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Commodore Nutt

Not to be confused with United States Representative from New Hampshire, George W. Morrison George Washington Morrison Nutt, stage named Commodore Nutt, was an American entertainer, he was a dwarf born in New Hampshire. In 1861, he was touring New England with a circus when P. T. Barnum hired him to appear at the American Museum in New York City. Barnum gave Nutt the stage name Commodore Nutt, a wardrobe that included naval uniforms, a miniature carriage in the shape of an English walnut. Nutt became one of the Museum's major attractions. Nutt was in love with another dwarf at the American Museum. Lavinia was several years older than Nutt, she thought of him only as a "nice little boy". She married General Tom Thumb in a spectacular wedding masterminded by Barnum in 1863. Nutt resented his place in the show, he stayed away from women for a long time after the wedding. In 1879, he married Lilian Elston of California. Nutt toured Lavinia's sister, they returned to America rich beyond their dreams after appearing before royalty around the world.

Nutt left. He toured with a comic opera company, put together a variety show on the United States West Coast, operated western saloons in Oregon and California, he returned to New York City, died there of Bright's disease in May 1881. George Washington Morrison Nutt was born in Manchester, New Hampshire, to Major Rodnia Nutt, his wife Maria Nutt of Goffstown, New Hampshire. Rodnia was a rich farmer, a Manchester city marshal, a Manchester city councilman; the Nutts had five children. The first, whose name and sex are not known, was born on 8 December 1837. James Dodge was born on 28 January 1838, Rodnia, Jr. on 11 October 1840. A daughter, Mary Ann, was born on 22 September 1844. According to Nutt family records, George Washington Morrison was born on 1 April 1848. Nutt and his wife were "large, hearty folk". Mr. Nutt weighed over 250 pounds, their sons Rodnia, Jr. and George Washington Morrison were dwarfs. In 1861, Rodnia, Jr. was about 49 inches tall, George was about 29 inches. George weighed about 25 pounds.

George's ancestors include a weaver of English ancestry. William left Ireland for North America in the early 18th century, he started a family in colonial New England. A part of Manchester was called Nutfield in the early days of colonization. A pond and a road near the pond were named for early Nutt colonists. Nutt's career as an entertainer may have started in 1854, he may have been a performer with a small circus in Manchester. The circus manager, William C. Walker, once wrote, he wrote that he was the first to show him. Nutt was being exhibited and touring the New England countryside with a manager named Lillie when P. T. Barnum learned of him. Lillie was charging as little as a nickel to see the boy. Barnum was disgusted. Lillie knew nothing about exhibiting the boy "in the proper style". Barnum met Nutt in 1861. In his autobiography, Barnum wrote that Nutt was "a most remarkable dwarf, a sharp, intelligent little fellow, with a deal of drollery and wit, he had a splendid head, was formed, was attractive, and, in short, for a'showman' was a perfect treasure."Barnum knew Nutt could be a major museum attraction.

He hired a lawyer to lure Nutt away from his manager. Following Barnum's orders, the lawyer offered Nutt's parents a large sum of money to sign their son to a five-year contract, he promised them that the boy would be taught to be "a genteel, accomplished attractive little man". A contract was signed on 12 December 1861. Barnum hired his 21-year-old, 49-inch brother, Rodnia, Jr.. The contract required Barnum to give both young men food, clothing, a place to live, the costs of travel and medical care. Barnum promised to take care of the academic education of the brothers. Salaries would start at US$12 per week with increases every year; the two brothers would each get $30 per week in the last year of their contract. They would get 10% from the sales of their souvenir books and photographs, with at least $240 the first year and $440 the last year. At the end of the fifth year, they would receive a pair of ponies from Barnum. Once the contract was signed, Barnum started a publicity campaign to prepare the public for Nutt's debut.

He let. When other showmen heard this rumor, they rushed in to offer Nutt's parents huge sums of money to be the first to sign their son. Barnum was pleased; the publicity created much excitement. In a letter he leaked to reporters, he wrote; the showman claimed to have paid $30,000 to hire the dwarf. The boy became known as "The $30,000 Nutt". Barnum gave the dwarf the stage name Commodore Nutt. In addition, he provided Nutt with a wardrobe. For the Commodore's jaunts about town, the showman had a little carriage built for him; this carriage looked like an English walnut. The top of the vehicle was hinged; when the top was lifted, the little Commodore could be seen sitting inside. Nutt's carriage was pulled by Shetland ponies, it was driven around New York by Jr. dressed in the uniform of a coachman. Barnum thought these little trips about town the best form of advertisement. Nutt's carriage is now in the Barnum Museum in Bridgeport, Connectic

