title: Glen Keane

text: In December 2013, it was announced that Keane joined "Motorola's" Advanced Technology and Projects Group to help its engineers create interactive hand-drawn animation. He released his first animated short, "Duet", at the Google I/O Conference in San Francisco on June 25, 2014. It is the first hand-drawn cartoon made at 60 frames per second, and the third in a series of shorts, called the Spotlight Stories, designed to explore spatial awareness and the sensory inputs of a mobile device to create distinctive storytelling experiences. When Google sold its Motorola subsidiary in early 2014, Keane and his group remained there.


title: Glen Keane

text: In 2015, it was revealed that Keane and 16 other prominent artists and filmmakers had been hired by the Paris Opera to work on their 3rd Stage project.


title: Glen Keane

text: Keane is the creator of the animated short "Nephtali" (a reference to Jacob's blessings and Psalm 42), on which he collaborated with choreographer and ballet dancer Marion Barbeau.


title: Glen Keane

text: In addition to his work as an animator, Keane has written and illustrated a series of children's books based on Bible parables, featuring the characters Adam Raccoon and King Aren the Lion.


title: Glen Keane

text: Keane directed the Chinese animated film "Over the Moon", about a girl who builds a rocket and flies to the moon to meet a legendary moon goddess. Written by Audrey Wells, produced by Pearl Studio, and animated by Sony Pictures Imageworks, it was released on Netflix on October 23, 2020.


title: Glen Keane

text: At the 2018 Oscars, Keane shared the Academy Award for Best Animated Short Film with Kobe Bryant for "Dear Basketball", which was based on a poem Bryant wrote on his retirement. On May 26, 2018 Keane received the 2017 Reuben Award for the Cartoonist of the Year in his hometown of Philadelphia, PA.


title: Glen Keane

text: In 1975, during the production of his debut film, Keane married Linda Hesselroth. They are the parents of design artist Claire Keane and computer graphics artist Max Keane.


title: Glen Keane

text: Keane has been cited among artists with aphantasia, a condition characterized by an inability to form mental images. He is a Christian.


title: Monique Gabriela Curnen

text: Curnen was born on September 7, 1970. Her mother is from Puerto Rico, and her father is of German and Irish descent. She grew up in Framingham, Massachusetts and went to Williams College, where she concentrated on other studies. After college, she spent a year (1992–93) as a full-time intern at Unity House, the Minority Cultural Center, at Connecticut College in New London. She then moved to New York and started taking acting classes and going to auditions.


title: Monique Gabriela Curnen

text: Curnen has appeared in several films including "Bollywood Calling" (2001), "Half Nelson" (2006) and "The Dark Knight" (2008), in which she played corrupt Police Detective Anna Ramirez. She also played the colleague of Paul Walker's character Brian O'Connor in "Fast & Furious" (2009) in a cameo.


title: Monique Gabriela Curnen

text: She has also appeared in numerous television series including "Dexter" (in the season 1 episodes "Let's Give the Boy a Hand" and "Love American Style"), "House M.D." (in the episode "House Training", 2007) and "" (in the episode "Quickie", 2010). She played Detective Allison Beaumont in the 2009 police procedural drama series "The Unusuals". She has appeared on the television series "Sons of Anarchy", playing Amelia Dominguez. She appeared in the season finale of Season 2 of "Lie to Me" ("Black and White", 2010) as Detective Sharon Wallowski, whom she continued to play in Season 3 in a major recurring role. She appeared in a 2014 episode of the TV Series "Person of Interest" as Precinct Captain Moreno, and two episodes in Season 4 of the television series "Elementary" as Detective Gina Cortes and then in "The Mentalist" as Tamsin Wade in the fifth season. Curnen joined the main cast for the final (2019–20) season of the Starz television series "Power", playing Detective Blanca Rodriguez.


title: RYB color model

text: RYB (an abbreviation of red–yellow–blue) is a subtractive color model used in art and applied design in which red, yellow, and blue pigments are considered primary colors. Under traditional color theory, (which some artists see as the “correct theory” whilst others use modern color theory [cym] instead) this set of primary colors was advocated by Moses Harris, Michel Eugène Chevreul, Johannes Itten and Josef Albers, and applied by countless artists and designers. The RYB color model underpinned the color curriculum of the Bauhaus, Ulm School of Design and numerous art and design schools that were influenced by the Bauhaus, including the IIT Institute of Design (founded as the New Bauhaus), Black Mountain College, Design Department Yale University, the Shillito Design School, Sydney, and Parsons School of Design, New York.


title: RYB color model

text: In this context, the term "primary color" refers to three exemplar colors (red, yellow, and blue) as opposed to specific pigments. As illustrated, in the RYB color model, red, yellow, and blue are intermixed to create secondary color segments of orange, green, and purple. This set of primary colors emerged at a time when access to a large range of pigments was limited by availability and cost, and it encouraged artists and designers to explore the many nuances of color through mixing and intermixing a limited range of pigment colors. In art and design education, red, yellow, and blue pigments were usually augmented with white and black pigments, enabling the creation of a larger gamut of color nuances including tints and shades.


title: RYB color model

text: The RYB color model relates specifically to color in the form of paint and pigment application in art and design. Other common color models include the light model (RGB) and the paint, pigment and ink CMY color model, which is much more accurate in terms of color gamut and intensity compared to the traditional RYB color model, the latter emerging in conjunction with the CMYK color model in the printing industry.


title: RYB color model

text: The first scholars to propose that there are three primary colors for painters were Scarmiglioni (1601), Savot (1609), de Boodt (1609) and Aguilonius (1613). From these, the most influential was the work of Franciscus Aguilonius (1567–1617), although he did not arrange the colors in a wheel.


title: RYB color model

text: Jacob Christoph Le Blon was the first to apply the RYB color model to printing, specifically mezzotint printing, and he used separate plates for each color: yellow, red and blue plus black to add shades and contrast. In 'Coloritto', Le Blon asserted that “the art of mixing colours…(in) painting can represent all visible objects with three colours: yellow, red and blue; for all colours can be composed of these three, which I call Primitive”. Le Blon added that red and yellow make orange; red and blue, make purple; and blue and yellow make green (Le Blon, 1725, p6).


title: RYB color model

text: In the 18th century, Moses Harris advocated that a multitude of colors can be created from three "primitive" colors – red, yellow, and blue.


title: RYB color model

text: Mérimée referred to "three simple colours (yellow, red, and blue)" that can produce a large gamut of color nuances. "United in pairs, these three primitive colours give birth to three other colours as distinct and brilliant as their originals; thus, yellow mixed with red, gives orange; red and blue, violet; and green is obtained by mixing blue and yellow" (Mérimée, 1839, p245). Mérimée illustrated these color relationships with a simple diagram located between pages 244 and 245: Chromatic Scale (Echelle Chromatique)."De la peinture à l’huile : ou, Des procédés matériels employés dans ce genre de peinture, depuis Hubert et Jean Van-Eyck jusqu’à nos jours" was published in 1830 and an English translation by W. B. Sarsfield Taylor was published in London in 1839.


title: RYB color model

text: Similar ideas about the creation of color using red, yellow, and blue were discussed in "Theory of Colours" (1810) by the German poet, color theorist and government minister Johann Wolfgang von Goethe.


title: RYB color model

text: In "The Law of Simultaneous Color Contrast" (1839) by the French industrial chemist Michel Eugène Chevreul discussed the creation of numerous color nuances and his color theories were underpinned by the RYB color model.


title: RYB color model

text: Separate to the RYB color model, cyan, magenta, and yellow primary colors are associated with CMYK commonly used in the printing industry. Cyan, magenta, and yellow are often referred to as "process blue", "process red", and "process yellow".


title: Communist Party of Czechoslovakia

text: The Communist Party of Czechoslovakia (Czech and Slovak: "Komunistická strana Československa", KSČ) was a communist and Marxist–Leninist political party in Czechoslovakia that existed between 1921 and 1992. It was a member of the Comintern. Between 1929 and 1953, it was led by Klement Gottwald. The KSČ was the sole governing party in the Czechoslovak Socialist Republic though it was a leading party along with the Slovak branch and four other legally permitted non-communist parties. After its election victory in 1946, it seized power in the 1948 Czechoslovak coup d'état and established a one-party state allied with the Soviet Union. Nationalization of virtually all private enterprises followed, and a command economy was implemented.


title: Communist Party of Czechoslovakia

text: The KSČ was committed to the pursuit of communism, and after Joseph Stalin's rise to power Marxism–Leninism became formalized as the party's guiding ideology and would remain so throughout the rest of its existence. Consequently, party organisation was based on Bolshevik-like democratic centralism; its highest body was the Party Congress, which convened every five years. When the Congress was not in session, the Central Committee was the highest body. Because the Central Committee met twice a year, most day-to-day duties and responsibilities were vested in the Politburo. The party leader was the head of government and held the office of either General Secretary, Premier or head of state, or some of the three offices concurrently, but never all three at the same time.


title: Communist Party of Czechoslovakia

text: In 1968, party leader Alexander Dubček proposed reforms that included a democratic process and initiated the Prague Spring, leading to the invasion of Czechoslovakia by the Soviet Union. Under pressure from the Kremlin, all reforms were repealed, party leadership became taken over by its more authoritarian wing, and a massive non-bloody purge of party members was conducted. In 1989, however, the party leadership bowed to popular pressure during the Velvet Revolution and agreed to call the first contested election since 1946, leading to the victory of the centre-based Civic Forum in the 1990 election and the KSČ stepping down. That November, the party became a federation of the Communist Party of Bohemia and Moravia and the Communist Party of Slovakia. It was then declared to be a criminal organisation in the Czech Republic by the 1993 Act on Illegality of the Communist Regime and on Resistance Against It.


title: Communist Party of Czechoslovakia

text: The Communist Party of Czechoslovakia was founded at the congress of the Czechoslovak Social-Democratic Party (Left), held in Prague May 14–16, 1921. "Rudé právo", previously the organ of the Left Social-Democrats, became the main organ of the new party. As a first chairman was elected Václav Šturc, first vice-chairman was Bohumír Šmeral and second vice-chairman was Vaclav Bolen. The party was one of some twenty political parties that competed within the democratic framework of the First Czechoslovak Republic, but it was never in government. In 1925 parliamentary election the party gained 934,223 votes (13.2%, 2nd place) and 41 seats.


