Louisiana Story is a 78-minute black-and-white American film, directed by Robert J. Flaherty. Although the events and characters depicted are fictional and the film was commissioned by the Standard Oil Company to promote its drilling ventures in the Louisiana bayous, it is misidentified as a documentary film when in fact it is a docufiction, its script was written by Robert J. Flaherty; the film deals with the adventures of a young Cajun boy and his pet raccoon, who live a somewhat idyllic existence playing in the bayous of Louisiana. A sub-plot involves his elderly father's allowing an oil company to drill for oil in the inlet that runs behind their house. A assembled miniature oil rig on a slender barge is towed into the inlet from connecting narrow waterways. Although there is a moment of crisis when the rig strikes a gas pocket, most of this is dealt with swiftly and off-camera, the barge and friendly drillers depart expeditiously, leaving behind a phenomenally clean environment and a wealthy Cajun family.
Conflict and action for the plot is provided by the presence of a giant alligator in the area, believed to have eaten the pet raccoon and, hunted in revenge. There is no individual or organized resistance to the incursion of the oil seekers after the disaster, who are unequivocally portrayed as friendly, progressive humanitarians; the boy, named in the film as Alexander Napoleon Ulysses Le Tour, but in the credits just identified as "the boy", was played by Joseph Boudreaux. The film was photographed by Richard Leacock and edited by Helen van Dongen, who were the associate producers, its original release was through independent film distributor Lopert Films. The film was shot on location in the Louisiana bayou country. However, none of the members of the Cajun family were related, the film does not deal with Cajun culture, the reality of the hard lives of the Cajun people, or with the mechanics of drilling for oil; the story is fictional. In 1952, it was reissued by an exploitation film outfit with a new title, Cajun, on the bottom half of a double-bill with another film titled Watusi.
The film was nominated for an Academy Award for Best Writing, Motion Picture Story in 1948. In 1949, Virgil Thomson won the Pulitzer Prize for Music for his score to the film. Through 2016, this has remained the only Pulitzer Prize awarded for a film score. In 1994, Louisiana Story was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally or aesthetically significant"; the movie was in the top 10 of the first British Film Institute's Sight and Sound poll in 1952. The film is recognized by the American Film Institute in these lists: 2005: AFI's 100 Years of Film Scores – Nominated Docufiction List of docufiction films Louisiana Story on IMDb Louisiana Story at Rotten Tomatoes Louisiana Story is available for free download at the Internet Archive Patricia A. Suchy and James V. Catano, "Revisiting Flaherty's Louisiana Story", Southern Spaces
Street Machine is an Australian automotive magazine featuring customised cars from every era. Street Machine contains many sections, from letters sent in by readers, to articles on feature cars and technical issues; the feature cars are Australian and American muscle cars from the 1960s to the 2000s, while a hot rod or rat rod will feature. Cars such as a Datsun 1600 or an Austin A30 make rare appearances. While Street Machine was titled "Van Wheels", its history can be traced back to the Australian Hot Rodding Review, or AHRR, of the 1960s and 1970s. By 1976, AHRR had collapsed, a magazine called Van Wheels had replaced it. Van Wheels had an irregular publishing frequency and was destined to the same fate as AHRR, however Geoff Paradise, who at age 19 was Editor of AHRR before leaving to work at HOT ROD in the US took the failing brand under his wing. Paradise changed the name to Van Street Machine for the first issue under his management; this first issue, named Van Wheels & Street Machine. Cost $2, sold 24,500 copies, compared to 60,000 for Wheels and 45,000 for Motor.
For the second issue, the magazine was renamed Street Machine & Van Wheels, by the seventh issue was just called Street Machine in 1981. By this time, the magazine was selling well over 30,000 copies. Geoff Paradise, founding editor, resigned as Editor-in-Chief of Street Machine in 1985 and went on to launch Performance Street Car, Fast Fours and Super Ford, the first one-marque magazine published in Australia; the level of circulation of Street Machine at the time of Paradise's departure was in excess of 50,000 copies. Paradise is regarded as a somewhat shadowy figure in the Australian V8 culture; the reason for this misconception is. Paradise's replacement was a motoring writer from Phil Scott. Scott put the skills learnt from time spent in newspapers into Street Machine – increasing publishing frequency from six issues per year to eight and introducing some one-off car giveaways, which included an original A9X Torana and a Ford Falcon GTHO Phase III; this caused sales to reach 120,000 in September 1987.
