Douglas Curtis "Curt" Swan was an American comics artist. The artist most associated with Superman during the period fans call the Silver Age of Comic Books, Swan produced hundreds of covers and stories from the 1950s through the 1980s. Curt Swan, whose Swedish grandmother had shortened and Americanized the original family name of Svensson, was born in Minneapolis, the youngest of five children. Father John Swan worked for the railroads; as a boy, Swan's given name – Douglas – was shortened to "Doug," and, disliking the phonetic similarity to "Dog," Swan thereafter reversed the order of his given names and went by "Curtis Douglas," rather than "Douglas Curtis."Having enlisted in Minnesota's National Guard's 135th Regiment, 34th Division in 1940, Swan was sent to Europe when the "federalized" division was shipped to Northern Ireland and Scotland. While his comrades in the 34th went into combat in North Africa and Italy, Swan spent most of World War II working as an artist for the G. I. magazine Stars and Stripes.

While at Stars and Stripes, Swan met writer France Herron, who directed him to DC Comics. During this period Swan married the former Helene Brickley, who he had met at a dance at Fort Dix, New Jersey, and, stationed near him in Paris in 1944 as a Red Cross worker. Shortly after returning to civilian life in 1945 he moved from Minnesota to New Jersey and began working for DC Comics. Apart from a few months of night classes at the Pratt Institute under the G. I. Bill, Swan was an self-taught artist. After a stint on Boy Commandos he began to just pencil pages. Swan drew many different features, including "Tommy Tomorrow" and "Gangbusters", but he began gravitating towards the Superman line of books, his first job pencilling the iconic character was for Superman #51. Many comics of the 1940s and 1950s lacked contributor credits, but research shows that Swan began pencilling the Superboy series with its fifth issue in 1949, he drew the first comics meeting of Superman and Batman in Superman #76. The two heroes began teaming on a regular basis in World's Finest Comics #71 in a story, drawn by Swan.

Swan always felt that his breakthrough came when he was assigned the art duties on Superman's Pal, Jimmy Olsen, in 1954. Swan didn't take to line editor Mort Weisinger's controlling style. Swan discussed this period in an interview: "I was getting terrible migraine headaches and had these verbal battles with Mort. So it was emotional, physical, it just drained me and I thought I'd better get out of here before I go whacko." After leaving comics for the advertising world in 1951, Swan soon returned, for DC's higher paychecks. And as biographer Eddy Zeno notes, "The headaches went away after gained Weisinger's respect by standing up to him."Around 1954, Swan unsuccessfully pitched an original comic strip for newspaper syndication. Called Yellow Hair, it was about a blond boy raised by Native Americans. A couple of years starting with the episode of June 18, 1956, Swan drew the Superman daily newspaper comic strip, which he continued on until November 12, 1960. In the view of comics historian Les Daniels, Swan became the definitive artist of Superman in the early 1960s with a "new look" to the character that replaced Wayne Boring's version.

The Composite Superman was co-created by Swan and Edmond Hamilton in World's Finest Comics #142. Swan and writer Jim Shooter crafted the story "Superman's Race with the Flash!" in Superman #199 which featured the first race between the Flash and Superman, two characters known for their super-speed powers. Over the years, Swan was a remarkably consistent and prolific artist illustrating two or more titles per month. Swan remained as artist of Superman when Julius Schwartz became the editor of the title with issue #233, writer Denny O'Neil streamlined the Superman mythos, starting with the elimination of Kryptonite. Among Swan's contributions to the Superman mythos, he and writer Cary Bates co-created the supervillains Terra-Man and the 1970s version of the Toyman as well as the superhero Vartox. Writer Martin Pasko and Swan created the Master Jailer character in Superman #331. After DC's 1985 12-issue limited series Crisis on Infinite Earths and with the impending 1986 revision of Superman by writer/artist John Byrne, Swan was released from his duties on the Superman comics.

