and habitat
The host species of this moth is unconfirmed but it has been hypothesised that it is likely Rytidosperma pulchrum as females of the species have been discovered at the base of this plant. O. jansoni is known to inhabit roadside grasslands along the Desert Road north of Waiouru, and has also been collected at the Rangitaiki Frost Flats. It is likely that it also inhabits New Zealand Defence Force land around Waiouru. It prefers open grassland habitat.

Conservation status
This species has been classified as having the "At Risk, Naturally Uncommon" conservation status under the New Zealand Threat Classification System.

References

Crambinae
Moths described in 1975
Moths of New Zealand
Endemic fauna of New Zealand
Endangered biota of New Zealand
Endemic moths of New Zealand


title: Orocrambus lectus

text:
Orocrambus lectus is a moth in the family Crambidae. It was described by Alfred Philpott in 1929. It is endemic to New Zealand, where it has been recorded from Fiordland and north-western Nelson. The habitat of this species consists of subalpine and alpine areas. Adults have been recorded from December to February. Adults of this moth are known to pollinate Olearia virgata.

References

Crambinae
Moths described in 1929
Moths of New Zealand
Endemic fauna of New Zealand
Endemic moths of New Zealand


title: Leonard John Rose

text:
Leonard John Rose (1827 – May 17, 1899) was a California pioneer and politician who served in the California State Senate. He was one of the leaders of the ill-fated Rose-Baley Party, the first emigrant wagon train to attempt the journey from New Mexico to California via Beale's Wagon Road. Rose is the namesake of Rosemead, California.

Life and career

Rose was born in the Kingdom of Bavaria, in 1827. He came with his parents to the United States when he was 12 years old. He spent his youth and received his education in Illinois, and in 1848 moved to Keosauqua, Iowa where became a wealthy merchant.  In April 1858, with 200 head of fine cattle and 50 horses, he set out, with 19 other young men, for California by the 35th parallel route. While traveling through Kansas, the Rose company merged with one led by Gillum Baley, forming the Rose-Baley Party.
  After suffering immense hardships, including attacks by hostile Indians, and a 500-mile trek back Albuquerque, New Mexico with the other survivors of the Indian attack, Rose and his family went to Santa Fe where they stayed for two years running an inn called La Fonda. They continued their journey, by way of the Butterfield Stage Route, reaching Los Angeles in November, 1860.

Rose's record and great success as a vineyardist and orchardist on a large scale, and as a raiser of fine stock, was well known. Early American settlers in Los Angeles gravitated to the moist lands on which corn could be raised without irrigation. But Rose, following the example of Don Benito Wilson and one or two others, went to the foothills, where abundant water could be saved or developed, before it sank into the plains, and where heavy frosts were unknown, and demonstrated on a magnificent scale the possibilities of the citrus and grape industries on those foothills lands. Rose served Los Angeles county as state senator for the term commencing in 1887, and also as a member of the State Viticultural Society, and of the State Board of Agriculture.

A series of bad investments in California and Nevada between 1887 and 1897 led to his financial ruin. He committed suicide at his home in Los Angeles at the age of 72. Rose was survived by wife Amanda nee Jones whom he had married in 1851 and eight of their sons and daughters. Their son Guy Rose was a well-known Impressionist landscape painter.

References

External links
Join California L. J. Rose

1827 births
1899 deaths
Bavarian emigrants to the United States
California state senators
19th-century American politicians
Rosemead, California


title: Orocrambus lewisi

text:
Orocrambus lewisi is a moth in the family Crambidae. It was described by David E. Gaskin in 1975. It is endemic to New Zealand, where it has been recorded from the South Island, Stephens Island and the south-west tip of the North Island.

The wingspan is 28–30 mm. The forewings are yellow brown with a white median streak, bordered by dark brown. The hindwings are shining brownish white. Adults have been recorded from October to March.

The larvae feed on Poa cita (formerly Poa caespitosa).