However, all to change. In 1988, Street Machine started supporting Chic Henry with his new Summernats Car Festival, by paying for the burnout pad, underwriting the event and signing up as major sponsor; the Street Machine of the Year award started in 1988. From 1991 onwards, Street Machine went into a slow decline, losing the number one spot to Wheels in June 1994; the publication continued and Street Machine had several different editors, although they had their eyes set on something similar to Wheels and nothing at all similar to Paradise's original vision of a serious, no-nonsense street-car magazine. When Street Machine started assembling the current editorial team in 2000, sales had fallen well below the 50,000 mark that Paradise had achieved in the mid-eighties; the magazine needed to find a direction. Street Machine sales were up due to a revamped presentation of the magazine. However, it is more due to people beginning to show enthusiasm towards the V8 culture, the rise of V8 Supercars and a new dragstrip had been constructed in Sydney.
Street Machine has been publishing monthly since November 2000, now sells about 65,000 copies, has over half a million readers as of 2006. Street Machine is the main sponsor of the automotive show Summernats, run at Exhibition Park in Canberra in Canberra, ACT, Australia and features burnouts and car show and shines. Street Machine writes up a Summernats Survival Guide each year as well as a feature article reviewing the car festival, which includes winners of all the major and minor awards, Miss Summernats and a feature article on the Grand Champion car; the Street Machine of the Year award was established in 1988 by Street Machine Magazine. Each August, the staff of Street Machine Magazine vote for their favourite cars from the previous 12 issues and the top 16 become the SMOTY finalists; the finalists cover everything from pure street cars to elite hall and drag-strip terrors. Street Machine Magazine's readers put their vote in and the winner is announced in the December issue; the prize is a trophy.
Past winners: Street Machine Commodores Street Machine Fords Street Machine Choppers Street Machine Hot Rod Annual Street Machine Holden Legends Street Machine Ford Legends Street Machine Muscle Car Legends Street Machine Hot HoldensNote: Street Machine Commodores and Street Machine Fords are unrelated to the two magazines of similar titles, Street Commodores and Street Fords. Official Street Machine magazine website
Sir Thomas Lawrence PRA FRS was a leading English portrait painter and the fourth president of the Royal Academy. Lawrence was a child prodigy, he was born in Bristol and began drawing in Devizes, where his father was an innkeeper at the Bear Hotel in the Market Square. At the age of ten, having moved to Bath, he was supporting his family with his pastel portraits. At eighteen he went to London and soon established his reputation as a portrait painter in oils, receiving his first royal commission, a portrait of Queen Charlotte, in 1790, he stayed at the top of his profession until his death, aged 60, in 1830. Self-taught, he was a brilliant draughtsman and known for his gift of capturing a likeness, as well as his virtuoso handling of paint, he became an associate of the Royal Academy in 1791, a full member in 1794, president in 1820. In 1810 he acquired the generous patronage of the Prince Regent, was sent abroad to paint portraits of allied leaders for the Waterloo chamber at Windsor Castle, is remembered as the Romantic portraitist of the Regency.
Lawrence's love affairs were not happy and, in spite of his success, he spent most of life deep in debt. He never married. At his death, Lawrence was the most fashionable portrait painter in Europe, his reputation waned during Victorian times, but has since been restored. Thomas Lawrence was born at 6 Redcross Street, the youngest surviving child of Thomas Lawrence, a supervisor of excise, Lucy Read, the daughter of a clergyman; the couple had 16 children but only five survived infancy: Lawrence's brother Andrew became a clergyman. Soon after Thomas was born his father decided to become an innkeeper and took over the White Lion Inn and next-door American Coffee House in Broad Street, Bristol, but the venture did not prosper and in 1773 Lawrence senior removed his family from Bristol and took over the tenancy of the Black Bear Inn in Devizes, a favourite stopping place for the London gentry who were making their annual trip to take the waters at Bath. It was during the family's six-year stay at the Black Bear Inn that Lawrence senior began to make use of his son's precocious talents for drawing and reciting poetry.
