text:
ADAM FRANS VAN DER MEULEN or ADAM-FRANÇOIS VAN DER MEULEN[1][2] (11 January 163215 October 1690) was a Flemish painter and draughtsman who was particularly known for his scenes of military campaigns and conquests.[3] Van der Meulen also painted portraits, hunting scenes, paintings of chateaux and landscapes. He created designs for prints and cartoons for tapestries.[4]

He worked in the service of the French king Louis XIV of France for whom he painted his victories, his new possessions and portraits.[5] He was instrumental in building the propagandistic image of the French king as the 'Sun King'.[6] His battle scenes had an important influence on the development on the genre of military painting in France.[7]

Life

Adam Frans van der Meulen was born in Brussels where he was baptized on 11 January 1632.[8] He was the eldest of the seven children of Pieter van der Meulen and his second wife Maria van Steenwegen.[9] His father was a respected notary.[10] He was registered on 5 March 1651 at the Brussels Guild of Saint Luke as the pupil of Peter Snayers. Snayers was a painter from Antwerp who had moved to Brussels to work for the court. He specialized in pictures of battles, attacks on convoys and civilians and hunting scenes.[11] Van der Meulen became a master of the Guild of Saint Luke in Brussels on 5 March 1651. [_The entry of King Louis XIV and Queen Maria-Theresa in Arras on 30 July 1667_]

Van der Meulen's earliest works dealt with the same subject matter as those of his master Snayers, in particular cavalry skirmishes.[12] He was also known for depicting courtly retinues mounted on their horses. His reputation for this type of scene as well as his skill in the painting of horses reached France.[13][14] This led to the artist being called to Paris where he entered into the service of Louis XIV on 1 April 1664.[15] Jean-Baptiste Colbert, the powerful surintendant des Bâtiments, Arts et Manufactures (Superintendent of Buildings, Arts and Manufactures) and later minister of finance, is believed to have been behind the royal appointment of van der Meulen. Colbert had been charged with immortalizing the military successes of Louis XIV. To achieve this propagandistic purpose, he had come up with the idea to create a series of tapestries that would show the heroic deeds of the king.[16]

The court painter (Premier peintre du roi) Charles Le Brun had been put in charge of the Gobelins Manufactory, the royal tapestry works newly created in 1663, and was officially appointed its director on 8 March 1663. To realize Colbert's project of a series of tapestries on the king's military campaigns, Le Brun sought to surround himself with a team of painters who would be capable of translating his ideas into tapestries and van der Meulen was recruited to assist Le Brun in this project.[17] Van der Meulen's varied skills were particularly appreciated for this purpose.[18] Van der Meulen's reputation as a skilled painter of horses has been cited as one of the reasons why he was solicited to work in France.[19] [_The defeat of the Count of Marsin_]

Van der Meulen was involved in the design of multiple tapestry series. He first worked on the series of _The History of the King_ for which he created the scenes of the military conquests.[20] As the design work involved a lot of work, van der Meulen invited other Flemish artists to assist him with his designs. The landscape artist Adriaen Frans Boudewijns entered in 1666 into a 3-year contract to work in the service of Adam Frans van der Meulen.[21] When van der Meulen worked on the design of 12 Gobelins representing the months for King Louis XIV, van der Meulen executed the smaller figures and part of the landscapes while the remainder of the landscapes was completed by Boudewijns and Abraham Genoels, another Flemish painter active in Paris. While in Paris, Boudewijns also engraved many of van der Meulen's compositions.[22] Boudewijns married the sister of van der Meulen called Barbe or Barbara on 12 January 1670.[23] From 1668 van der Meulen worked on the series of tapestries called the 'Maisons royales' ('Royal Residences') depicting the various palaces of the king.[24]

Van der Meulen's career in France took off rapidly. His annual wages at the Gobelins Manufactory were regularly increased and he was in 1666 one of its best-paid artists.[25] He accompanied Louis XIV during his campaign through Flanders during the War of Devolution. He made drawings of various cities including Turnhout, Kortrijk, Oudenaarde, Aalst and Lille.[26] His paintings representing the campaigns of Flanders in 1667 so delighted the King that from that date van der Meulen was ordered to accompany him on all his expeditions.[27] He accompanied le Grand Condé during his campaign through Bourgogne-Franche-Comté.[28] [_Battle scene_, 1657]