title: Communist Party of Czechoslovakia

text: The party was the Czechoslovak section of the Communist International. As of 1928 the party was the second-largest section of the International, with an estimated membership of around 138,000, more than twice the membership of the French Communist Party and nearly five times the membership of the Chinese Communist Party at the time.


title: Communist Party of Czechoslovakia

text: In 1929 Klement Gottwald became party Secretary-General after the purging from it of various oppositional elements some of whom allied themselves to Trotsky and the International Left Opposition. In 1929 parliamentary election the party gained 753,220 votes (10.2%, 4th place) and 30 seats. In 1935 parliamentary election the party held its 30 seats with 849,495 votes (10.32%, 4th place).


title: Communist Party of Czechoslovakia

text: underground organisation. Following the signing of the Molotov–Ribbentrop Pact, anti-German protests broke out in


title: Communist Party of Czechoslovakia

text: Prague in October 1939. In response, the Comintern ordered the party to oppose the protests, which they blamed on


title: Communist Party of Czechoslovakia

text: During World War II many KSČ leaders sought refuge in the Soviet Union, where they prepared to broaden the party's power base once the war ended. In the early postwar period the Soviet-supported Czechoslovak communists launched a sustained drive that culminated in their seizure of power in 1948. Once in control, KSČ developed an organizational structure and mode of rule patterned closely after those of CPSU.


title: Communist Party of Czechoslovakia

text: The Communist Party of Czechoslovakia was in a coalition government from 1945 to 1948. After the war the party grew rapidly, reaching one million members by the time of the 1946 elections: at these elections it became the largest party in Parliament, and party chairman Klement Gottwald became prime minister in a free election.


title: Communist Party of Czechoslovakia

text: Following the Communist coup d'état of 1948, when free elections and other political freedoms were effectively abolished, power was formally held by the National Front, a coalition in which the KSČ held two-thirds of the seats while the remaining one-third were shared among five other political parties. However, KSČ held a "de facto" absolute monopoly on political power, and the other parties within the National Front were little more than auxiliaries. Even the governmental structure of Czechoslovakia existed primarily to implement policy decisions made within the KSČ.


title: Communist Party of Czechoslovakia

text: A dispute broke out between Gottwald and the second most-powerful man in the country, party General Secretary Rudolf Slánský, over the extent to which Czechoslovakia should conform with the Soviet model. In 1951, Slánský and several other senior Communists were arrested and charged with participating in a "Trotskyite-Titoite-Zionist conspiracy". They were subjected to a show trial in 1952 (the Prague Trials) and Slánský and 10 other defendants were executed.


title: Communist Party of Czechoslovakia

text: In the early 1960s, Czechoslovakia underwent an economic downturn, and in 1968, the KSČ was taken over by reformers led by Alexander Dubček. He started a period of liberalization known as the Prague Spring in which he attempted to implement "socialism with a human face".


title: Communist Party of Czechoslovakia

text: The Soviet Union believed the process of liberalization would end state socialism in the country and on 21 August 1968, Warsaw Pact forces invaded. Subsequently, the Soviet justification for the invasion would become known as the Brezhnev Doctrine.


title: Communist Party of Czechoslovakia

text: In April 1969, Dubček was removed as party General Secretary (replaced by Gustáv Husák) and expelled in 1970. During the period of normalization that followed, the party was dominated by two factions: moderates and hardliners.


title: Communist Party of Czechoslovakia

text: Moderates and pragmatists were represented by Gustáv Husák who led the neostalinist wing of KSČ leadership. As a moderate or pragmatic, he was pressed by hardliners, most notably Vasil Biľak. An important Slovak Communist Party functionary from 1943 to 1950, Husák was arrested in 1951 and sentenced to three years, later increased to life imprisonment, for "bourgeois nationalism" during the Stalinist purges of the era. Released in 1960 and rehabilitated in 1963, Husák refused any political position in Antonín Novotný's régime but after Novotný's fall he became deputy prime minister during the Prague Spring. After Dubček's resignation Husák was named KSČ First Secretary in April 1969 and president of the republic in July 1975. Above all, Husák was a survivor who learned to accommodate the powerful political forces surrounding him and he denounced Dubček after 1969.


title: Communist Party of Czechoslovakia

text: These leaders generally supported the reforms instituted under Dubček during the late 1960s but successfully made the transition to orthodox party rule following the invasion and Dubček's decline from power. Subsequently, they adopted a more flexible stance regarding economic reform and dissident activity.


title: Communist Party of Czechoslovakia

text: The party's hegemony ended with the Velvet Revolution in 1989. In November, Jakeš and the entire Presidium resigned. Jakeš was succeeded by Karel Urbanek, who only held power for about a month before the party formally abandoned power in December. Later that month, Husák, who retained the presidency after standing down as general secretary, was forced to swear in the country's first non-Communist government in 41 years.


title: Communist Party of Czechoslovakia

text: At the 18th party congress held November 3–4, 1990, the party was rebaptized as KSČS and became a federation of two parties: the Communist Party of Bohemia and Moravia (KSČM) and the Communist Party of Slovakia (KSS). Pavol Kanis served as the chairman of the Federal Council of KSČS. However, the two constituent organizations of the federal party were moving in different directions politically and there was great tension between them. KSS, the Slovak constituent party of KSČS, was renamed as Party of the Democratic Left (SDL) on January 26, 1991. Whilst no longer a communist party per se, SDL formally remained as the Slovak constituent party of KSČS.


title: Communist Party of Czechoslovakia

text: In August 1991, upon the request of SDL, the party mutated into the Federation of the Communist Party of Bohemia and Moravia and the Party of the Democratic Left ("Federácie KSČM a SDĽ"). KSČM unsuccessfully appealed to two Slovak communist splinter parties, the Communist Party of Slovakia – 91 (KSS '91) and the Union of Communists of Slovakia (ZKS), to join the Federation. At the first SDL congress in December 1991, SDL formally withdrew from the Federation with the KSČM. The Federation was formally declared dissolved in April 1992.


title: Communist Party of Czechoslovakia

text: On 10 March 1995 a party named Communist Party of Czechoslovakia was registered as a political party in the Czech Republic and on the 22 April 1995 Miroslav Štěpán was elected its General Secretary. The party claimed to be the heir to KSČ and rejected the claims of KSČM on the basis of their revisionist positions. The majority of remaining communists rejected their claim to represent the old party and continued their political career as members of KSČM. In 1999 the party changed its name to The Party of Czech Communists (SČK). Their official page is http://www.ksc.cz/ and still uses the old acronym.


title: Communist Party of Czechoslovakia

text: In 2001 the party underwent its first split, when a part of it split off to form the Communist Party of Czechoslovakia - Czechoslovak Labour Party (KSČ-ČSSP) led by Ludvík Zifčák, a former member of the National Police, who infiltrated the student protesters during the Velvet Revolution. The false story that a student named Martin Šmíd was killed by the state police was likely aided by the demonstrators confusing memories of him with a dead body of a student, because he was accidentally struck by his colleagues and blacked out.


title: Communist Party of Czechoslovakia

text: After Štěpán died in 2014 and was replaced as General Secretary by Jiří Vábr, the party had another split. Vojtěch Mišičák accused the party of passivity and broke off a new group called the Czech Communist Party 21 (KSČ21), whose current general secretary is Zdeněk Klímek.


title: Communist Party of Czechoslovakia

text: None of these parties ever had any electoral successes on the rare occasion they even ran candidates. Štěpán was a candidate in the 1996 and 1998 Czech Senate election for Bruntál. In 1996 he came fifth with 627 votes and the KSČM candidate Rostislav Harazin came 3rd with 5 294 votes. In 1998 he came seventh with 716 votes and Harazin won with 7 852 votes in the first round and 10 154 in the second.


title: Communist Party of Czechoslovakia

text: KSČ organization was based on the Leninist concept of democratic centralism, which provided for the election of party leaders at all levels but required that each level be fully subject to the control of the next higher unit. Accordingly, party programs and policies were directed from the top, and resolutions of higher organs were unconditionally binding on all lower organs and individual party members. In theory, policy matters were freely and openly discussed at congresses, conferences, membership meetings, and in the party press. In practice, however, these discussions merely reflected decisions made by a small contingent of top party officials.


title: Communist Party of Czechoslovakia

text: The supreme KSČ organ was the party congress, which normally convened every five years for a session lasting less than one week. An exception was made with respect to the 14th Party Congress, which was held in August 1968 under Dubček's leadership. Held in semi-secrecy in a tractor factory in the opening days of the Soviet occupation, this congress denounced the invasion, and was later declared illegal, its proceedings stricken from party records, and a second, "legal" 14th Party Congress held in May 1971. Subsequent numbered congresses were held in April 1976, April 1981 and March 1986. Party congress theoretically was responsible for making basic policy decisions; in practice, however, it was the Presidium of the Central Committee that held the decision-making and policy-making responsibilities. The congress merely endorsed the reports and directives of the top party leadership. The statutory duties assigned the party congress included determination of the party's domestic and foreign policies; approval of the party program and statutes; and election of the Central Committee and the Central Supervisory and Auditing Commission, as well as discussion and approval of their reports.


title: Communist Party of Czechoslovakia

text: Between congresses, KSČ's Central Committee (CC) was responsible for directing party activities and implementing general policy decisions. Party statutes also provided that CC functioned as the primary arm of KSČ control over the organs of federal government and the republics, National Front, and all cultural and professional organizations. Party members holding leading positions in these bodies were responsible directly to CC for the implementation of KSČ policies. In addition, CC screened nominations for all important government and party positions and selected the editor-in-chief of "Rudé právo", the principal party newspaper. CC generally met in full session at least twice a year. In 1976, CC had 115 members and 45 candidates; in 1986, these figures were 135 and 62, respectively. In terms of composition, CC normally included leading party and government officials, military officials, and some celebrities.


title: Communist Party of Czechoslovakia

text: CC, like the party congress, rarely acted as more than a rubber stamp of policy decisions made by KSČ's Presidium, except when factional infighting developed within the Presidium in 1968 and CC assumed crucial importance in resolving the dispute to oust First Secretary Novotný in favour of Dubček. Generally, decisions on which CC voted were reached beforehand so that votes taken at the sessions were unanimous. The Presidium, which conducted party work between full committee sessions, formally was elected by the CC; in reality, top party leaders determined its composition. In 1986, there were 11 full members and 6 candidate members.