Visitors would be greeted with the words "Gentlemen, here's my son – will you have him recite from the poets, or take your portraits?" Among those who listened to a recitation from Tom, or Tommy as he was called, was the actor David Garrick. Lawrence's formal schooling was limited to two years at The Fort, a school in Bristol, when he was aged six to eight, a little tuition in French and Latin from a dissenting minister, he became accomplished in dancing, fencing and billiards. By the age of ten his fame had spread sufficiently for him to receive a mention in Daines Barrington's Miscellanies as "without the most distant instruction from anyone, capable of copying historical pictures in a masterly style", but once again Lawrence senior failed as a landlord and, in 1779, he was declared bankrupt and the family moved to Bath. From now on, Lawrence was to support his parents with the money; the family settled at 2 Alfred Street in Bath, the young Lawrence established himself as a portraitist in pastels.
The oval portraits, for which he was soon charging three guineas, were about 12 inches by 10 inches, portrayed a half-length. His sitters included the Duchess of Devonshire, Sarah Siddons, Sir Henry Harpur, Warren Hastings and Sir Elijah Impey. Talented and attractive Lawrence was popular with Bath residents and visitors: artists William Hoare and Mary Hartley gave him encouragement. Sometime before his eighteenth birthday in 1787 Lawrence arrived in London, taking lodgings in Leicester Square, near to Joshua Reynolds' studio, he was introduced to Reynolds. Lawrence installed his parents in a house in Greek Street, he exhibited several works in the 1787 Royal Academy exhibition at Somerset House, enrolled as a student at the Royal Academy but did not stay long, abandoning the drawing of classical statues to concentrate on his portraiture. In the Royal Academy exhibition of 1788 Lawrence was represented by five portraits in pastels and one in oils, a medium he mastered. Between 1787 and his death in 1830 he would miss only two of the annual exhibitions: once, in 1809, in protest about the way his paintings had been displayed and once, in 1819, because he was abroad.
In 1789 he exhibited 13 portraits in oil, including one of William Linley and one of Lady Cremorne, his first attempt at a full-length portrait. The paintings received favourable comments in the press with one critic referring to him as "the Sir Joshua of futurity not far off" and, aged just twenty, Lawrence received his first royal commission, a summons arriving from Windsor Palace to paint the portraits of Queen Charlotte and Princess Amelia; the queen found Lawrence presumptuous and she did not like the finished portrait, which remained in Lawrence's studio until his death. When it was exhibited at the Royal Academy in 1790
Monte Walsh is a 1970 American Western film directed by cinematographer William A. Fraker starring Lee Marvin, Jeanne Moreau and Jack Palance; the name "Monte Walsh" is taken from the title of a 1963 western novel by Jack Schaefer, but the film has little to do with the plot of Schaefer's book. The film was set in Arizona; the story has elements of a tragedy. The song played over the opening credits is "The Good Times Are Comin' " by Mama Cass, with music and lyrics by John Barry and Hal David. Monte Walsh is an aging cowboy facing the final days of the Wild West era, he and his friend Chet Rollins, another longtime cowhand, work at whatever ranch work comes their way, but "nothing they can't do from a horse". Their lives are divided between months on the occasional trip into town. Camaraderie and competition with the other cowboys fill their days, they seek work and take a job at the ranch of Cal Brennan, where they meet an old friend, Shorty Austin, another ranch hand. Monte has a long-term relationship with an old flame and saloon girl Martine Bernard, who suffers from tuberculosis.
Chet, has fallen in love with Mary Eagle, a widow who owns a hardware store. As barbed wire and railways eliminate the need for the cowboy and his friends are left with fewer and fewer options. New work opportunities are available to them, but the freedom of the open prairie is what they long for. Shorty gets involved in rustling and killing, gunning down a local lawman. Monte and Chet find that their lives on the range are inexorably redirected. Chet marries Mary and goes to work in the store, telling Monte that their old way of life is disappearing. Caught up in the spirit of the moment, Monte asks Martine to marry him, she accepts. Monte goes on a drinking binge and rides a wild horse through town, causing considerable damage, smashing through a plate glass window and shattering an entire store of breakables. A rodeo owner, Colonel Wilson, offers him a job. Monte decides the work is too degrading and refuses, they all must say goodbye to the lives they knew, try to make a new start. When Shorty shoots and kills Chet while trying to rob the store, distraught after the death of his beloved Martine, goes after him.
