Mikawa Province

Mikawa Province was an old province in the area that today forms the eastern half of Aichi Prefecture. Its abbreviated form name was Sanshū. Mikawa bordered on Owari, Shinano, Tōtōmi Provinces. Mikawa is classified as one of the provinces of the Tōkaidō. Under the Engishiki classification system, Mikawa was ranked as a "superior country" and a "near country" in terms of its distance from the capital. Mikawa is mentioned in records of the Taika Reform dated 645, as well as various Nara period chronicles, including the Kujiki, although the area has been settled since at least the Japanese Paleolithic period, as evidenced by numerous remains found by archaeologists. Early records mention a "Nishi-Mikawa no kuni" and a "Higashi-Mikawa no kuni" known as Ho Province. Although considered one administrative unit under the Engishiki classification system, this division persisted informally into the Edo period; the exact location of the provincial capital is not known. Traditionally considered to have been located in the Ko-machi area of the modern city of Toyokawa because of the place name, archaeological investigations at the Hakuho-machi area of Toyota from 1991 to 1997 have revealed extensive ruins and ceramic shards indicating the possibility that the provincial capital was located there.

Furthermore, the ruins of the Kokubun-ji of Mikawa Province was located in 1999 a short distance away from the Toyota site. On the other hand, the Ichinomiya of the province, Toga jinja is located in what is now part of Toyokawa, as well as a temple which claims to be a successor to the original provincial temple. During the Heian period, the province was divided into numerous shōen controlled by local samurai clans. During the Kamakura period but it came under the control of Adachi Morinaga, followed by the Ashikaga clan. For much of the Muromachi period it was controlled by the Isshiki clan. However, by the Sengoku period, the province had fragmented into many small territories dominated by the Matsudaira clan, contested by the Imagawa clan to the east and the Oda clan to the west, it was united under Tokugawa Ieyasu after the power of the Imagawa had been destroyed at the Battle of Okehazama. After the creation of the Tokugawa shogunate, parts of the province were assigned as feudal domains to trusted hereditary retainers as fudai daimyōs, with large portions retained as tenryō territory administered by various hatamoto directly under the shogunate.

During the Edo period, Mikawa was the only area permitted by the shogunate to produce gunpowder, which led to its modern fireworks industry. The various domains and tenryō territories were transformed into short-lived prefectures in July 1871 by the abolition of the han system, was organized into ten districts by the early Meiji period cadastral reform of 1869; the entire territory of former Mikawa Province became part of the new Aichi Prefecture in January 1872. Aichi Prefecture Atsumi District – dissolved Hazu District – dissolved Hekikai District – dissolved Hoi District – dissolved Kamo District Higashikamo District – dissolved Nishikamo District – dissolved Nukata District Shitara District Kitashitara District Minamishitara District – dissolved SeaHorses Mikawa and SAN-EN NeoPhoenix play in the B. League, Japan's first division of professional basketball. Murdoch's map of provinces, 1903

Eberhard Cohrs

Eberhard Cohrs was a German comedian and actor. A short man, he was known as " Kleene mit der großen Gusche", a Saxon dialect epithet which loosely translates as "the little guy with the big mouth"; the father of Eberhard Cohrs was a hat maker from Uelzen in Lower Saxony. His mother Alma, who worked in the little hat making business, came from the Vogtland, his first ambition as a youth was to become a jockey. His weight of 40 kg justified this choice, but his legs were too short and he fell back on his second ambition, to be a pastry and cake baker: this was the trade in which he was apprenticed between 1936 and 1939. However, war resumed in 1939 and he was conscripted for military service; as the war neared its end, between September 1944 and February 1945 he was a member of the SS-Totenkopf battalion and a guard at the Sachsenhausen concentration camp, although he was able to conceal these aspects of his war service from the public during his life. By the time the war ended, in May 1945, his mother had been killed in an air-raid and his father was dying.

His first stage appearance took place in the Weißer Hirsch quarter of Dresden. He underwent an audition before the "International Artists' Club" in the "Dresden Skala" on 11 November 1945, after which he embarked on a career as a variety performer, he found Dresden becoming "too small", looked for a way to bring laughter to a wider public. In 1947 he succeeded in moving his base to Leipzig, it was here that he became a favourite with the public, known affectionately as "the little guy with the big mouth" As a "young talent", in 1948 he worked in Berlin with the Berliner Kammerbrettl cabaret set up by Hans Joachim Heinrichs; the head of culture at Dresden Radio, Ulli Busch gave him his first big opportunity to work on the radio, towards the end of the 1950s he moved into television, thank to Heinz Quermann, appearing from 1959 in the by established television variety show "Da lacht der Bär". Stage performance would feature through the rest of his career, in 1961, thanks to Wolfgang E. Struck, Cohrs made his debut at the Friedrichstadt-Palast review theatre in Berlin.