title: Communist Party of Czechoslovakia

text: CC's Secretariat acted as the party's highest administrative authority and as the nerve centre of the party's extensive control mechanism. The Secretariat supervised implementation of decisions made in the Presidium, controlled any movement up and down the party ladder, and directed work within the party and government apparatus. Under Husák, composition of the Secretariat, like that of the Presidium, remained rather constant. Many secretaries were also members of the Presidium.


title: Communist Party of Czechoslovakia

text: The Central Supervisory and Auditing Commission played a dual role, overseeing party discipline and supervising party finances, but it did not control anything. As an organ for enforcement of party standards, Central Supervisory and Auditing Commission frequently wielded its power to suspend or expel "deviant" party members. It was this commission that directed the massive purges in party membership during the early and late 1970s. Members were elected at each party congress (45 members in 1986). These members then elected from among themselves a chairman, deputy chairmen, and a small presidium. Sub-units of the commission existed at the republic, regional and district levels of the party structure.


title: Communist Party of Czechoslovakia

text: Other KSČ commissions in 1987 included People's Supervisory Commission, Agriculture and Food Commission, Economic Commission, Ideological Commission, and Youth Commission.


title: Communist Party of Czechoslovakia

text: In 1987 the party also had 18 departments (agitation and propaganda; agriculture, food industry, forestry and water management; Comecon cooperation; culture; economic administration; economics; education and science; elected state organs; external economic relations; fuels and energy; industry; transport and communications; international affairs; mass media; political organisation; science and technology; social organisations and national committees; state administration; and a general department). In most instances the party departments paralleled agencies and ministries of the government and supervised their activities to ensure conformity with KSČ norms and programmes.


title: Communist Party of Czechoslovakia

text: Also under CC supervision were two party training centres: the Advanced School of Politics and the Institute of Marxism–Leninism (see below).


title: Communist Party of Czechoslovakia

text: Down on republic level party structure deviated from the government organisation in that a separate communist party unit existed in the Slovak Socialist Republic (see Communist Party of Slovakia) but not in the Czech Socialist Republic. KSS emerged from World War II as a party distinct from KSČ, but the two were united after the communist takeover in 1948. The reformer movement of the 1960s advocated a return to a system of autonomous parties for the two republics. Bureau for the Conduct of Party Work in the Czech Lands was created as a counterpart to KSS, but it was suppressed after the 1968 invasion and by 1971 had been stricken from party records.


title: Communist Party of Czechoslovakia

text: KSČ had ten regional subdivisions (seven in the Czech lands, three in Slovakia) identical to "kraje", the ten major governmental administrative divisions. In addition, however, the Prague and Bratislava municipal party organs, because of their size, were given regional status within KSČ. Regional conferences selected regional committees, which in turn selected a leading secretary, a number of secretaries and a regional Supervisory and Auditing Commission.


title: Communist Party of Czechoslovakia

text: Regional units were broken down into a total of 114 district-level (Czech: "okresní") organisations. District conferences were held simultaneously every two to three years, at which time each conference selected a district committee that subsequently selected a secretariat to be headed by a district secretary.


title: Communist Party of Czechoslovakia

text: At local level, KSČ was structured according to what it called "territorial and production principle"; basic party units were organised in work sites and residences where there are at least five KSČ members. In enterprises or communities where party membership was more numerous, smaller units functioned under larger city, village or factorywide committees. Highest authority of the local organisation was, theoretically, the monthly membership meeting, attendance at which was a basic duty of every member. Each group selected its own leadership, consisting of a chairman and one or more secretaries. It also named delegates to the conference of the next higher unit, be it at municipal (like in case of larger cities) or district level.


title: Communist Party of Czechoslovakia

text: Since assuming power in 1948, KSČ had one of the largest per capita membership rolls in the communist world (11 percent of the entire population). The membership roll was often alleged by party ideologues to contain a large component of inactive, opportunistic, and "counterrevolutionary" elements. These charges were used on two occasions, between 1948 and 1950 and again from 1969 to 1971, as a pretext to conduct massive purges of the membership. In the first case, during the great Stalinist purges, nearly 1 million members were removed; in the wake of the Prague Spring and subsequent invasion, about half that number either resigned or were purged from KSČ.


title: Communist Party of Czechoslovakia

text: Purges following the 1968 invasion hit especially the Czechs, the youth and the blue-collar workers, as well as the intelligentsia within the party membership. By the end of 1970, KSČ had lost approx. 27.8% of its members compared to January 1968 figures as a result of forced removal or voluntary resignation. Despite this attrition, a membership of "almost 1,200,000" was claimed in the spring of 1971 for a country with an estimated population of approx. 14.5 million — still one of the highest Communist party membership rates in the world on a percentage basis at that time. Owing to this membership decline, accelerated recruitment efforts were targeted at youth and factory workers for the rest of the 1970s.


title: Communist Party of Czechoslovakia

text: The party's membership efforts in the 1980s focused on recruiting politically and professionally qualified people willing to exercise greater activism in implementing the party's program. Party leaders at the 17th Party Congress (1986) urged recruitment of more workers, young people, and women. In 1981 it had 1,538,179 members (10% of the population)


title: Communist Party of Czechoslovakia

text: KSČ membership was contingent upon completion of a one-year period as a candidate member. Candidate members could not vote or be elected to party committees. In addition to candidates for party membership, there were also candidates for party leadership groups from the local levels to the Presidium. These candidates, already party members, were considered interns training for the future assumption of particular leadership responsibilities.


title: Communist Party of Czechoslovakia

text: Indoctrination and training of party members was one of the basic responsibilities of regional and district organizations, and party training was mostly conducted on these levels. Regional and district units worked with local party organizations in setting up training programs and determining which members would be enrolled in particular courses of study. On the whole, the system of party schooling changed little since it was established in 1949. A district or city organization provided weekly classes in the fundamentals of Marxism-Leninism, history of communism, socialist economics, and current party position on domestic and international affairs.


title: Communist Party of Czechoslovakia

text: Members training for positions as party functionaries attended seminars at schools for Marxism–Leninism set up in local areas or at more advanced institutes for Marxism–Leninism found in Prague, Brno and Bratislava. The highest level of party training was offered at the Advanced School of Politics in Prague. Designed to train the top echelon of party leadership, the three-year curriculum had the official status of a university program and was said to be one of the best programs in political science in Eastern Europe. These institutions were under the direction of KSČ Central Committee.


title: Communist Party of Czechoslovakia

text: Because of KSČ's mandate to be a workers' party, questions about social background of party members took on a particular salience. KSČ was often reticent with precise details about its members, and the question of how many in the party actually belonged to the revolutionary proletariat proper became a delicate one. Official statements appeared to overstate the percentage of workers within the party's ranks. Nonetheless, a number of trends were clear. The proportion of workers in KSČ was at its highest (approximately 60% of total membership) after World War II but before the party took power in 1948. After that time, percentage of workers fell steadily to a low of an estimated one-quarter of the membership in 1970.


title: Communist Party of Czechoslovakia

text: In the early 1970s, government media decried the "grave imbalance," noting that "[the] present class and social structure of party membership is not in conformity with the party's role as a vanguard for the working class." In highly industrialized central Bohemia, for example, only 1 in every 35 workers was party member, while 1 in every 5 administrators was. In 1976, after intensive efforts to recruit workers, number of workers rose to one-third of the KSČ membership, i.e., approx. its 1962 level. In the 1980s, driven by a need for "intensive" economic development, the party relaxed its rigid rule about young workers' priority in admissions and allowed district and regional committees to be flexible in their recruitment policy, as long as the overall proportion of workers did not decrease.


title: Communist Party of Czechoslovakia

text: Average age of party members showed a comparable trend. In the late 1960s, fewer than 30% of party members were under 35 years of age, nearly 20% were over 60, and roughly half were 45 or older. The quip in 1971, a half-century after the party's founding in Czechoslovakia, was "After fifty years, a party of fifty-year-olds." There was a determined effort to attract younger members to the party in the middle to late 1970s; one strategy was to recruit children of parents who were KSČ members. The party sent letters to the youngsters' schools and their parents' employers, encouraging the children to join. By early 1980 approximately one-third of KSČ members were 35 years of age or younger. In 1983, average age of the "leading cadre" was still estimated at 50.


title: Communist Party of Czechoslovakia

text: Throughout the 1970s and 80s, government media denounced party members' lack of devotion to the pursuit of KSČ policies and goals. Complaints ranged from members' refusal to display flags from their apartment windows on festive occasions to their failure to show up for party work brigades, attend meetings, or pay dues; a significant minority of members tended to underreport their incomes (the basis for assessing dues). In 1970, after a purge of approximately one-third of the membership, an average of less than half the remaining members attended meetings. Perhaps one-third of members were consistently recalcitrant in participating in KSČ activities. In 1983, one primary party branch in the Prague-West district was so unmoved by admonishments that it had to be disbanded and its members dispersed among other organizations. In part, this was a measure of disaffection with Czechoslovakia's thoroughgoing subservience to Soviet hegemony, a Švejkian response to the lack of political and economic autonomy. It was also a reflection of the purge's targets. Those expelled were often the ideologically motivated, the ones for whom developing socialism with a human face represented a significant goal; those who were simply opportunistic survived the purges more easily.


title: Communist Party of Czechoslovakia

text: <nowiki>*</nowiki> Official designations of leaders of the KSČ: 1921–1945 General Secretary (; ); 1945–53 Chairman (; ); 1953–1971 First Secretary (;); 1971–1989: General Secretary; 1989–1990 Chairman.


title: Mason Williams

text: Mason Douglas Williams (born August 24, 1938) is an American classical guitarist, composer, singer, writer, comedian, and poet, best known for his 1968 instrumental "Classical Gas" and for his work as a comedy writer on "The Smothers Brothers Comedy Hour", "The Glen Campbell Goodtime Hour", and "Saturday Night Live".


title: Mason Williams

text: Williams was born in Abilene, Texas, the son of Jackson Eugene (a tile setter) and Kathlyn (née Nations) Williams.