Amphol Lumpoon

Amphol Lumpoon is a Thai actor. He is the lead singer in the Thai rock band, but split up for his solo career, he was popular in the 1990s. Amphol was married to singer-actress Marsha Wattanapanich, they divorced in 1997. They have one child together. Amphol's songs include "Jai Sohm Sohm", "Ow Pai Loey", "Bauk Mah Kum Diow" and "Sia Mai". A compilation album featuring new such Thai rock bands such as Clash and Kala called Little Rock Project features songs by Amphol and Micro being covered by various artists. -Micro- Rock Lek Lek Meun Fha Rain Hi Dtem Tung -Amphol- Danger Iron Horse I. D. Card -Micro - Micro: Rock In Love/Rock In Rock Micro: The Final Collection 1/2 Tum Narn Meu Kwa: Micro: Put the right hand in the right concert Micro: Songs by Nitipong Hornak Micro: The Long Play Collection Rock Lek Lek 10,000 Fahrenheit Wutoo Wai Fai Micro: The 25 Years Hit Collection Sek Loso: PLUS Rock Lek Lek Concert, 1987 Amphol and Micro Concert: Ow Micro Pai Loey, 1988 Micro: Full Tank, 1989 Meu Kwa Sa-muk-kee, 1990 Amphol Concert: Kon Wai Fai, 1993 Amphol Concert: Asawin Mahlhek, 1995 Amphol Concert: Gub Kon Wai Jai.

M. Blues, 2006 Rewut Putinun: Remember in Tribute Concert, 2007 25 Years Nitipong Hornak, 2007 Rock for the King, 2007 Micro: Rock Lek Lek RETURNs, 2010 Amphol had the title role in The Story of Nam Pu, directed by Euthana Mukdasanit, submitted by Thailand for Academy Award for Best Foreign Language Film. Amphol won the best actor award at the Asia Pacific Film Festival for Nam Pu, an award he shared with Chow Yun-fat for Hong Kong 1941. Amphol was awarded best actor for Ang Yee - Dragon's Son at the 2000 Thailand National Film Association Awards; the Story of Nampoo Raeng Heung Thai TV Drama Seua jone phan seua Ang Yee - Dragon's Son The Legend of Suriyothai Bangkok Robbery Amphol Lumpoon on IMDb

And the Light Swallowed Everything

And the Light Swallowed Everything is the third full-length studio album by Seirom, released on May 1, 2014 by Burning World Records. José Carlos Santos of Terrorizer lauded the album, describing the music as "hauntingly, luminously beautiful." He concluded by saying, "Do you know when death or near-death experiences are sometimes portrayed in the movies from the perspective of the dying, when there’s a huge flash of white light that fills the whole screen? This album is a sort of sonic equivalent to a still frame of that exact moment." All music is composed by Maurice de Jong. Adapted from the And the Light Swallowed Everything liner notes. Maurice de Jong – vocals, recording, mastering, cover art Franscesca Marongiu – vocals Aaron Martincello And the Light Swallowed Everything at Discogs And the Light Swallowed Everything at Bandcamp

Brandon Potter

Charles Brandon Potter is an American voice actor, voice director, script writer who works for anime series at Funimation/OkraTron 5000. He has provided voices for a number of English-language versions of Japanese anime series and films..hack//Quantum – IYOTEN 91 Days – Fango Ace Attorney – Godot Appleseed XIII – Liesse Aquarion – Gen Fudou Aquarion Evol – Zen Fudou Baccano - Random Gangster Black Blood BrothersKrow Black Butler: Book of Circus – Charles Phips Black CatSven Vollfied Black Clover – Rhya My Hero Academia - Gunhead Case Closed: Countdown to Heaven – Augustine Odell Claymore - Villager - Episode 1 Darker Than Black series – Gai Kurusawa Death Parade - Fujii The Devil Is a Part-Timer! - Kuryu Dimension W - Yuri Antonov Dragon Ball Super - Saonel Dragon Ball ZMustard, Otherworld Tournament Announcer Eureka Seven: AOGazelle Fairy Tail – Sid, Younger Vanish Brother, Metalicana Free! – Ryuji Azuma Fullmetal Alchemist: Brotherhood – Caster Gangsta - Nicolas Brown Ghost in the Shell: Arise – Ishikawa Glass Fleet – Barrett Guilty Crown – Guin Gunslinger Girl -Il Teatrino – Vito Jormungand: Perfect Order – Kisaragi Haganai series – Pegasus Kashiwazaki Hell Girl – Takeshi Kamisama Kiss series – Akura-Ou, Kirihito Mori Karneval – Uro KodochaKunisada Last Exile: Fam, the Silver WingVincent Alzey Michiko & Hatchin – Ricardo Solo Ninja Slayer From Animation – Kagi Tanaka/Silver Karasu One Piece – "Red-Haired" Shanks Ouran High School Host ClubKadomatsu Panty & Stocking with Garterbelt – Speed Ghost Psycho-Pass 2 – Tetsuya Hyodo School Rumble series – Kenji Harima Sekirei: Pure Engagement – Yoichi Himura Sengoku Basara: Samurai Kings 2 – Masa Show By Rock!!