Shorty arrives and Monte chases him through a cattle-processing building. Shorty shoots Monte. Monte manages to slip around and confront Shorty. Shorty surrenders, bolstering his pistol, and Monte shoots the unarmed Shorty. As Shorty is dying, Monte tells him. Lee Marvin as Monte Walsh Jeanne Moreau as Martine Bernard Jack Palance as Chet Rollins Mitchell Ryan as Shorty Austin Jim Davis as Cal Brennan G. D. Spradlin as Hal Henderson John Hudkins as Sonny Jacobs Raymond Guth as Sunfish Perkins John McKee as Petey Williams Michael Conrad as Dally Johnson Tom Heaton as Sugar Wyman Ted Gehring as Skimpy Eagans Bo Hopkins as Jumpin' Joe Joslin John McLiam as Fightin' Joe Hooker Allyn Ann McLerie as Mary Eagle Matt Clark as Rufus Brady Charles Tyner as Doctor Jack Colvin as Card Cheat Most reviews of the film were positive, the western has scored an 88% rating on Rotten Tomatoes. A positive notice came from critic Roger Ebert, who remarked that the production was "as lovely a Western as I've seen in a long time."
A made-for-TV remake called Monte Walsh was set in Wyoming and directed by Simon Wincer. Tom Selleck and Isabella Rossellini playing the parts of Monte and Martine. List of American films of 1970 Monte Walsh on IMDb Monte Walsh at Rotten Tomatoes Monte Walsh at the TCM Movie Database Monte Walsh at AllMovie Monte Walsh on IMDb for the 2003 television version
Worcestershire Record Office is located in Worcester, England, as a part of Worcestershire County Council. The Worcestershire Record Office comprises three branches, two of which are located in County Hall, the third at The Hive, Worcester. Worcestershire had been among the first counties to establish a records committee in the 1890s, a proposal to establish a county record office had been unsuccessful in 1938. Worcestershire Record Office opened with E. H. Sargeant as the first County Archivist in 1947, situated at the Shire Hall in Worcester city. In the mid-1950s additional space was added with the acquisition of the St. Helen’s church. In 1985 the Record Office moved to a purpose-built building located on the County Hall campus in Worcester. In 2001 the branch at St Helen’s was closed, a new History Centre was opened on Trinity Street in the city. In July 2012 the Record Office and the History Centre moved to a new purpose built Worcester Library and History Centre, known as The Hive, Worcester.
Administrative archives of the present and former County and some districts. Petty Sessions and other official records such as those of Coroners, some hospitals and poor law unions. Quarter Sessions records dating back to 1590; the extensive Worcestershire Photographic Survey. Records of the Diocese of Worcester. Ecclesiastical and Non-conformist records. Estate and family papers. School records. Maps and plans. Records of groups and businesses in Worcestershire; the Worcester City Archives Croome collection - the archive of the Earls of Coventry Police recordsTo consult original documents researchers need to be members of CARN. A CARN ticket can be issued for a small standard fee on production of photo proof of address; these are available on microfilm & microfiche for which a number of readers are provided Census returns. Local maps Trade and clerical directories Local newspapers. Parish and non-conformist records Wills and other probate records Cemetery and crematoria records International Genealogical Index General Register Office index of births and deaths The Worcestershire Photographic Survey Access to Ancestry.co.uk Access to FindMyPast.co.uk There are various CD-ROM packages available for use and The Hive houses a countywide selection of local and family history books including trade directories and local histories.