He toured with fellow theatre performers Horst Feuerstein and Bobby Bölke. He appeared as a regular guest on radio and television, produced records, took small movie roles. In 1976 he moved into Opera, taking a supporting part in a production of Die Fledermaus at the Rostock People's Theatre; the 1960s and 70s found Eberhard Cohrs in the mainstream of East Germany's entertainment and media worlds. His formula, based on "earthy Saxon humour", covered themes such as the differences between sophisticated Berlin and provincial Saxony, between "high politics" and peoples' daily difficulties, gave public voice to the plight of the so-called "little man". Although his performances were apolitical, his brand of humour and his contrived Saxon punning, were not appreciated by every Party Apparatchik, in the early 1970s he was banned from writing his own material. Early in 1977 Cohrs, now aged 56, succeeded in escaping to West Berlin, "turning his back on East Germany for ever", stating that the restrictions in East Germany had become unbearable.

The price to be paid may have appeared to include separation from his wife and young son, but as matters turned out, within a couple of months his wife and son had been not permitted, but required, to join him in West Germany, following a decision by East Germany's ruling Socialist Unity Party to expel them from the "German Democratic Republic". In terms of television, the Eberhard Cohrs formula did not transfer from east to west, his first appearance on mainstream television in the west on Rudi Carrell's "Am laufenden Band" show was a "fiasco" according to television chief Peter Gerlach. It was not the Saxon's humour that baffled western audiences. Three decades of separation had given westerners little opportunity to familiarize themselves with the dialects of Saxony, the show was produced in Bremen which by West German standards, was a long way from Dresden; the rich Saxon dialect that delighted East German audiences encountered blank incomprehension from studio audiences in Bremen. During his time in the west Cohrs made further television appearances, for instance in the sketch series Ein verrücktes Paar where he and Harald Juhnke appeared as guests.

He continued to work for Rudi Carrell, providing gags and sketches for Carrell's television shows. Away from the television studios he appeared beside Dieter Hallervorden in a stage version of Nonstop Nonsense at Berlin's Wühlmäuse Cabaret Theatre and at the Karl May Festival in Bad Segeberg, his brand of humour never caught on in West Germany to the same extent as it had in the east, however. After the wall came down Eberhard Cohrs returned to his native city, appearing in Dresden at the end of 1989. From the outset it became apparent that his public remained true to his comedy, not in Saxony, but across the entire German Democratic Republic. During the next few years he enjoyed popular success and re-established his television career, appearing on shows produced by the Leipzig based MDR company with fellow stars such as Leni Statz, Wolfgang Roeder and Winfried Krause. Eberhard Cohrs married the cabaret performer Lieselotte Homuth in 1945. Following their divorce in 1957 he remained close to their born daughter Petra.

His second marriage produced two sons and Andreas, born in the late 1950s. His

Thursday's Child (1943 film)

Thursday's Child is a 1943 British, black-and-white, drama, directed by Rodney Ackland and starring Ronald Shiner as Joe, Stewart Granger and Wilfrid Lawson. It was produced by Associated British Picture Corporation. A young girl, Fennis Wilson, is cast in a film, launching her career to stardom, the thing her older sister wants. Stardom is the furthest thing from 12-year-old Fennis' goals in life, as she's more introspective and intellectual; when the hit film falls in her lap, it creates tension in the family that threatens to tear the family apart, while Fennis just wants everyone to be happy herself. Ronald Shiner's character plays a decisive role, it was written and directed by Rodney Ackland, a neighbor of hers. Howes was chosen for the part after over two hundred auditions of other girls. Sally Ann Howes as Fennis Wilson Wilfrid Lawson as Frank Wilson Kathleen O'Regan as Ellen Wilson Stewart Granger as David Penley Eileen Bennett as Phoebe Wilson Marianne Davis as Gloria Dewey Gerhard Kempinski as Rudi Kauffmann Felix Aylmer as Mr. Keith Margaret Yarde as Mrs. Chard Vera Bogetti as Madame Felicia Percy Walsh as Charles Lennox Michael Allen as Jim Wilson Margaret Drummond as Wendy Keith Ronald Shiner as Joe Anthony Holles as Roy Todd Thursday's Child at AllMovie Thursday's Child at the British Film Institute Thursday's Child on IMDb