Critic Wallace Harrington summed up Swan's dismissal this way:... the most striking thing that DC did was to turn their back on the one man that had defined Superman for three decades... They turned out the lights on the creator that had defined their whole line. With no real thanks, no pomp nor circumstance, DC relieved Curt of his artistic duties on Superman. Curt Swan who had drawn Superman in Action, Lois Lane, Jimmy Olsen and World's Finest, drew Superboy in Adventure Comics, the quintessential Superman artist of the 1960s,'70s and'80s, he became. Gone. Swan's last work as regular artist on Superman was the non-canonical 1986 story "Whatever Happened to the Man of Tomorrow?", written by Alan Moore. After this, Swan continued to do occasional minor projects for DC, including the artwork of what is thought to be one of the rarest Superman comics published, titled "This Island Bradman", a comic book, commissioned in 1988 by real estate tycoon Godfrey Bradman as a Bar Mitzvah gift for his son, as well as an Aquaman limited series and special in 1989, and

State Road 104 is a state road in the northern section of the US state of Indiana. It serves as a connector between SR 4 near Stillwell to U. S. Route 6 in Walkerton; the highway runs parallel to a rail line in a northwest-to-southeast direction in rural LaPorte and St. Joseph counties. SR 104 dates back to the 1940s. SR 104 begins in La Porte County at an all-way stop with SR 4 and County Road 300 South, a few miles southeast of the city of La Porte; the route heads southeast towards Walkerton, paralleling a Chicago South Shore and South Bend Railroad track. The road is two-lane rural highway. SR 104 passes through the unincorporated community of Stillwell and crosses the Canadian National Railway. Southeast of Stillwell the highway drifts away from the Chicago South Shore and South Bend Railroad track, for a short distance, before crossing the Kankakee River. After the river SR 104 passes between the southeast end of the Chicago South Shore and South Bend Railroad track and the north end of a Norfolk Southern rail track.

SR 104 enters St. Joseph County; the route enters Walkerton and crosses the CSX Railroad track, soon after the tracks the SR 104 designation ends at US 6. The roadway continues southeast as Industrial Park Drive passing through the Walkerton Industrial Park Southwest. No segment of State Road 104 in Indiana, included in the National Highway System; the NHS is a network of highways that are identified as being most important for the economy and defense of the nation. The highway is maintained by the Indiana Department of Transportation like all other state roads in the state; the department tracks the traffic volumes along all state roads as a part of its maintenance responsibilities using a metric called average annual daily traffic. This measurement is a calculation of the traffic level along a segment of roadway for any average day of the year. In 2016, INDOT figured that lowest traffic levels were 1,163 vehicles used the highway daily from at the La Port–St. Joseph county line; the peak traffic volumes were 1,698 vehicles used the highway daily at western end SR 104.

SR 104 was added to the state road system between 1942 and 1945, running along its current routing between SR 4 and US 6 in Walkerton. The entire roadway was paved between 1956 and 1959; the routing of SR 104 has remained the same since

Anna Vissi Live! is the name of a live Greek album by singer Anna Vissi. It is her first live album and was released in Greece and Cyprus in December 1993, it was recorded in Plaka, Athens. The reason for its release was to celebrate the 20 years of Anna Vissi's career, it included many of her hits so far in live versions, as well as live covers of her early recordings back in the 1970s, as to honour Stavros Kougioumtzis and Doros Georgiadis, the first composers she collaborated with. It featured three duets with Lampis Livieratos and Yannis Siamsiaris, who took part in the live performance as backing vocalists. Anna Vissi dedicated the album to her daughter Sofia Karvela. "Den Thelo Na Kseris" "S'Agapo" "Se Hriazome" "Akoma Mia" "Ime" "Fos" "Fotia" "Pragmata" "Empnefsi" "Lambo" "O Telefteos Horos" "Antistrofi Metrisi" "Emis" "Kapou Nihtoni" "S' Agapo" "Sta Hronia Tis Ipomonis" "Krivame Tin Agapi Mas" "As Kanoume Apopse Mian Arhi" "Dodeka" "Ta Mathitika Ta Hronia" "San Kai Emena Kamia" "Den S'Allazo" "Me Agapi Apo Mena Gia Sena" "Pseftika" "Oti Thes Ego" "Pikre Mou" "Demones" "I Hantres" "Tou Agoriou Apenanti" "Krima To Mpoi Sou" "Efta Tragoudia Tha Sou Po" "Stalia Stalia" "Dilina" "Oniro Demeno" "Kathe Limani Kai Kaimos" "S' Agapo Giati Ise Orea" "Ena Sou Leo Ena" "Den Thelo Na Kseris" Credits adapted from the album's liner notes