He obtained in 1669 the royal privilege to have his works engraved. He was appointed _peintre ordinaire du Roy_ (ordinary painter to the king) in 1673. In the same year he was received into the Académie royale de peinture et de sculpture (Royal Academy of Painting and Sculpture) without having to submit a reception piece as was usually the case. He attained the grade of councilor in the Academy in 1681 and that of principal councilor in 1688.[29]

Van der Meulen made a total of nine trips to document King Louis XIV's military campaigns. He enjoyed all kinds of facilities at his job: he had his own coach, took his meals with the officers, and had an assistant called Jean Paul who helped him with the drawings. This assistant artist has remained unidentified and was referred to by van der Meulen as 'mon homme' ('my man') without further specification.[30] Van der Meulen followed in 1673 Louis XIV during the Franco-Dutch War, accompanied by Jean Paul. The two artist made drawings of about 32 cities that were conquered by the French during the campaign. Later he also made drawings of Blois, Amboise and Chambord in France. He further worked in Maastricht in 1674 and in Flanders between April 1676 and 1677. In the wake of further campaigns in Flanders by generals le Grand Condé and Henri de la Tour d'Auvergne, Vicomte de Turenne he visited along with Le Brun and André Le Nôtre in 1677 Cambrai, Valenciennes, Saint-Omer, Mont Cassel and Cassel.[31] [_View of the City of Luxemburg from the baths of Mansfeld (taken on 3 June 1684)_]

In 1679 he was commissioned to picture the new French territories, which were allocated after the Peace of Nijmegen. During this trip he met the Flemish landscape painter Cornelis Huysmans near Dinant. He tried to convince Huysmans to join him in Paris as a designer at the Gobelins Manufactory but Huysmans declined. Later that year he was in Dinant and in the years 1681 and 1682 he was in Strasbourg where he drew the newly acquired French possessions of Strasbourg and Lorraine.[32]

Van der Meulen had married Catharine Huseweel before he moved to France. The couple had several children. One son, Louis who was born on 20 March 1669 was baptized on 27 March 1669 in the chapel of the Tuileries by the archbishop of Nazianze and coadjutor of Reims and had King Louis XIV as godfather and Anne Marie Louise d'Orléans, Duchess of Montpensier as godmother. His first wife died in January 1677. On 22 March 1679 he signed a marriage contract with Catherine Lobry, daughter of a captain of the guard of Count Bassigni. She died already on 4 October 1680. He married 20-year-old Marie de Bye, a cousin of Charles Le Brun on 12 January 1681. The couple had many children of whom one was born posthumously.[33] [_Cavalry in battle_, 1657]

He painted the designs for the decorations of the Ambassadors Staircase, the grand staircase of the King's apartment at Versailles (four trompe l'oeil tapestries representing the taking of various towns, 1677). From 1679 he worked on the large-scale paintings of The King's Conquests (_Les conquêtes du Roi_) intended for the decoration of the Royal Pavilion of Marly on which he worked until his death in 1690.[34] Marly was a new pleasure residence built for the King as an architectural fantasy, with twelve little pavilions and elegant Royal Pavilion laid out on a square plan. The four apartments of the pavilion were separated by vestibules with as only decoration two marble tables with above them two large paintings of The King's Conquests by van der Meulen.[35] Van der Meulen was commissioned by Anne Marie Louise d'Orléans, Duchess of Montpensier to create smaller replicas of his paintings of conquests to decorate the Château de Choisy (1680-1688), and then by Louvois to decorate the Château de Meudon.[36]

He died in Paris in 1690. After his death, seals were affixed to his apartment and studio, as had been the case at the time of Le Brun's death a short time before, since Louis XIV asserted his royal privilege. As van der Meulen was an ordinary painter to the King, and resided at the Manufacture des Gobelins, the sovereign ordered a number of works to be seized, which he thought proper to be returned to him.[37] [_View of the march of the king's army on Kortrijk on 18 July 1667_]

His pupils and workshop assistants included Saveur Lecomte, Mathieu Dufresnet, Dominicus Nollet, Gérard Jean Baptiste Scotin (II), Nicolas de Largillière, Jan van Huchtenburg, Jean-Baptiste Martin and François Duchatel.[38][39]

Work

Van der Meulen was one of the foremost battle painters of his time. He is also known for his many topographical drawings, which he made as preparations for his battle pieces. He painted equestrian portraits and painted and drew many animal studies.[40] His works always retained their Flemish character in terms of color, although his style was modified by that of the French school.[41]