title: Mason Williams

text: Williams grew up dividing his time between living with his father in Oklahoma and his mother in Oakridge, Oregon. He graduated from Northwest Classen High School in Oklahoma City, Oklahoma in 1956. It was in Oklahoma that he began his lifelong friendship with artist Edward Ruscha.


title: Mason Williams

text: He attended Oklahoma City University (1957–60) and North Texas State University for one semester, and served in the United States Navy from 1961 to 1963.


title: Mason Williams

text: In 1968, Williams won three Grammy Awards for his guitar instrumental "Classical Gas". "Classical Gas" was released as a single from "The Mason Williams Phonograph Record" in 1968. "Classical Gas" won three Grammys that year for "Best Instrumental (theme) Composition", "Best Instrumental (theme) Performance", and "Best Instrumental Orchestra Arrangement", Mike Post, arranger. It sold over one million copies, and was awarded a gold disc. He also wrote songs for The Kingston Trio. For both "Handmade" and "Sharepickers", Mason received two more Grammy nominations for "Best Album Cover Design".Together with Nancy Ames, he wrote "Cinderella Rockefella", a 1968 number one hit for Esther and Abi Ofarim in the United Kingdom.


title: Mason Williams

text: In 1970, Williams made a television appearance on a variety show, "Just Friends", which reunited regulars of "The Smothers Brothers Comedy Hour". To create a visual element for his performance, he used a special playable classical plexiglass guitar built for him by Billy Cheatwood and a prop designer for ABC. For the performance, Williams filled the guitar with water and added a couple of goldfish. He then used the plexiglass guitar to finger-sync his hit version of "Classical Gas".


title: Mason Williams

text: Williams has recorded more than a dozen albums, five on the Warner Bros. label ("The Mason Williams Phonograph Record", "The Mason Williams Ear Show", "Music", "Handmade", and "Sharepickers"). The LP cover for the 1968 "Music" was painted by pop artist Edward Ruscha. The credit reads "Sorry, Cover by Edward Ruscha."


title: Mason Williams

text: In December 1970, Williams performed benefit concerts for the Pala Indian Reservation Cultural Center hosted by Clairemont High School. Sponsored by the nonprofit Americans for Indian Future and Tradition, with the help of Ken Kragen and Friends, Williams performed two shows. The event raised enough funds to pay for the construction of the block walls.


title: Mason Williams

text: In 1987, he teamed with Mannheim Steamroller to release a new album on the American Gramaphone label. The album, titled "Classical Gas", included a remake of the 1968 composition. Another track from the album, "Country Idyll", was a 1988 nominee for a Grammy in the country music category for "Best Instrumental Performance by a Soloist, Group or Orchestra". The album went gold in 1991. Williams' plexiglass guitar appears on the cover of the album. He released an acoustic instrumental album of Christmas and holiday music, "A Gift of Song", on the Real Music label, featuring arrangements of traditional carols and original compositions.


title: Mason Williams

text: In 1992, the Vanguard label released "Music 1968–1971", a compilation of tracks from his five Warner Bros. albums recorded in the late 1960s and early 1970s. Williams relates that when compiling the album he went to Warner Bros. and asked "Where's that painting that Ed Ruscha did for that old ["Music"] cover?" and was told it had been thrown away; a probable loss of 3–5 million dollars.


title: Mason Williams

text: In conjunction with the release of this album, Williams added a "Holiday Concert Program" to his repertoire, featuring music from the album as well as other traditional music of the season. In 1994, he played six sold-out concerts with the Oregon Symphony in Portland, Oregon. In the 1990s he also performed with the Eugene Symphony with friend Ken Kesey.


title: Mason Williams

text: Williams then concentrated on a variety of programs for his concert appearances. His "Concert For Bluegrass Band And Orchestra", also titled "Symphonic Bluegrass", has been performed with over 40 symphony orchestras, including the Colorado Symphony Orchestra, Kansas City Symphony, Louisiana Philharmonic Orchestra, Oklahoma City Philharmonic, Louisville Orchestra, and the Edmonton Symphony Orchestra.


title: Mason Williams

text: In 1984, Williams released an album, "Of Time & Rivers Flowing", on his own Skookum label, containing 14 of the approximately 35 songs performed in the concert. In 1993, the title cut from the album was used as the soundtrack for a ninety-second public service announcement (PSA) created by the American Rivers Council on the home video release of "A River Runs Through It". The PSA was also on the 1995 home video release of "The River Wild". That same year, in 1995, Williams was invited to play for Oregon governor John Kitzhaber's inauguration and in 1996, Williams received an honorary Doctorate of Music from his alma mater, Oklahoma City University.


title: Mason Williams

text: In 1998, BMI, the performance rights organization that tracks air play performances on radio and television, presented Williams with a Special Citation of Achievement in recognition of the great national and international popularity of "Classical Gas". By 2008, the song logged over six million broadcast performances, to become the all-time number-one instrumental composition for air play in BMI's repertoire.


title: Mason Williams

text: In 1999, Williams played again for the Kitzhaber's second inauguration. In February, Williams' "Bus" art piece was included in the Norton Simon Museum exhibition "Radical Past", in Pasadena, California. In the spring he played his "Of Time and Rivers Flowing" concert with the Oregon Children's Choral Festival, a two-day event involving 3,000 elementary school children singing water and rivers songs with Williams and his band. Williams received the Distinguished Service Award from the University of Oregon in honor of his contribution to the arts in Oregon. In late 1999, he and the Bluegrass Band played for Byron Berline's Oklahoma International Bluegrass Festival in Guthrie, Oklahoma with the Oklahoma City Philharmonic.


title: Mason Williams

text: Williams' music has been featured in several movies including "The Story of Us", "Cheaper by the Dozen", "The Dish", "The Heidi Chronicles", and "Heartbreakers". His compositions also have been played on the television series "The Sopranos".


title: Mason Williams

text: In 2003, Williams released an EP, "Music for the Epicurean Harkener", and again was nominated for a Grammy in 2004 for best instrumental album. In 2005, he collaborated with UK guitarist Zoe McCulloch on the album "Electrical Gas".


title: Mason Williams

text: In June 2006, Williams performed at his 50th high school reunion at Northwest Classen High School in Oklahoma City. He performed with other musicians as 'Mason Williams and Friends' at concerts in Eugene and Springfield (Oregon) and at the opening gala at the Richard E. Wildish Community Theater in Springfield.


title: Mason Williams

text: In January 2007, he was reunited with long-time friend and artist Edward Ruscha, performing at the Getty Center in Los Angeles.


title: Mason Williams

text: In October 2007, he was inducted into the Oregon Music Hall of Fame. and co-headlined a concert with Everclear and Paul Revere and the Raiders.


title: Mason Williams

text: Like many writer-performers, Williams was also a stand-up comedian. He set most of his comic ideas to music and sang or recited the jokes in lyric form with guitar accompaniment. In 1964, Vee-Jay Records released "Them Poems", a record album on which Williams entertains a live audience with "them poems about them people", covering such varied topics as "Them Moose Goosers", "Them Sand Pickers", and "Them Surf Serfs". A typical "them poem" is "Them Banjo Pickers", which begins: "Them banjo pickers! Mighty funny ways. Same damn song for three or four days!" Several other "them" poems, along with many ditties, song lyrics, odd and amusing photographs from around the country, and assorted bits of visual and verbal silliness are collected in "The Mason Williams Reading Matter" (Doubleday, 1969), and the "Them Poems" record album was reissued (also in 1969, on the heels of the success of "Classical Gas") as "The Mason Williams Listening Matter".


title: Mason Williams

text: Williams has written more than 175 hours of music and comedy for network television programming and was a prime creative force for CBS' controversial "Smothers Brothers Comedy Hour". His experience in folk music gave him the background for many of Tom and Dick Smothers' comedy routines and with co-writer Nancy Ames, also composed the show's musical theme.


title: Mason Williams

text: It was on the "Smothers Brothers Comedy Hour" that he created and perpetuated the 1968 "Pat Paulsen for President" campaign, an elaborate political satire. Williams also helped launch the career of entertainer Steve Martin. Martin was hired by Williams as a writer on the "Smothers Brothers Comedy Hour", for which his contributions were initially paid out of Williams' own pocket. In 1968, he won an Emmy Award for his work as a comedy writer on "The Smothers Brothers Comedy Hour".


title: Mason Williams

text: Other television personalities he has written for include Andy Williams, Glen Campbell, Dinah Shore, Roger Miller, and Petula Clark. In 1980, Williams briefly served as head writer for NBC's "Saturday Night Live", but left after clashing with producer Jean Doumanian. In 1988, Williams received his third Emmy nomination as a comedy writer for his work on "The Smothers Brothers 20th Reunion Special" on CBS.


title: Mason Williams

text: In February 2000, Williams participated in the U.S. Comedy Arts Festival in Aspen, Colorado. The sixth annual festival honored "The Smothers Brothers Comedy Hour" and its contribution to television. Williams performed a concert with Tom and Dick Smothers, and again on a late night show with performers that included Catherine O'Hara, Martin Short, Andrea Martin, Steve Martin, Robin Williams, and Marc Shaiman.


title: Mason Williams

text: After becoming involved in protests against a Willamette River hydroelectric power project, Williams eventually collected over 400 songs about rivers.


title: Mason Williams

text: He created a program called "Of Time and Rivers Flowing". that encompasses classical, folk, minstrel, gospel, jazz, country, pop & contemporary rock.


title: Mason Williams

text: Williams married Sheila Ann Massey on April 22, 1961; they had one daughter, Kathryn Michelle, before divorcing.


title: B28 nuclear bomb

text: The B28, originally Mark 28, was a thermonuclear bomb carried by U.S. tactical fighter bombers, attack aircraft and bomber aircraft. From 1962 to 1972 under the NATO nuclear weapons sharing program, American B28s also equipped six Europe-based Canadian CF-104 squadrons known as the RCAF Nuclear Strike Force. It was also supplied for delivery by UK-based Royal Air Force Valiant and Canberra aircraft assigned to NATO under the command of SACEUR. In addition, certain U.S. Navy carrier based attack aircraft such as the A3D (later A-3B) Skywarrior, A4D (later A-4) Skyhawk, and A3J (later A-5A) Vigilante were equipped to carry the B28.