Sebastián Matías Aguirre Boëda is a Mexican actor. Son of musicians, Aguirre began acting as a child with a screen debut in the short films ¡Volar! and La Canción de los Niños Muertos. His breakthrough performance was as Julián "Sacramento" Santos in Obediencia Perfecta in which he played a victim of sexual abuse by a priest, earning an Ariel Award for Breakthrough Male Performance, he subsequently appeared in another film, Güeros, for which he received another Ariel nomination, the thriller Un Monstruo de Mil Cabezas, portraying a teenager helping his mother to convince an insurance company to provide a treatment for her husband. Aguirre is featured in the films Herederos. La vida inmoral de la pareja ideal, directed by Manolo Caro. Aguirre was born in Mexico City, Mexico, in 1998, his parents are violin players, since childhood he was exposed to art expressions. At age 8, his mother took him to take courses at CasAzul, a Mexican drama school, there he decided to become an actor. About his acting career, Aguirre does not want to repeat himself, "it happens that when you get a role you got stuck on it, but I want diversity in order to show that my layers as an actor".

His favorite films include Trainspotting, La Piel Que Habito and El Castillo de la Pureza and wants to specialize in film directing. Aguirre debuted on the short-films ¡Volar! and La Canción de los Niños Muertos in 2008. The latter film, about five teenagers who lose their mother, was directed by Mexican filmmaker David Pablos, won for Best Fiction Short Film at the Morelia International Film Festival and was screened during the International Critics' Week of the 2009 Cannes Film Festival; this work, earned Pablos the Ariel Award for Best Live Action Short and the SIGNIS Award during the 4th International Short Film Festival, being the SIGNIS jury's verdict that "the film narrative takes us into the complexity of disparate feelings as violence and tenderness and forgiveness, rebellion and reconciliation."At age 12, he auditioned for the role of Julián "Sacramento" Santos, a child sexually abused by a priest, on the film Obediencia Perfecta directed by Luis Urquiza. He filmed two years and along with the other 30 child actors involved in the film, Aguirre was accompanied at all times by his parents, lawyers and a coach who worked with the actors many months before filming.

Aguirre agreed to participate in the movie, since there was a message to give, after seeing the completed film stated: "I thought it would be morbid, but every scene was made. What I liked about the film is that you only see what you have to see". Since the screenplay was based on the Sexual scandal of Marcial Maciel, the founding leader and general director of the Legion of Christ, Aguirre was asked about his religious orientation by the Mexican newspaper El Universal, declared himself as atheist. Aguirre's performance was met with positive reviews, including Ronnie Scheib of Variety magazine, who stated that the actor "succeeds admirably in casting his beatific good looks in a postcard-perfect saintly light". Aguirre's following film was Güeros directed by Alonso Ruizpalacios in the role of Tomás, a teenager sent from Veracruz to Mexico City by his mom to live with his older brother. About working on the film, Aguirre said. Güeros received twelve nominations for the 57th Ariel Awards in Mexico, including Best Picture and Best Direction, Aguirre earned a double nomination for Breakthrough Male Performance for this film and his work on Obediencia Perfecta.