These books are for reference only. Access to one of the 350 computers, printing and WiFi access for your own computer at The Hive is provided through a Worcestershire County Library card. See The Hive, Worcester for further details Concerned with the management of records produced by Worcestershire County Council staff it is only open for use by members of the council; the record office collects and makes available records relating to the history of Worcestershire and its residents, dating from the 12th Century to the 21st Century. The registrar for Births Marriages and Deaths is located in County Hall. A room for marriages is provided whilst the team officiates marriage contracts as an outreach service. Https://www.explorethepast.co.uk Worcestershire Record Office - Archives The Hive Website - incl. current Opening Hours Worcestershire County Council - Births Marriages & Deaths
ERuby is a templating system that embeds Ruby into a text document. It is used to embed Ruby code in an HTML document, similar to ASP, JSP and PHP and other server-side scripting languages; the templating system of eRuby combines the ruby code and the plain text to provide flow control and variable substitution, thus making it easy to maintain. The View module of the rails is responsible to display the output on a browser. In its simplest form, a view can be a piece of HTML code. For most applications, just having static content may not be enough. Many Rails applications will require dynamic content created by the controller to be displayed in their view; this is made possible by using Embedded Ruby to generate templates which can contain dynamic content. Embedded Ruby allows ruby code to be embedded in a view document; this code gets replaced with proper value resulted from the execution of the code at run time. But, by having the ability to embed code in a view document, we risk bridging the clear separation present in the MVC frame.
It is thus the responsibility of the developer to make sure that there is a clear separation of responsibility among the model and controller modules of his/her application. ERuby allows Ruby code to be embedded within a pair of <% and %> delimiters. These embedded code blocks are evaluated in-place. Apart from creating web pages, eRuby can be used to create XML Documents, RSS feeds and other forms of structured text files. ERuby dynamically generates static files based on templates; these functionalities of eRuby can be found in the ERB Library. Different types of tag markers used in ERB templates are: Expression tags Execution tags Comment tags <%= %>: This indicates that the tag encloses an expression. Such a tag starts with an opening tag delimiter followed by an equal to symbol and ends with an end tag delimiter. During the rendering of the template, this piece of code gets substituted with the result of the code. If the evaluated result is not a string, it gets converted to a string. For example: The resulting text looks like this: The value of x is: 500 <% %>: Code enclosed in such tags is called as a scriptlet.
The code in such a tag gets executed and its result gets replaced in place of the scriptlet. Such tags must have a matching < % end % > tag. For example: In the above example, the text list item gets printed four times; the scriptlet produces no text on its own, it only makes the enclosed statement to run multiple times. The output of above code: list item list item list item list item <%# %>: Contents of comment tags don't get rendered in the output. Such tags start with an open tag delimiter followed by a hash symbol and end with an end tag delimiter. Example of a comment tag is shown below: <%# ruby code %> This is the same as a comment in Ruby. All Ruby code after the # generates nothing. Other things common in eRuby are common in Ruby, such as string substitution with #, similar in languages such as Perl or PHP. Newlines in eRuby can be suppressed by adding a hyphen at the beginning of the end tag delimiter. For example: In the output of the above code, the value of name gets printed twice in the same line.
There are several implementations of eRuby, namely: ERB erubis ember erb is an implementation of eRuby written purely in the Ruby programming language and included in the Ruby standard library. A template can be generated by running a piece of code written using the ERB object. A simple example is as shown below: The result looks as follows: Value of x is: 400 The same could be achieved using the below code which does not make use of an ERB object:Both of the above code snippets generate the same output, but what happens when we interchange lines 2 with line 3 in the first code snippet and line 1 with line 2 in the second code snippet? The first snippet changes to the code shown below: This still generates the same output. I.e. Value of x is: 400; the second code snippet changes to the below code:The above code will not get executed. This is. Thus, the main reason of using an ERB object is to write templates ahead of time, by binding variables and methods which may not exist at the given time.
The template gets processed. In order to get access to instance methods and instance variable of an object, ERB makes use of a binding object. Access to variables and methods of an object is given by the private binding object which exists in each ruby class, it is easy to get access to variables within the method of a class. But to access variables of a different class, that class will have to expose its binding object via a public method; the example is as shown below:As we can see in the above example, we are exposing the binding object of the class ERBExample. Furthermore, we have used the binding object to access the variables and methods of the class within one of its methods; the new method of the ERB object takes two more parameters. The second parameter specifies a safety level. By giving a number in the second parameter one can make the template run in a different thread; the value of the number determines the safety level. At the maximum isolation level, unless the binding object is marked as trusted, ERB cannot use it.
The third parameter specify optional modifiers. These can be used to control adding of newlines to the output. For example, to make sure that ERB does not output newlines after tag ends, we can create the ERB object as shown below To only provide the third parameter and ignore the second parameter, use 0 as the input for sec