title: B28 nuclear bomb

text: During the design of the TX-15 in 1953 it became evident to designers that massive reductions in size and weight of thermonuclear weapons were possible. In November 1954 the TX-Theta Committee proposed the development of the WX-27 and the WX-28. The larger diameter TX-27 was intended as a missile warhead or for internal carriage in aircraft while the smaller diameter TX-28 would be internally or externally carried on high-performance bombers. In a meeting in December the possibility of a small warhead allowing for smaller missiles was considered so the use of the TX-28 as a warhead was also included.


title: B28 nuclear bomb

text: Design of the XW-28 was given to Los Alamos National Laboratory with Sandia National Laboratories working on the non-nuclear components. In February 1955 Sandia proposed that a basic warhead assembly be designed and that different noses, afterbodies, fins and fuzes could be attached to it. Emphasis was placed on obtaining the optimum yield possible within the space and weight limitations assigned which necessitated having a much thinner case design than in previous weapons. Sandia presented a design outline of the weapon to the Division of Military Application in May 1955.


title: B28 nuclear bomb

text: It was decided that if the weapon could not be fitted to all of the required aircraft, first priority would be given to developing a bomb designed for subsonic internal or external carriage. Designers hoped though that they could produce a weapon considerably smaller than the and diameter specified.


title: B28 nuclear bomb

text: In April 1955 Sandia were working on the fuze design. Barometric fuzing was rejected due to the wide variety of delivery systems the weapon would use. A timer was also considered having benefits in low-level delivery missions, but it was felt that these gains were slight and did not justify the complexity of the system. Eventually, a combination of radar and contact fuzing was chosen.


title: B28 nuclear bomb

text: Two fuze designs were under development; the first used existing components while the latter (called TX-28 Prime) required more development and used pyrotechnic-activated components. A contact backup was not initially included for the airburst design due to the concern that anti-aircraft fire might activate the contact fuze. Additionally, there was a desire to prevent fallout from a contact burst in the tactical mission.


title: B28 nuclear bomb

text: Los Alamos informed the TX-Theta Committee in the same month that the nuclear system could enter production by January 1958, a date that matched Sandia's availability date for the non-nuclear components.


title: B28 nuclear bomb

text: By May 1955 the TX-28 design firmed-up. The warhead itself would be in diameter and long, with each end capped in a hemisphere. The TX-28 Prime fuze design was also rapidly advancing. The design used pyrotechnically actuated switches to control preheat current, timer selection, thermal battery arming, ground- and air-burst selection, contact fuze arming, timer motor starting, trajectory-arm-switch pressure-port sealing, gas boosting and even thermal battery monitoring. These switches were small, lightweight and resistant to shock.


title: B28 nuclear bomb

text: A baroswitch was included to improve operational safety of the weapon. It was a two-chamber design in which one chamber would close at weapon release and then the baroswitch would measure the pressure difference between the sealed and open chamber as the weapon fell. At some point in the design the fuzing system was changed to allow for contact preclusion to be selected on the ground. With contact preclusion selected the contact fuze would be disabled in the airburst option.


title: B28 nuclear bomb

text: The initial Mod 0 used internal initiation, but in October 1955 Sandia described progress on external initiation of the weapon which eventually became the Mod 1 design. The external initiator system consisted of a power supply, precision timer and a neutron source called an S-unit. The S-unit was a tube filled with tritium gas while one end was titanium-coated and loaded with deuterium. During function the tritium ions were accelerated into the deuterium target which fused, releasing neutrons.


title: B28 nuclear bomb

text: The Mk-28EX Mod 0 (external) and Mk-28IN Mod 0 (internal) were design-released in June 1957 and early production was achieved in August 1958. The weapon had a diameter of . The external configuration weapon had a length of and weighed approximately with the nose section containing the fuze. In the internal configuration, the warhead section was turned around with the nose substituted for four wedge fins and the tail replaced with a blunt nose containing radar antennas and contact crystals. In this configuration the weapon had a length of and weighed approximately .


title: B28 nuclear bomb

text: The design met almost all of the specified military requirements with some exceptions. One of these exceptions is still classified while the others were that the weapon did not have a visual indication of arming and that the weapon could not be stored for 18 months at the ready condition. Instead of a visual indication, the weapon relied on electrical signals to confirm that the weapon was not armed. The storage requirement was not met, as the weapon initially required pressure-testing at 30-day intervals.


title: B28 nuclear bomb

text: Initial discussion about a ruggedized laydown weapon was discussed in August 1955 by the TX-Theta Committee. It was noted that Soviet radar capabilities were improving and that high-altitude attacks were becoming less certain. A low-altitude approach would help overcome this but would require a weapon that could survive impact with the ground before detonating once the aircraft was a safe distance away. Sandia had been investigating the problem and believed that designing a bomb to survive an impact shock of was possible.


title: B28 nuclear bomb

text: In October 1955 the Special Weapons Development Board met. Sandia stated that they had examined parachutes, rotochutes and retrorockets. Rotochutes could not handle the weapon's weight, while retrorockets placed special operating restrictions on the weapon. Parachutes showed promise, but existing designs were unsuitable, with Sandia working on developing an improved parachute. Sandia had also worked on developing shock-absorbing honeycomb materials, which included drop tests from a tower to simulate the impact expected in a parachute-retarded weapon.


title: B28 nuclear bomb

text: In early 1956, Sandia concluded that a non-impact-resistant warhead could be used to produce an interim retarded weapon and this weapon system would meet weapon objectives 2 years before the development of a true laydown weapon. The weapon would use a pilot-parachute to deploy a larger drogue-parachute. This required a new bomb tail to be designed, which might aggravate ground and aircraft-clearance problems.


title: B28 nuclear bomb

text: Production authorization for the RE weapon was issued in January 1957 and design release made in April 1958. The changes included a new altitude-sensing arming system to replace the baroswitches based on velocity sensing. This removed certain delivery restrictions on the Mk-28 Mod 0. The design also included an acceleration-integration system to detect if the parachute did not deploy and prevent bomb-arming.


title: B28 nuclear bomb

text: The Mk-28RE (retarded external) was long and weighed . The design consisted of the Mk-28 Mod 1 Fuze and a set of Mk-28 Mod 0 RESC (Retarded External Shape Components). It was only available with the Mod 1 warhead. The Mod 1 warhead had the same yield options as the Mod 0, but not all yield options were stockpiled.


title: B28 nuclear bomb

text: The Mk-28RI (Retarded Internal) weapon was designed released in April 1959 and achieved production in June 1960. The design weighed and was long. The design consisted of the Mk-28 Mod 2 Fuze and the same Mk-28 Mod 0 RESC as the RE weapon. It also used the Mod 1 warhead.


title: B28 nuclear bomb

text: The Mk-28FI was the true laydown weapon desired during the development of the RE and RI weapons. The weapon was based on promising results from the TX-28-X2 warhead (which became the Mod 1 warhead) and would have a full-fuzing option capability. Previous weapons required a B-52 bomber to fly at at least for the weapon to survive laydown. It was hoped that a true laydown weapon would reduce this height to under .


title: B28 nuclear bomb

text: The proposal included requirements for delayed ground burst (laydown), retarded air burst, free-fall air burst and free-fall contact burst fuzing. The selection of air or contact burst would be selected via aircraft control equipment while the laydown option would automatically engage if the weapon was dropped below a certain pressure altitude. Most components were sourced from other programs meaning the main task of the program was developing a shock-mitigating structure and conducting fuze tests.


title: B28 nuclear bomb

text: In August 1960 operational requirements for the TX-28-X3 warhead were issued. These requirements included the capability to survive release from and to be carried internally by the B-47 and B-52 bombers. The bomb nose was given of crushable honeycomb and another parachute was added, raising the total number to four.


title: B28 nuclear bomb

text: The Mk-28FI weapon was design released in October 1961. The weapon was in diameter, long and weighed . The design consisted of a Mk-28 Mod 3 fuze and Mk-28 Mod 0 FISC (Full-Fuzing Internal Shape Components). The weapon could not use previous Mk-28 warheads, only being suitable for the TX-28-X3 (now called the Mod 2) and later warheads.


title: B28 nuclear bomb

text: The laydown and retarded airburst time for the weapon was 79 seconds. In laydown mode, the weapon had to be dropped between to allow the weapon to reach the ground before the 79-second interval. Fall time at was approximately 10 seconds. Burst height in retarded airburst depended on release height. The weapon was unpredictable at releases between as either the freefall or retarded fuzing would be randomly selected.


title: B28 nuclear bomb

text: Twenty different versions of the B28 were made, distinguished by their yield and safety features. The B28 used the "building block" principle, allowing various combinations of components for different aircraft and roles.


title: B28 nuclear bomb

text: The W49 warhead for the Thor, Atlas, Jupiter, and Titan I ballistic missiles was a W28 Y1 warhead with internal power systems removed. It came in two yield options; the Y1 with a yield of and Y2 with a yield of . Mods 0 to 2 were internally initiated while Mods 3 to 6 were externally initiated. The initial Mod 0 warhead lacked an environmental sensing device until concerns about accidental or deliberate (sabotage) detonation were raised.


title: B28 nuclear bomb

text: Four Mark 28 training variants (BDU-16/E) on their transporter (MHU-7/M) are on display in the Cold War Gallery at the National Museum of the United States Air Force in Dayton, Ohio.


title: B28 nuclear bomb

text: The Canadian War Museum, in Ottawa, holds a Mark 28RE training variant in its Cold War gallery. The Mark 28 armed CF-104 Starfighters in Germany, 1963–72, under the "Dual Key" protocol (both the US and Canada had to agree to use, with the weapons in US custody on Canadian bases).


title: Deus Ex: Invisible War

text: Deus Ex: Invisible War is a 2003 action role-playing video game developed by Ion Storm and published by Eidos Interactive for Microsoft Windows and Xbox. It is the second game in the "Deus Ex" series. The gameplay—combining first-person shooter, stealth, and role-playing elements—features exploration and combat in environments connected to multiple city-based hubs, in addition to quests that can be completed in a variety of ways and flexible character customization. Conversations between characters feature a variety of responses, with options in conversations at crucial story points affecting how some events play out.