About this recognition, Aguirre said: "I did not expect it, I am proud... I can get better things, it is not something that assures me that I will have more work, but it is a gradual advance that makes me proud". Aguirre won the Diosa de Plata for Obediencia Perfecta. In 2015, Aguirre participated on a rally held at the Guanajuato International Film Festival, where a short film has to be made in 48 hours. After that he joined the cast of the film Un Monstruo de Mil Cabezas, directed by Rodrigo Plá; the film, about a wife that tries to take justice into her own hands after a health-insurance company refuses to approve the care of her dying spouse with the help of her son, was met with critical acclaim, Godfrey Cheshire of RogerEbert.com, praised Aguirre's performance in this film and his previous one. The same year he acted on Herederos directed by Jorge Hernández and co-starred with Dario Yazbek on the film Mi Sangre, shot on location in Mexico and England. Aguirre is featured on Manolo Caro's La vida inmoral de la pareja ideal, as the young version of Lucio, who meets Martina in high-school, they fall in love and separate shortly after, 25 years they meet again by chance.

He worked in France in the film Los Paisajes portraying a teenager fleeing from boarding school to meet his brother in Paris and taking a trip to the French countryside, where the fraternal relationship is confronted by a tragic event. Sebastián Aguirre on IMDb

Monica E. Rudquist is a ceramic artist working out of Minneapolis, Minnesota, she is known for her distinctive "spiraling shapes" and works in porcelain. In addition, her work features wheel-thrown functional wares as well as large-scale, abstract wall installations. Monica Rudquist was born in 1961 in Minnesota. Rudquist's father, Jerry Rudquist, was an art professor at Macalester College, her mother, Raquel Rudquist, was an architect for Target Corporation and one of the first female architects in Minnesota. She had recognizable clay talent from a young age and worked with Gail Kristenson when she was only twelve; when studying at Macalester, Ron Gallas had a large influence in Rudquist's work in series. Rudquist has said that her father is her biggest artistic inspiration because of his prowess with color and bravery when it came to risk-taking. Rudquist received her Bachelor's degree from Macalester College in St. Paul, Minnesota in 1983, graduating magna cum laude in both Arts and French. In 1985, she received her Master of Fine Arts, from Cranbrook Academy of Art in Bloomfield Hills, Michigan.

While in Michigan, Monica studied with Jun Kaneko. Ceramic artist Kaneko helped Rudquist see that, "the juxtaposition of pieces within a space and in relation to each other is as important as the spaces created within the pieces themselves. Rudquist creates wheel-thrown functional pieces, her pieces have fluid shapes and "explores the space between function and sculpture". Rudquist works in multiples and finds artistic value in examining the spaces between pieces. Rudquist cuts into the walls of her wheel-thrown vessels disrupting the sense of volume. According to Matt Beachey, “when Rudquist envisions a piece, she starts with a simple, practical object, like a teapot, makes it into something unique and awe-inspiring.” She creates sculptural arrangements by joining cut vessels, re-assembling the parts with overlapping and uneven edges. She pulls out her cups and bowls to create more expressive shapes. Rudquist is concerned about the space within the vessel as well as the surrounding space. “Her creations carry her signature monochromatic appearance, looking fluid and firm.”

Rudquist was a recipient of the 2013 Artist Initiative Grant provided by the Minnesota State Arts Board. Through this grant, she exhibited her work in her exhibition titled InContext. In November 2013-January 2014, this exhibition took place in the Emily Galusha Gallery at Northern Clay Center in Minneapolis, Minnesota; the centerpiece of the show, "Intersection" measured 6.5 ft x 25 ft. This work "explored the interplay and patterns between the interior and exterior of form and the spaces created between the forms when they are set side-by-side." This show included wall and floor installations and all works had multiple pieces. Intersection is made up of one thousand smaller pieces, each with a small hole in the back for easy hanging. "Intersections" is now permanently installed at the headquarters of LifeSource, a non-profit organization that facilitates organ and tissue transplants, in Minneapolis, Minnesota. A LifeSource representative writes, “Each piece in this artwork stands on its own as a familiar and intimate vessel and yet is part of something bigger as the shapes are joined in unexpected ways.