− Ogasawara Shuffle! – Sakai Snow White with the Red Hair – Mukaze SoltyRei – Votre, Grey Walker Space DandyToaster Stars Align – Kenji Kyobate Tokyo Ghoul - Mr Shinohara Unbreakable Machine-Doll - Bronson We Without Wings – DJ Condor Witchblade – Sakuma Yona of the Dawn - Lee Geun-Tae The Saga of Tanya the Evil - Moritz Paul von Hans Borderlands 2 – Pyro Pete/Pete the Invincible Dragon Ball Z: Budokai Tenkaichi 3 – Appule Dragon Ball Xenoverse - Appule Dragon Ball Xenoverse 2 - Appule Dragon Ball Legends - Appule Dragon Ball Z: Kakarot - Appule SMITESobek Aquarion Tsubasa Chronicles - The Movie: Princess of the Birdcage Kingdom Dragonaut: The Resonance Heroic Age One Piece Brandon Potter at MySpace Brandon Potter at Anime News Network's encyclopedia Brandon Potter on IMDb

Slab hut

A slab hut is a kind of dwelling or shed made from slabs of split or sawn timber. It was a common form of construction used by settlers in Australia and New Zealand during their nations' Colonial periods. From the beginning of European settlement in Australia, improvised methods of building construction were in use; the First Fleet, arriving in 1788, brought with it few carpenters and a meagre supply of poor-quality tools. Nails and other ironmongery were scarce; the colonists were forced to build shelters using whatever skills they possessed, from whatever natural materials they could find. They tried the traditional British wattle and daub method: posts were set in the ground. Wattle and daub walls were destroyed by the drenching rains of Australia's severe summer storms, for a time, walls of timber slabs took their place; these were soon replaced by brick structures. When settlement moved beyond Sydney Cove, an abundance of suitable forest timber became available. Huts and humpies made from timber poles and large sheets of bark were erected, but these were only temporary structures.

Local timbers presented a fresh challenge to the European settler. Australian hardwoods were difficult to work, tools were scarce or inadequate. Australia's colonists were forced to improvise again, become their own craftsmen. In time, buildings of timber slabs became a familiar feature of rural Australia; some were public and long-lasting structures: shops and churches. Others were no more than hovels; as workmanship and tools improved, the slab structure became more permanent and sophisticated to become an icon of Colonial Australia, as evocative of time and place and humble beginnings as the thatched cottage of an English village or the log cabin of Early America. New Zealand's European settlers had to adapt to local circumstances, building with whatever materials were available, employing tools of poor quality, or none at all. Settlers tended to use the Maori word whare, instead of'hut', for a temporary or pioneer dwelling. "Ten pounds will go a long way towards putting up a sod hut. There is, one great advantage the immigrants hampering themselves at first with only slender households, for they may soon find it to their interest to change their place of abode, in order to secure higher wages or engage in more congenial occupations..."

In AustraliaThe usual slab hut was built from timber and bark. Australian settlers found that the most fissile timbers were the Eucalypts: blackbutt, stringybark and turpentine; some of these species are termite resistant. The chimney, was made of wood, although sometimes sods were used; the fireplace may have been given a lining of stones, sometimes covered with a plaster of mud or clay. In New ZealandSettlers used a thatch of raupo, flax, fern, or totara bark. A slab hut is a'slab-walled' structure, its walls were speaking, built from'flitches'. Slabs are sawn from a trunk, flitches are split from it. Hut-builders felled selected trees, sawed the trunks into suitable lengths, they split these lengths into flitches using a maul and a wedge. Timber was split tangentially, that is, along the grain, instead of by the traditional British radial method, from the core of the trunk out towards the bark. There was neither time nor tools suitable to properly dress timber into planks, nor to season the timber.

Rafters would be fixed atop the slab walls, a pitched roof erected. The dimensions of the hut would be kept to avoid the need for roof trusses. Joists were not always laid, a ceiling was not always included. A Queensland example can be seen here. If a ceiling was added, it was chiefly used for storage. Slab dwellings with a second storey were unknown. A bark roof was common, was and erected.'... the roof covered with forest box or stringy-bark, stripped from the living trees in sheets of about six feet long and from two to four feet wide, laid upon rafters composed of small sapling poles just as they came from being cut in the bush. The sheets of bark, having holes pierced through each in pairs, were tied on the rafters with cords twisted of the inner rind of the kurrajong tree; the whole framing of the roof was secured as it was needed by wooden pins in order to save the expense of nails, which were both too scarce and too dear to be used by the lower order of settlers. Indeed, all kinds of ironwork were inaccessible, instead of hinges to tie doors or window shutters, those appurtenances were all made to revolve on wooden pivots in holes, bored a short distance into the corresponding parts of the frames.

Thatching was less common, but cumbungi, blady grass were used if available. When crops were grown, straw was used. For a more permanent dwelling shingles would be cut; the cabbage tree palm was found most suitable, the she-oak. In years, galvanised iron became a popular roofing material, due to its cheapness and durability. Sometimes this was laid over the original shingles. Mrs Gunn noted that'Great sheets of bark... were packed a foot