title: Deus Ex: Invisible War

text: "Invisible War" takes place twenty years after "Deus Ex". The game follows a scenario whereby the first game's events led to a period of war and economic depression dubbed the "Collapse", which resulted in several factions attaining power and influence across the world. The player character, Alex D, is evacuated from Chicago to Seattle following a terrorist attack, soon becoming embroiled in a network of plots as the world's factions fight for control of the world. In addition to the series' recurring cyberpunk setting and conspiracy theory motif, the story focuses on the theme of terrorism.


title: Deus Ex: Invisible War

text: Development of "Invisible War" began following the success of "Deus Ex". The aim was to create a more accessible version of the original game's systems while preserving its essentials. Original designer Harvey Smith directed the game, while Alexander Brandon and Sheldon Pacotti returned respectively as composer and scenario writer. Additional music and voice work was provided by the rock band Kidneythieves. Due to being developed for PC and Xbox, the game's environments needed to be designed with the console's hardware limitations in mind. In later interviews, members of the team have faulted their decisions for the title.


title: Deus Ex: Invisible War

text: The game was acclaimed for its graphics, narrative and the freedom of choice in both gameplay and story. Criticism was directed towards enemy artificial intelligence, some of the design choices and problems with the PC port. The game has sold over one million copies worldwide as of 2011. Later opinions from both journalists and the game's staff have been polarized, with several websites calling "Invisible War" the weakest entry in the "Deus Ex" series. After several unsuccessful efforts to create a third "Deus Ex" game prior to Ion Storm's 2005 closure, a prequel to the first game, "," was developed by Eidos Montréal and released in 2011.


title: Deus Ex: Invisible War

text: "Deus Ex: Invisible War" is an action role-playing game with incorporated first-person shooter and stealth mechanics. Players take the role of Alex D, whose gender and general appearance can be customized at the beginning of the game. The game has multiple difficulty settings; these range from "Easy", which increases damage to enemies, to "Realistic", which raises enemy health while also decreasing available ammunition. The player moves around the environment, being able to climb ladders and jump onto crates, and crouch to negotiate narrow spaces. Items such as datacubes and holoprojectors can be accessed to expand upon the narrative and progress the story. Certain objects in the game can be carried or thrown, from small items to human bodies. Each hub area of the game has a variety of missions given to the player by non-playable characters (NPCs), which the player can choose to accept or ignore; these missions include quests linked to the main story and side quests unique to each hub area. These objectives can be completed in a variety of ways; these include using stealth to infiltrate an area, opening access points using hacking, or launching an armed assault. When talking with NPCs, the player has access to multiple dialogue options, with the option chosen influencing the course of the conversation.


title: Deus Ex: Invisible War

text: There are a variety of melee and ranged weapons in the game, both lethal and non-lethal; the melee weapons include a combat knife, a baton, and a "stun prod" shock device. Ranged weapons include a pistol, a shotgun, a rifle, an SMG, and a rocket launcher. Other weapon types include a variety of grenades and bombs. All guns found in the game share the same ammunition pool, which is represented by a bar, and each gun type uses different amounts from the pool. Guns can be customized with items and pieces of equipment, such as outfitting a gun with a silencer or allowing it to shoot through glass silently. Other upgrades increase maximum damage and decrease ammunition use. Items, weapons, ammunition, and equipment are purchased with credits, the in-game currency either gathered in the environment or earned through quests. Items range from tools such as disposable multitools for unlocking doors to canisters that replenish health or energy. Defeated enemies drop items that can be collected, or can be found in the environment or in containers such as boxes and cabinets. The player can carry up to twelve item types, with consumable items able to be stacked in a single slot.


title: Deus Ex: Invisible War

text: During the course of the game, the player acquires biomods nanite-filled canisters that enhance their physical and mental attributes. There are two types of biomod canisters in the game: standard canisters and black market versions, both either found in the environment or purchased from certain NPCs. Standard and black market biomods cannot be installed in the same slot. Biomods are installed in five different slots representing different parts of the body—"Arm", "Cranial", "Eye", "Leg", and "Skeletal". Each region has three enhancement options the player can activate. Some biomod enhancements are exclusive to either standard or black market biomods. Biomod abilities range from enhancements to strength and agility to abilities linked to hacking terminals and taking control of hostile robots. Once activated, further biomod canisters can be used to upgrade existing abilities, or uninstall an ability to change it around, deleting and replacing the chosen enhancement with the new one. Biomod abilities tied to abilities such as cloaking use up the a portion of the player's energy bar when activated.


title: Deus Ex: Invisible War

text: "Invisible War" is set in the year 2072, twenty years after the events of the original "Deus Ex"; the "Deus Ex" series is set in a cyberpunk future rife with secret organizations and conspiracies such as the Illuminati and Majestic 12, an Illuminati splinter faction. During the first game's events in 2052, original protagonist JC Denton—a clone designed to serve Majestic 12—was drawn into a secret war between the Illuminati and Majestic 12, led by industrialist Bob Page. Page intended to make himself a global dictator by first undermining the Illuminati by creating a pandemic to blackmail the world's elite into supporting Majestic 12, then merging himself with the artificial intelligence (AI) Helios. In the back-story revealed in the course of "Invisible War", a combination of all three possible endings of "Deus Ex" took place; JC kills Majestic 12 leader Bob Page, merges with Helios, destroys Majestic 12's base in Area 51 to cripple the world communication network, then sides with the Illuminati to rebuild the world in the wake of these events. JC's actions triggered a worldwide period of war and depression dubbed the "Collapse". Following the Collapse, major capitals organize themselves into city states, creating walled enclaves where the population can be watched and expansion is closely controlled. The story moves between a variety of locations across the world, starting in Seattle and moving on to Cairo, Trier and Antarctica. A recurring feature are "Augmentations", advanced nanotechnologies that enhance the human body; the type used in "Invisible War" are dubbed "biomods".


title: Deus Ex: Invisible War

text: The main protagonist is "Alex D"; their full name is Alex Denton, a clone from the same program which created JC and Paul Denton. Spirited away shortly before the events of "Deus Ex", Alex is raised in Chicago before being inducted into the Tarsus Academy, a group controlled by the Denton-created ApostleCorp. At Tarsus, Alex is trained in the use of biomods. Alex's gender is chosen at the beginning of the game, with their selected gender affecting how some people react to them in conversations. Along with Alex, three other Tarsus students are encountered through the story: Billie Adams, a long-term friend of Alex; Leo Jankowski, a high-ranking and impulsive trainee; and Klara Sparks, a modest student who acts as Leo's friend and support. The students are overseen by Leila Nassif. Returning characters from "Deus Ex" include JC Denton; his brother Paul, who is rendered comatose after an unsuccessful biomod infusion; and Tracer Tong, an ally of the Dentons.


title: Deus Ex: Invisible War

text: There are several factions within "Invisible War" that Alex is contacted by and can choose to side with and represent different viewpoints on how humanity's post-Collapse society should develop. The two factions handling reconstruction in city enclaves are a future version of the World Trade Organization (WTO), which builds and maintains the emergent city states, acting as the "de facto" government body; and the Order, a religion combining concepts from multiple faiths which has gained support from people outside the enclaves and is opposed to the WTO's policies. Both the Order and the WTO are puppet organizations of the Illuminati, respectively led by Illuminati members Nicolette DuClare and Chad Dumier, the latter a veteran of the war against Majestic 12. Two other factions are the Knights Templar, a group led by former Order leader Saman that makes militant strikes against groups espousing biomod use; and the Omar, a cult of cybernetically-enhanced humans who share a hive mind.


title: Deus Ex: Invisible War

text: "Note: While the general plot of Invisible War follows a distinct path, many elements such as faction alliances and character interactions are subject to the player's decisions. The game also offers several subplots and explanations which the player may or may not encounter, depending on their actions within the game. This synopsis concentrates on the main, unavoidable plot thread of the game."


title: Deus Ex: Invisible War

text: The game opens after a terrorist attack on Chicago by the Knights Templar: a nanite bomb turns the entire city into grey goo, with the staff and trainees of the city's Tarsus Academy facility barely escaping in time to Tarsus' Seattle facility. After that too is attacked by terrorists, Alex discovers with Billie's help that Tarsus has been observing their trainees in secret under the guidance of Nassif, escapes the facility and is subsequently offered missions by Tarsus, the Order, the WTO, and the Omar. During these missions, Alex learns that their biomods were created by ApostleCorp, and follows Nassif from Seattle to Cairo, which is being disrupted by fighting between the factions. Alex's fellow students follow different paths during the narrative; Billie initially allies with the Order before joining the Knights Templar, Klara joins the WTO, while Leo becomes involved with the Omar and can become an unwilling convert.


title: Deus Ex: Invisible War

text: After locating Nassif, Alex learns that they are part of JC's plan to distribute their biomod technology worldwide, and that JC is currently incapacitated due to his own augmentations clashing with Helios. Alex goes to Trier to use a teleportation gate to reach JC's hiding place in Antarctica. While in Trier, Alex meets up with Tong and is sent to save key figures from being killed by the Templars, learning of the Illuminati's involvement. After activating the teleportation gate and reaching Antarctica, Alex is confronted by Billie and then revives JC. JC explains his plan of connecting all of humanity to Helios using Alex's biomods, paving the way for an ideal democracy. Alex is sent to Cairo to revive Paul with their compatible biomods. There Alex has the option of saving Paul, killing him under orders from Dumier, or handing him over to Saman.


title: Deus Ex: Invisible War

text: Brought by JC's agents to Liberty Island, Alex learns that the island holds an old part of the pre-Collapse worldwide communication network which can be used by each faction. No matter what choices Alex has made up to now, they can choose to side with any faction, or kill all the leaders on Liberty Island. If Alex follows JC's plan, the biomods are distributed worldwide, giving Helios the ability to access all human thought, allowing it to govern humanity. If Alex sides with the Illuminati, they use the network to help create a global surveillance state where communication and the economy are controlled. If Alex joins the Templars, they help unite humanity under a theocracy where biomod use and those considered impure are ruthlessly suppressed. Killing all other factions on Liberty Island leads to global chaos, turning Earth into a wasteland dominated by the Omar.