References

Crambinae
Moths of New Zealand
Moths described in 1975
Endemic fauna of New Zealand
Endemic moths of New Zealand


title: Orocrambus lindsayi

text:
Orocrambus lindsayi is a moth in the family Crambidae. It was described by David E. Gaskin in 1975. It is found in New Zealand, where it has been recorded from Mount Ida in Otago.

The wingspan is about 22 mm. The forewings are grey, sprinkled with white and dark brown. The hindwings are greyish white. Adults have been recorded in February.

References

Crambinae
Moths described in 1975
Moths of New Zealand
Endemic fauna of New Zealand
Endemic moths of New Zealand


title: Orocrambus machaeristes

text:
Orocrambus machaeristes is a moth in the family Crambidae. It was described by Edward Meyrick in 1905. It is endemic to New Zealand, where it has been recorded from north-western Nelson, south along the Southern Alps to Lake Wakatipu. This species prefers alpine habitat.

The wingspan is 19–25 mm. The forewings grey, sprinkled with white and dark brown. The hindwings are greyish white.

References

Crambinae
Moths described in 1905
Moths of New Zealand
Endemic fauna of New Zealand
Taxa named by Edward Meyrick
Endemic moths of New Zealand


title: Orocrambus melampetrus

text:
Orocrambus melampetrus is a moth in the family Crambidae. It was described by Alex Purdie in 1884. It is endemic to New Zealand, where it has been recorded from the South Island. The habitat consists of high alpine grasslands.

The wingspan is 24–28 mm.

References

Crambinae
Moths described in 1884
Endemic fauna of New Zealand
Moths of New Zealand
Endemic moths of New Zealand


title: Ty Krentler

text:
Walter Lisle "Ty" Krentler (April 23, 1895 - November 30, 1971), sometimes shown as Walter Lyle Krentler, was an American football player.  He played at the fullback position for the 1920 Detroit Heralds during the first regular season of the NFL (then known as the American Professional Football Association).  He also played college football for the University of Detroit in 1918 and 1919 and professional football for the Detroit Maroons in 1921.

Early years
Krentler was born in 1895 in Detroit, Michigan.   He attended Detroit's Eastern High School (now Martin Luther King High School and first gained notoriety in 1913 when he scored two touchdowns in the first five minutes of a game against Bay City Eastern High School.

Football player
After graduating from high school, Krentler enrolled at Washington & Jefferson College intending to play college football for the Washington & Jefferson Presidents, then one of the leading football programs in the country.  He left Washington & Jefferson due to "poor scholarship" and later enrolled at the University of Detroit.  He played for the Detroit Titans football team in 1918 and 1919.  After a game against the University of Michigan, the Detroit Free Press wrote that Krentler "showed the greatest exhibition of line plunging seen in a long while on Goldberg field."  He also worked in 1918 as an accident investigator for the Detroit United Railway.

In 1920, Krentler played for the Detroit Heralds during the first regular season of the National Football League (then known as the American Professional Football Association). The Heralds finished the 1920 season with a game against the Detroit Maroons for the city championship. Krentler scored the Heralds' only touchdown in the final minute of the third quarter.  The Maroons tied the game with a touchdown in the fourth quarter by fullback Schultz.

In 1921, Krentler played for the Detroit Maroons, a professional football team based in Detroit.

Family and later years
Krentler was married to Alice McClenmont in 1921.  They had two sons, Walter (born c. 1923) and Robert (born c. 1924).  In 1930, Krentler was living with his family in Detroit and was employed as a salesman of automobile tires.  Krentler and his wife divorced in 1938.

In 1940, Krentler lived in Detroit and was employed as a state sales tax auditor.  In 1942, he lived in Warren, Ohio, where he worked for the U.S. Navy at the Cleveland Diesel Motor Co. Krentler lived in his later years at St. Clair Shores, Michigan. He died there in 1971 at age 76.

References

1895 births
1971 deaths
Players of American football from Detroit
American football fullbacks
Detroit Heralds players
Detroit Titans football players
Washington & Jefferson Presidents football players
Martin Luther King Jr. Senior High School alumni


title: Orocrambus melitastes

text:
Orocrambus melitastes is a moth in the family Crambidae. It was described by Edward Meyrick in 1909. This species is endemic to New Zealand, where it has been recorded in  Southland, Otago and Westland. It is found from the subalpine zone down to sea level.