A space remains between the individual pieces, giving honor to the space between as much as the space contained within.” Rudquist has worked at the Bloomington Art Center in Bloomington, MN, Edina Art Center in Edina, MN, St. Olaf College in Northfield, MN, she has worked at St. Catherine University since 2008 as a ceramics professor, she spent three years working with 700 K-8 students at the Seward Montessori School helping them to create a "Time Line of Life" tile mural, a project, organized through Northern Clay Center. She holds exhibitions three to four times a year at galleries, she is a founding member of Northern Clay Center and was a member of Women's Art Resources of Minnesota in the 1990s. She is a member of Minnesota Women Ceramic Artists, she is a longtime member of National Council of Ceramic Artists. She leads the Clay Club at St. Catherine University which support the non- profit organization "Open arms" whose mission is to bring food to people who cannot take care of themselves and people with illnesses.

They do this through the Empty Bowls social, in which students on a selected date make bowls, which get used at the event where people can give a donation and receive a hand made bowl with soup. 2018 - Carol Easley Denny Award, St. Catherine University 2013 - Minnesota State Arts Board Initiative Grant 2012 - Best of Show Lakefront Arts Festival, Wisconsin 2008 - Newcomer Award, 57th Street Art Fair, Illinois 2002 - Best of Show Minnesota Crafts Festival, St. Paul, Minnesota 2001 - Awarded a State Resolution by the State of Minnesota "in recognition of her artistic contributions to the state of Minnesota" 2000 - Invitational Awards, Madison Art on the Square, Wisconsin 2015 - Constructed Visions: Two Views, The Catherine G. Murphy Gallery, St Catherine University, St. Paul, MN. 2015 - ART- INSPIRED MUSIC PROJECT 2ND EDITION, McNally Smith College of Music, St. Paul, MN 2015 - Eat Drink and …Minnesota Women Ceramic Artists Exhibition, Northern Clay Center, Mpls. MN 2014 - OBJECTS: MMAA, Minnesota Museum of American Art, St Paul, MN 2014 -Red River Reciprocity, Plains Art Museum, Fargo, ND 2014 - Super Surprise, group exhibition of Minnesota Women Ceramic Artists, Milwaukee, WI 2013 - INCONTEXT, solo exhibition, Emily Galusha Gallery, Northern Clay Center, Mpls.

MN 2013 - Ceramics3, Metal 2- 5 ARTISTS, The Catherine G. Mur

Harris Township is a township in Itasca County, United States. The population was 3,253 at the 2010 census. Harris Township was named for a pioneer farmer. According to the United States Census Bureau, the township has a total area of 35.9 square miles, of which 31.9 square miles is land and 4.0 square miles, or 11.04%, is water. As of the census of 2000, there were 3,328 people, 1,290 households, 992 families living in the township; the population density was 104.3 people per square mile. There were 1,516 housing units at an average density of 47.5/sq mi. The racial makeup of the township was 97.87% White, 0.21% African American, 0.69% Native American, 0.30% Asian, 0.06% from other races, 0.87% from two or more races. Hispanic or Latino of any race were 0.21% of the population. There were 1,290 households out of which 33.1% had children under the age of 18 living with them, 68.1% were married couples living together, 4.7% had a female householder with no husband present, 23.1% were non-families.

19.3% of all households were made up of individuals and 6.4% had someone living alone, 65 years of age or older. The average household size was 2.58 and the average family size was 2.93. In the township the population was spread out with 24.5% under the age of 18, 7.1% from 18 to 24, 25.0% from 25 to 44, 30.3% from 45 to 64, 13.1% who were 65 years of age or older. The median age was 41 years. For every 100 females, there were 105.9 males. For every 100 females age 18 and over, there were 106.4 males. The median income for a household in the township was $47,344, the median income for a family was $54,508. Males had a median income of $38,523 versus $27,574 for females; the per capita income for the township was $20,757. About 5.2% of families and 6.5% of the population were below the poverty line, including 7.9% of those under age 18 and 7.4% of those age 65 or over