title: Deus Ex: Invisible War

text: Development of "Invisible War" began at series creator Ion Storm following the success of the original "Deus Ex". Most of the development team returned, eager to both tell a new story and refine the original gameplay. There were also relative newcomers who had worked on the original game's PlayStation 2 (PS2) port. Harvey Smith, lead designer for the original game, was chosen by the original director and series creator Warren Spector to direct the game; Spector instead took on a supervisory role for both "Invisible War" and other projects within the company. While Smith was tempted to act as both director and designer, he saw that it would be too much work, so brought on Ricardo Bare as lead designer. Bare had been involved in the later development of "Deus Ex", and despite his lack of experience as a designer was given the role when more qualified staff members were unavailable.


title: Deus Ex: Invisible War

text: The music for the game was composed by Alexander Brandon and Todd Simmons; Brandon had previously worked on the original game. Brandon's guidance when composing the music for "Invisible War" was the sparse musical style of the "Thief" series, shifting away from the style used for the original game. The voice acting style also underwent changes, with the aim being for more professional performances. The improved voice acting was attributed to the team being given a larger budget. The soundtrack included six tracks from the album "Trickster" by industrial rock band Kidneythieves; the band's lead singer Free Dominguez provided voice work for the idol character NG Resonance. Dominguez described the experience of recording her voice work being fun.


title: Deus Ex: Invisible War

text: When creating the game, the team's main aim was to create an experience that emulated the original game's freedom of choice while giving mainstream players more options for defining the player character. The gameplay drew inspiration from "", "System Shock", "Dungeon Master" and "". Due to the game being designed for both consoles and PC players, the team wanted to minimize the number of menus to navigate, maintaining the core feeling of a first-person shooter. One of the aims was to improve the stealth elements, which the team felt was "broken" in "Deus Ex". When designing the stealth, the team received input from the team developing "", which was also in production at Ion Storm. They also had staff who had worked on "Tom Clancy's Splinter Cell", then regarded as one of the best recent stealth-focused games. The original game's two different levelling systems of augmentations and skill points were combined into the biomod system. The use of universal ammunition was implemented so players would not need to worry about collecting ammunition types for multiple gun types. Spector later explained these changes as a means of helping sell the game to players outside the core fanbase; with both "Invisible War" and "Thief: Deadly Shadows", they needed a wider player base in order to make the games profitable. A multiplayer mode, which had been added to the original game via a patch, was not included in "Invisible War" due to time and quality concerns.


title: Deus Ex: Invisible War

text: The story was influenced by popular conspiracy theories, spy stories, and science fiction. The original writer for "Deus Ex", Sheldon Pacotti, returned to write the game's script with newcomer Sarah Paetsch. A major difference from the first game was the player's freedom to change factions throughout the game, something not available in the first game. A core part of the experience was the branching narrative, giving the player multiple options of progress despite missions having a linear progression. Paetsch estimated that the game contained over 30,000 lines of voiced dialogue. The game's subtitle referred to the unseen battle that took place both around people and within them. The suggestion that all endings of "Deus Ex" should be part of the canon series of events was suggested by a staff member who worked on the original game's Hong Kong storyline. The locations were chosen for their distinct feel and—in some cases—iconic landmarks. They also chose locations associated at the time with the organizations featured in-game, such as Seattle and the WTO. The Antarctica setting was influenced by the John Carpenter's film "The Thing". Rather than use JC as the main protagonist due to his actions in "Deus Ex" making him a grand figure in world history, the team created newcomer Alex, someone who would share JC's roots and begin "at the bottom of the pyramid", as was a popular element of many "immersive sim" games at the time. One of the themes included in the game was the nature of terrorism, and how people could be classified as terrorists or freedom fighters depending on circumstance.


title: Deus Ex: Invisible War

text: While the original game was developed for Windows, the team developed "Invisible War" for console, using their experience creating the "Deus Ex" PS2 port. They chose the Xbox as it had the largest memory capacity. The biggest problem was the smaller processing power and RAM compared to PCs. Due to the limited hardware of the Xbox, the environment sizes needed to be scaled down compared to the first game, but the team tried to make the smaller areas denser, with more interactive elements. When creating the game, the team rebuilt all the systems from scratch from the engine to the render and sound system. The game used a combination of the Unreal Engine and the Havok physics software. The choice of Unreal was governed by several factors including familiarity with the engine and the wish to develop for both PC and console environments; while the basic structure of the Unreal Engine was used, the team replaced the renderer, artificial intelligence (AI) programming and physics engine. Integrating Havok allowed for "richer" simulation of real-time physics. The AI was designed to exhibit a wider range of responses than the original game, noticing disturbances, searching environments and being able to call in reinforcements.


title: Deus Ex: Invisible War

text: A sequel to "Deus Ex" was revealed by Eidos in 2001 through job listings advertising for designers to work on the game. Later that month at the 2001 Electronic Entertainment Expo (E3), Eidos confirmed that both the second "Deus Ex" and the next "Thief" game would be coming to consoles before arriving on PC; the explanation was that taking the restrictions of console hardware into account would make later ports to PC more effective. Eidos officially announced the game E3 2002; the platforms listed were PC, Xbox and PS2. It was later revealed that Ion Storm were struggling to work out how to port the game to PS2 given the extensive hardware differences between the three platforms, and were reluctant to do so due to these issues. Following the game's release, it was clarified that no PS2 version would be developed. As part of the promotion, the soundtrack was made available for download through the game's website. A demo was released in November 2003. The game was released in North America on December 2, 2003. Following the North American release, Ion Storm released a patch to fix issues with the graphics and additional gameplay elements such as quick saves. The game released in Europe on March 5, 2004. The Xbox version was also released in Japan. First announced in March 2004, the game was released on June 17.


title: Deus Ex: Invisible War

text: During its debut week in the United Kingdom, the game reached #3 in the charts, described as a respectable debut. In their financial report in April 2005, Eidos reported that "Invisible War" was among the titles to have sold between 500,000 and one million copies since release, placing it among their successful titles. As of April 2011, "Invisible War" has sold over 1.2 million copies worldwide, placing it above the original game in terms of copies sold.


title: Deus Ex: Invisible War

text: "Computer and Video Games" called both versions of the game enjoyable despite elements of world building and gameplay not carried over from the original lessened the experience. Eurogamer's Rob Fahay, while noting that its focus on some aspects of the first game over others left it at a disadvantage, still called it "excellent". Adam Biessener and Justin Leeper of "Game Informer", respectively reviewing the PC and Xbox versions, praised the variety of choices in gameplay and the quality of the story and voice performances, calling both great examples of games within the science fiction genre. "GamePro" praised the story, its extensive voice acting, the number of choices available in gameplay progression and the completion of objectives.


title: Deus Ex: Invisible War

text: GameSpot's Greg Kasavin, who reviewed both versions, praised the game's ambition and the elements that worked, but said that people would focus on the faults with its narrative delivery and gameplay structure; he summed up the game as a "great and original experience that's well worthwhile". Steve Butts of IGN said that, while some would say the gameplay made too many concessions towards casual players, it was still a well-built and enjoyable video game, praising most of the alterations made by the developers. Ryan McCaffrey of "Official Xbox Magazine" called the game a "brilliant RPG" despite noting its short length, praising its narrative, gameplay freedom, and in-game physics. Kieron Gillen, reviewing the game for "PC Gamer", praised the game's wide variety of choice despite some elements such as the biomod upgrade system not evolving. He noted that the elements that had not been directly carried over from "Deus Ex" would taint people's perception of the game.


title: Deus Ex: Invisible War

text: General praise went to the variety of choice in its narrative and gameplay, despite the former being seen as lacking in places and the latter being held back by other factors such as the limitations of the Biomod upgrade system and its limited environment sizes. Poor AI behavior was also a recurring criticism. The Xbox version was praised for its performance and graphics despite several reviewers noting distracting drops in frame rate and other technical issues. The PC version was frequently criticized as having similar frame rate issues in addition to problems with the controls, the necessity for a powerful computer to run the game properly, and the fact that the game was scaled down to run on the Xbox.


title: Deus Ex: Invisible War

text: As part of his review, McCaffrey named the game as "Editor's Choice". At the National Academy of Video Game Trade Reviewers 2003 awards ceremony, "Invisible War" was nominated for awards in the "Character Design" and "Lighting/Texturing" categories. At the 2004 Game Developers Choice Awards, Pacotti and Paetsch were nominated in the "Excellence in Writing" category for their work on the game. At that year's Academy of Interactive Arts & Sciences awards, the game was nominated in the "Computer Role-Playing Game of the Year" and "Console First Person Action Game of the Year" categories.


title: Deus Ex: Invisible War

text: "Invisible War" has retrospectively been seen as the weakest mainline entry in the "Deus Ex" series compared to both the original game and subsequent titles. IGN's Brian Albert, in a history of the series, felt that its technical shortcomings and science fiction aesthetics prevented "Invisible War" from finding the same appeal as the original game. Neon Kelly of VideoGamer.com said the game was "widely regarded as a disappointment" due to the controversial design choices relating to its gameplay and console-focused structure.


title: Deus Ex: Invisible War

text: Several retrospectives on the game have cited it as a disappointing game in the wake of the highly acclaimed original: both Heather Alexandra of Kotaku and Richard Cobbett of "PC Gamer" said that—while the game was not bad in itself—it failed to live up to the "Deus Ex" series traditions and worked against the brand. In a dedicated retrospective of the game for Eurogamer, Tristan Donovan said that the game was "destined to spend its future living in the shadow of the game that came before it and, now, the game that came after it", despite it having enough elements to be considered an entry in the "Deus Ex" series.


title: Deus Ex: Invisible War

text: Members of staff have also spoken out against their role in the game: Spector openly regrets listening to the focus testers during early development as this influenced the shift in setting, Brandon faulted the sound—the more professional voice acting and sparse musical style—as being foreign to the "Deus Ex" series, while in multiple interviews Smith expressed disappointment with the design decisions taken with the game despite him still liking it. In a conversation with Spector during a lecture at the University of Texas, Smith voiced his opinions on the game's development:


title: Deus Ex: Invisible War

text: Following the release of "Invisible War", multiple attempts were made to create a third "Deus Ex" title, even after both Spector and Smith left Ion Storm. The two main projects were dubbed "Deus Ex: Insurrection", which used the same engine as "Invisible War" while moving away from its divisive mechanics; and "Deus Ex 3", which aimed to be an open world game with a branching narrative. Prospective development on the third "Deus Ex" game was halted when, following further staff departure and financial difficulties, the studio's owner Eidos Interactive closed them down in 2005. A separate project developed by Crystal Dynamics, intended as the fourth "Deus Ex" project following "Insurrection" and titled "Deus Ex: Clan Wars", was reworked as "Project Snowblind". "Invisible War" was the last "Deus Ex" game developed by Ion Storm prior to its closure.