The wingspan is 17–22 mm. Adults are on wing from October to January.

References

Crambinae
Moths described in 1909
Moths of New Zealand
Endemic fauna of New Zealand
Taxa named by Edward Meyrick
Endemic moths of New Zealand


title: Orocrambus mylites

text:
Orocrambus mylites is a moth in the family Crambidae. It was described by Edward Meyrick in 1888. It is endemic to New Zealand, where it has been recorded in Nelson and Marlborough. It is found in the alpine zone.

The wingspan is 19–25 mm. The forewings are bluish-brown with greyish fascia. Adults are on wing from December to February.

The larvae feed on Chionochloa australis.

References

Crambinae
Moths described in 1888
Endemic fauna of New Zealand
Moths of New Zealand
Taxa named by Edward Meyrick
Endemic moths of New Zealand


title: Orocrambus oppositus

text:
Orocrambus oppositus is a moth in the family Crambidae. It was described by Alfred Philpott in 1915. It is endemic to New Zealand, where it has been recorded in Fiordland. It is found in alpine grasslands.

The wingspan is 29–31 mm. The forewings are dark bronze. The hindwings of the males are grey-brown, while those of the females are white. Adults are on wing from December to February.

References

Crambinae
Moths described in 1915
Moths of New Zealand
Endemic fauna of New Zealand
Endemic moths of New Zealand


title: Trichostetha coetzeri

text:
Trichostetha coetzeri is an afrotropical species of flower scarab beetle endemic to South Africa, where it occurs in the Cape Floristic Region. It was first described by Holm and Marais in 1988.

References

Endemic beetles of South Africa
Cetoniinae
Beetles described in 1988


title: Orocrambus ordishi

text:
Orocrambus ordishi is a moth in the family Crambidae. It was described by David E. Gaskin in 1975. This species is endemic to New Zealand, where it has been recorded from the central and eastern part of the South Island.

The wingspan is 30–34 mm for males and 28–32 mm for females. The forewings are golden brown with a white median streak. The hindwings are shining pale brown. Adults are on wing from late December to April.

References

Crambinae
Moths described in 1975
Endemic fauna of New Zealand
Moths of New Zealand
Endemic moths of New Zealand


title: Orocrambus ornatus

text:
Orocrambus ornatus is a moth in the family Crambidae. This species is endemic to New Zealand. It is classified as critically endangered by the Department of Conservation.

Taxonomy
O. ornatus was first described by Alfred Philpott in 1927 using a male specimen he collected in Golden Downs on 8 January 1926. Philpott named the species Crambus ornatus. George Vernon Hudson described and illustrated the species under the same name in 1939.  In 1975 David Edward Gaskin assigned Crambus ornatus to the genus Orocrambus.

Description
Philpott described the species as follows:

Distribution
This species is endemic to New Zealand and has been recorded in Golden Downs in the Tasman District as well as in the Nelson district.

Ecology and habitat
O. ornatus appears to prefer forest habitat. Adults have been recorded on wing in January.

Host plants
This species has been found to be associated with plants in the genus Uncinia.

Conservation status
This species has the "Nationally Critical" conservation status under the New Zealand Threat Classification System.

References

Crambinae
Moths described in 1927
Moths of New Zealand
Endemic fauna of New Zealand
Endangered biota of New Zealand
Endemic moths of New Zealand


title: Orocrambus paraxenus

text:
Orocrambus paraxenus is a moth in the family Crambidae. It was described by Edward Meyrick in 1885. It is endemic to New Zealand, where it has been recorded from the South Island. The habitat this species prefers consists of dry tussock areas.

The wingspan is 30–33 mm. Adults have been recorded on wing from December to February.

References

Crambinae
Moths described in 1885
Moths of New Zealand
Endemic fauna of New Zealand
Taxa named by Edward Meyrick
Endemic moths of New Zealand