The most important portion of van der Meulen's work is made up of battle scenes. His early works in this genre were close in style to those of his master Pieter Snayers. These early works from the 1650s depicted scenes of fighting horsemen. Like Snayers he frequently represented a village under attack. These works relish in the depiction of the whirling melee of horsemen and horses itself, as if in distant response to Leonardo's Battle of Anghiari.[42] [_Study of a white horse_]

After moving to France and becoming the official war artist of Louis XIV during the multiple military French campaigns in Europe of the late 17th century, van der Meulen developed a new approach to his depictions of battles. He excluded the horror and morbid rawness of the events.[43] Rather than concentrate on the heat of the action from close up, he used the compositional device of a crowded elevated foreground behind which there is a plunging wide panoramic landscape.[44] The characters whom the artist aims to give the key role in the scene are placed on a mound in the foreground, often mounted on horseback to give them more dignity. On a second plane is typically depicted the supposed movement of the troops and in a third and last plane the profile of the city being attacked. The action is depicted in receding planes accentuated by the folds of the terrain, the alternation of zones of shadow and light and the gradual fading of the light, which marks a view towards a city in the distance.[45] The use of the same compositional scheme gives an impression of unity to many of his paintings as only the profile of the city is different. The uniformity of these compositions can be explained by their use for political purposes. Nevertheless, the paintings of the artist were always praised for their beauty and their use for the decoration of the Royal Pavilion of Marly, for the vestibules as well as for the rooms, shows the fully decorative virtue of his animated and varied landscapes.[46] [_The crossing of the Rhine on 12 June 1672_]

The features of his style are clearly visible in the large cycle of paintings of _Les conquêtes du Roi_ made for the Royal Pavilion of Marly.[47] One of the most popular compositions in this series was the one depicting _The crossing of the Rhine on 12 June 1672_. Many versions of this composition exist, made with different levels of involvement of his workshop (the Louvre, Musée des Beaux-Arts de Caen, Musée des Beaux-Arts de Dijon, Rijksmuseum, Philadelphia Museum of Art, Palace of Versailles, private collections).[48] The event depicted is the crossing of the Rhine by the French troops during the Franco-Dutch War. The crossing did not involve any military engagement with the Dutch troops and solely involved the French troops wading through the Rhine when the water was low. Nevertheless, this event was described in contemporary French propaganda as a feat equal to those of Alexander the Great and Emperor Constantine the Great. Many writers and visual artists eulogized the French king for this exploit. The various depictions misrepresent, however, the actual history of the event. Louis XIV was in fact not present at the crossing of the Rhine as he was at the time staying with his brother Philippe I, Duke of Orléans in the monastery in Elterberg. Van der Meulen's paintings of the crossing of the Rhine, which show Louis XIV in the foreground commanding the action are thus a conscious misrepresentation of history for propaganda purposes.[49] [_Louis XIV at the Siege of Besançon_ in 1674]

In the version in the Louvre van der Meulen has placed Louis XIV at the heart of the event, in the immediate vicinity of danger, thus emphasizing the king's courage and power. The king eclipses the other personages: his brother Philippe I, Duke of Orléans and le Grand Condé who had planned the maneuver, are placed behind the sovereign.[50] A similar propagandistic purpose was present in the prints that were made after van der Meulen's designs. The inscriptions underneath the prints made after The King's Conquests were written by Claude-François Ménestrier, a French heraldist and Jesuit who was an attendant of the royal court. These inscriptions invariably highlight the direct involvement of the French king in the glorious events being depicted and thus go beyond a simple description of the events. It is clear that the contemporary perception was that these works were made to preserve the memory of the king's military feats for posterity.[51] The engraved portrait of van der Meulen created by Pieter van Schuppen after a painting by Nicolas de Largillière confirms this. Underneath the portrait of the painter appears the following inscription, which does not mention van der Meulen, but rather speaks of the King as a painter: 'C'est de Louis Le Grand le Peintre incomparable, Qui de ses plus beaux faits a peint la verité, Et qui sans le secours des couleurs de la fable, Le Fait Voir ce qu'il est a la Posterité.' ('It is of Louis the Great, the incomparable painter, who has painted the truth with his beautiful deeds and without the aid of the colours of fables, shows what he is to posterity').[52]