title: Deus Ex: Invisible War

text: In 2007, the next entry in the "Deus Ex" series at the newly-established Eidos Montréal with the aim of revitalizing the "Deus Ex" series, with the game being both a prequel and a reboot of the series. First announced shortly after beginning development, "" was released in 2011 to critical and commercial success. A direct sequel to "Human Revolution", "", released in 2016. "Mankind Divided" and other projects following "Human Revolution" form part of a project dubbed the ""Deus Ex" Universe", with both games and additional media designed to expand upon the series setting.


title: E. H. Shepard

text: Ernest Howard Shepard (10 December 1879 – 24 March 1976) was an English artist and book illustrator. He is known especially for illustrations of the anthropomorphic animal and soft toy characters in "The Wind in the Willows" and "Winnie-the-Pooh".


title: E. H. Shepard

text: Shepard's original 1926 illustrated map of the Hundred Acre Wood, which features in the opening pages of "Winnie-the-Pooh" (and also appears in the opening animation in the first Disney adaptation in 1966), sold for £430,000 ($600,000) at Sotheby's in London, setting a world record for book illustrations.


title: E. H. Shepard

text: Shepard was born in St John's Wood, London, son of Henry Donkin Shepard, an architect, and Jessie Harriet, daughter of watercolour painter William Lee. Having shown some promise in drawing at St Paul's School, in 1897 he enrolled in the Heatherley School of Fine Art in Chelsea. After a productive year there, he attended the Royal Academy Schools, winning a Landseer scholarship in 1899 and a British Institute prize in 1900. There he met Florence Eleanor Chaplin, whom he married in 1904. By 1906 Shepard had become a successful illustrator, having produced work for illustrated editions of Aesop's Fables, "David Copperfield", and "Tom Brown's Schooldays", while at the same time working as an illustrator on the staff of "Punch". The couple bought a house in London, but in 1905 moved to Shamley Green, near Guildford.


title: E. H. Shepard

text: Shepard was a prolific painter, showing in a number of exhibitions. He exhibited at the Royal Society of Artists, Birmingham—a traditional venue for generic painters—as well as in the more radical atmosphere of Glasgow's Institute of Fine Arts, where some of the most innovative artists were on show. He was twice an exhibitor at the Walker Art Gallery in Liverpool, one of the largest provincial galleries in the country, and another at the Manchester Art Gallery, a Victorian institution later part of the public libraries. But at heart, Shepard was a Londoner, showing sixteen times at the Royal Academy on Piccadilly. His wife, who was also a painter, found a home in London's West End venue for her own modest output during a 25-year career.


title: E. H. Shepard

text: In his mid-thirties when World War I broke out in 1914, Shepard received a commission as a second lieutenant in the Royal Garrison Artillery, an arm of the Royal Artillery. He was assigned to the 105th Siege Battery, which crossed to France in May 1916 and went into action at the Battle of the Somme.


title: E. H. Shepard

text: By the autumn of 1916, Shepard started working for the Intelligence Department sketching the combat area within the view of his battery position. On 16 February 1917, he was made an acting captain whilst second-in-command of his battery, and briefly served as an acting major in late April and early May of that year during the Battle of Arras before reverting to acting captain. He was promoted to substantive lieutenant on 1 July 1917. Whilst acting as Captain, he was awarded the Military Cross. His citation read:


title: E. H. Shepard

text: Later in 1917, the 105th Siege Battery participated in the final stages of the Battle of Passchendaele where it came under heavy fire and suffered a number of casualties. At the end of the year, it was sent to help retrieve a disastrous situation on the Italian Front, travelling by rail via Verona before coming into action on the Montello Hill.


title: E. H. Shepard

text: Shepard missed the Second Battle of the Piave River in April 1918, being on leave in England (where he was invested with his MC by King George V at Buckingham Palace) and where he was attending a gunnery course. He was back in Italy with his battery for the victory at Vittorio Veneto. After the Armistice of Villa Giusti in November 1918, Shepard was promoted to acting major in command of the battery, and given the duty of administering captured enemy guns. Demobilisation began at Christmas 1918 and the 105th Siege Battery was disbanded in March 1919.


title: E. H. Shepard

text: Throughout the war, he had been contributing to "Punch". He was hired as a regular staff cartoonist in 1921 and became lead cartoonist in 1945. He was removed from this post in 1953 by "Punch"'s new editor, Malcolm Muggeridge. His work was also part of the painting event in the art competition at the 1928 Summer Olympics.


title: E. H. Shepard

text: Shepard was recommended to A. A. Milne in 1923 by another "Punch" staffer, E. V. Lucas. Milne initially thought Shepard's style was not what he wanted, but used him to illustrate the book of poems "When We Were Very Young". Happy with the results, Milne then insisted Shepard illustrate "Winnie-the-Pooh". Realising his illustrator's contribution to the book's success, the writer arranged for Shepard to receive a share of his royalties. Milne also inscribed a copy of "Winnie-the-Pooh" with the following personal verse:


title: E. H. Shepard

text: Eventually Shepard came to resent "that silly old bear" as he felt that the Pooh illustrations overshadowed his other work.


title: E. H. Shepard

text: Shepard modelled Pooh not on the toy owned by Milne's son Christopher Robin but on "Growler", a stuffed bear owned by his own son. (Growler no longer exists, having been given to his granddaughter Minnie Hunt and subsequently destroyed by a neighbour's dog.) His Pooh work is so famous that 300 of his preliminary sketches were exhibited at the Victoria and Albert Museum in 1969, when he was 90 years old.


title: E. H. Shepard

text: A Shepard painting of Winnie the Pooh, believed to have been painted in the 1930s for a Bristol teashop, is his only known oil painting of the famous teddy bear. It was purchased at an auction for $243,000 in London late in 2000. The painting is displayed in the Pavilion Gallery at Assiniboine Park in Winnipeg, Manitoba, Canada, the city after which Winnie is named.


title: E. H. Shepard

text: In 1972, Shepard gave his personal collection of papers and illustrations to the University of Surrey. These now form the E.H. Shepard Archive.


title: E. H. Shepard

text: Shepard lived at Melina Place in St John's Wood and from 1955 in Lodsworth, West Sussex. He and Florence had two children, Graham (born 1907) and Mary (born 1909), who both became illustrators. Lt. Graham Shepard died when his ship HMS "Polyanthus" was sunk by German submarine U-952 in September 1943. Mary married E.V. Knox, the editor of "Punch", and became known as the illustrator of the "Mary Poppins" series of children's books. Florence Shepard died in 1927. In November 1943 Shepard married Norah Carroll, a nurse at St Mary's Hospital, Paddington. They remained married until his death on 24 March 1976. In 1966, he called the short film Winnie the Pooh and the Honey Tree a travesty.


title: 1400–1500 in European fashion

text: Fashion in 15th-century Europe was characterized by a series of extremes and extravagances, from the voluminous robes called houppelandes with their sweeping floor-length sleeves to the revealing doublets and hose of Renaissance Italy. Hats, hoods, and other headdresses assumed increasing importance, and were draped, jewelled, and feathered.


title: 1400–1500 in European fashion

text: As Europe continued to grow more prosperous, the urban middle classes, skilled workers, began to wear more complex clothes that followed, at a distance, the fashions set by the elites. It is in this time period that we begin to see fashion take on a temporal aspect. People could now be dated by their clothes, and being in "out of date" clothing became a new social concern. National variations in clothing seem on the whole to have increased over the 15th century.


title: 1400–1500 in European fashion

text: The Lübeckian chronicler Arnold mocked changes in Danish attire he attributes to the increasing economic power of the Danes:


title: 1400–1500 in European fashion

text: Historians conjecture that the raw materials used to make clothing changed along with the styles, from wool to linens, as well as the colors of the textiles, and the types of weave, from homespun grey woolens to imported red and darkly colored textiles.


title: 1400–1500 in European fashion

text: With England and France mired in the Hundred Years War and its aftermath and then the English Wars of the Roses through most of the 15th century, European fashion north of the Alps was dominated by the glittering court of the Duchy of Burgundy, especially under the fashion-conscious power-broker Philip the Good (ruled 1419–1469). Having added Holland and Flanders to their dominion, the Dukes of Burgundy had access to the latest fabrics of Italy and the East and to English wool exports through the great trading cities of Bruges and Antwerp. Purchases of fabrics through Italian merchants like the two cousins both named Giovanni Arnolfini amounted to a noticeable proportion of all government expenditure. Especially in Florence, where sumptuary laws prevented the citizens from wearing the most luxurious cloths on which the city's fortunes were built, the materials of men's clothing in particular often appear plain in paintings, but contemporaries who understood the difference in grades of cloth very well would have appreciated the beauty and great expense of a very fine grade.


title: 1400–1500 in European fashion

text: Wool was the most popular fabric for all classes by far, followed by linen and hemp. Wool fabrics were available in a wide range of qualities, from rough undyed cloth to fine, dense broadcloth with a velvety nap. High-value broadcloth was a backbone of the English economy and was exported throughout Europe. Wool fabrics were dyed in rich colours, notably reds, greens, golds, and blues, although the actual blue colour achievable with dyeing with woad (and less frequently indigo) could not match the characteristic rich lapis lazuli pigment blues depicted in contemporary illuminated manuscripts such as the "Très Riches Heures du duc de Berry".


title: 1400–1500 in European fashion

text: Silk weaving was well established around the Mediterranean by the beginning of the 15th century, and figured silks, often silk velvets with silver-gilt wefts, are increasingly seen in Italian dress and in the dress of the wealthy throughout Europe. Stately floral designs featuring a pomegranate or artichoke motif had reached Europe from China in the 14th century and became a dominant design in the Ottoman silk-producing cities of Istanbul and Bursa, and spread to silk weavers in Florence, Genoa, Venice, Valencia, and Seville in this period.