The various versions depict the King in the company of different personages although they are placed in the same place in the composition. It is possible that these variations were made at the behest of the patron for whom a particular version was created.[53] The cycle of paintings made for the Royal Pavilion at Marly were very successful. They led to a fashion for decorating palaces and public buildings with paintings representing military scenes.[54]

[_Horse lying on its right side_]

The process in which the large compositions were created has been studied by art historians. It is known that van der Meulen was present at some of the military actions that he depicted. He also visited the locations of the actions afterwards and spent much time making topographical sketches of the landscapes and cities that were depicted in his battle scenes. He often relied on other artists to assist with these sketches. He even used prints by other artists as a basis for his compositions as in the case of his painting of the siege of Utrecht. The views of Utrecht in the painting are very similar to prints of Utrecht by the Dutch painter Herman Saftleven.[55] Van der Meulen integrated these views and profiles into his vast compositions. They were also used for the design of tapestries as well as for prints. Research has shown that a number of prints depicting Louis XIV's conquests were made before the paintings depicting the same scenes were made. In other words, some of the prints were the basis for the later paintings rather than the other way around.[56]

Van der Meulen also painted several studies of horses. His studies of horses constituted a directory that the painter could use in his compositions as well as serve as models for his apprentices. The Dutch engraver Jan van Huchtenburg engraved a series of his sketches of horses killed in combat. Van der Meulen enjoyed a reputation for his skill at painting horses.[57] [_March of the King accompanied by his guards passing over the Pont Neuf in the direction of the Palace_]

Van der Meulen was granted a royal patent to have his original designs engraved and published. He put together a team of painters-printmakers to engrave his designs. Many of these printmakers came from Flanders and the Dutch Republic such as Adriaen Frans Boudewijns, Abraham Genoels, Jan van Huchtenburg and Romeyn de Hooghe. The French engraver Robert Bonnart trained with van der Meulen and sold prints on his behalf.[58] Van der Meulen arranged for many of his drawings and paintings representing landscapes and scenes of the military life to be engraved. These were intended for a clientele of private clients.[59] He and later his widow sold the prints from their lodgings at the Gobelin Manufacture. Later he hired publishers and merchants to distribute his prints.[60] He arranged in 1670 for 13 large-scale plates representing sieges, the taking of towns and royal castles to be executed for the King's Cabinet. These were acquired by the Crown, which used them to make prints that were published by the Royal Printing Office for collectors in 1679.[61] The painter succeeded in selling to the king in 1685 prints taken from new plates, and then arranged for the sale to the public of a second edition of prints which represented the series of The King's Conquests he had made for Marly.[62]

Notes

[1] François van der Meulen, François Vandremelle, Anthony Francois vander Meulen, Antoine Francois vander Meulen, Antoine François van der Meulen, Monsieur de Melun

[2] Adam Frans van der Meulen at the Netherlands Institute for Art History

[3] Christine van Mulders. “Meulen, Adam Frans van der.” Grove Art Online. Oxford Art Online. Oxford University Press. Web. 4 September 2017

[4] Hans Vlieghe, _Flemish Art and Architecture, 1585-1700_, Pelican history of art, New Haven: Yale University Press (1998): 173.

[5]

[6]

[7] R. Wellington, 'The cartographic origins of Adam Frans van der Meulen's Marly cycle', Print Quarterly 28 (2011), p. 142-154

[8]  (pp. 130-131)

[9]

[10]

[11]

[12] Adam Frans van der Meulen, ''Dole prise dans la premiere conqueste que le Roi a fait de la France Comté, at Donald A. Heald

[13]

[14] Isabelle Richefort, _Cheval noir galopant d' Adam-François Van der Meulen Une étude retrouvée de l'ancien fonds des Gobelins_

[15]

[16] Julie Anne Plax, _Seventeenth-Century French Images of Warfare_, in: Pia F. Cuneo, 'Artful Armies, Beautiful Battles: Art and Warfare in the Early Modern Europe', BRILL, 2002, pp. 131–155

[17]

[18] Sjoerd de Vries, _Adam-Frans van der Meulen (1632-1690), hofschilder van Lodewijk XIV, in de Republiek: 1672-1673_, in: Jaarboek Monumentenzorg 1990, Waanders Uitgevers, Zwolle / Rijksdienst voor de Monumentenzorg, Zeist 1990, pp. 134-147

[19]

[20]

[21] Adriaen Fransz. Boudewijns at the Netherlands Institute for Art History

[22] Adolphe Siret, _Adrien-François Boudewyns_, in: Biographie Nationale, Volume 2, p. 788-795, Brussels, 1868

[23]

[24] Thomas P. Campbell, Pascal-François Bertrand, Jeri Bapasola, _Tapestry in the Baroque: Threads of Splendor_, Metropolitan Museum of Art (New York, N.Y.), 2007

[25]

[26]

[27] Adam Frans van der Meulen, _Louis XIV before Versailles in his state coach_ at Christie's

[28]

[29]

[30]

[31]

[32]

[33]

[34] [https://www.cairn.info/revue-d-histoire-moderne-et-contemporaine-2008-4-page-190.htm Claire Mazel, _Isabelle Richefort, Adam-François Van der Meulen, peintre flamand au service de Louis XIV, Rennes, Presses universitaires de Rennes, 2004, 313 p.]_ in: Revue d’histoire moderne et contemporaine, 2008/4 (n° 55-4), p. 190

[35] Adam Frans van der Meulen and Workshop, _Siege of Oudenaarde_ at Alexis Bordes

[36]

[37]

[38]

[39] Inga Morris, _Adam Franz Van Der Meulen (1632-1690)_, Westfälischen Wilhelms-Universität, Münster, 1970, p. 68

[40]

[41]

[42]

[43] [http://mba-collections.dijon.fr/ow4/mba/voir.xsp?id=00101-2970&qid=sdx_q0&n=2&e= _Le Passage du Rhin en 1672_] at the collections du Musée des Beaux-arts de Dijon

[44]

[45]

[46]

[47]

[48]

[49]

[50] Stéphane Blond, _Le passage du Rhin par Louis XIV_, December 2013, on: Histoire par l'image

[51] Robert Wellington, _Antiquarianism and the Visual Histories of Louis XIV: Artifacts for a Future Past_, Routledge, 5 July 2017

[52] Matthew Dupuis, _Charles Lebrun: Painting the King and the king of painting_, Department of Art History Mcgill University, Montreal, A thesis submitted to the Faculty of Graduate Studies and Research in Partial Fulfilment of the Requirements of the Degree of Master of Arts

[53]

[54]

[55]

[56]

[57]

[58] Peter Fuhring, Louis Marchesano, Remi Mathis, Vanessa Selbach, _A Kingdom of Images: French Prints in the Age of Louis XIV, 1660–1715_, Getty Publications, 18 June 2015, p. 276-278

[59]

[60]

[61]

[62]

title: Adam Frans van der Meulen

question: What is Van Der Meulen most known for?

answer: His militaristic propaganda paintings of King Louis XIV of France with battle scenes having an important influence of the development of the genre.


split: train

text:
As Alanna sat on the bed, she thought:

*Why is my marriage over? How? What exactly did I do to cause him to walk out?*

She felt dejected and sad enough to cry when she felt a heavy, furry thing on her shoulder.

She turned and saw Teddy, aka Theodore T. Urso, her imaginary friend from her childhood

"Teddy!" she exclaimed.

"Alanna," he said to her calmly, the way he always talked with her. "Do you remember when you were five years old?"

"I...uh...barely," she said. "Oh, sorry about the pun, Teddy!"

"No problem," he said. "Now if you don't remember, I do. Your family had moved into a new house in a new neighborhood across town. Few children in the neighborhood wanted to play with you. Your older sister hated you because you had taken all the attention away from her. Your older brother ignored you. And sometimes your parents didn't pay the best attention to you because they were busy.

"I came to you then. I became your friend. I helped you get through those sad, bad times.

"I am truly sorry about what happened to your marriage. Now that you need some friendship, I've returned. Because I never left you. I was a part of you. I am a part of you. And I will always be a part of you. And if I helped you through some bad times when you were a girl and knew nothing, I sure can help you now because you're a woman and know more...and better."

Alanna put her hand on his paw and sniffled. "Thanks, Teddy. You're a good bear."

"You're welcome," the bear said. "And while you get over your ex-husband, I recommend that you get a dog. Love him or her and he or she will love you back. They are truly man's best friend. And I won't be jealous. I'll be happy that my friend has a good buddy."

title: An Old Friend Returns

question: What caused Alanna's imaginary friend from childhood, Teddy to reappear after so long?

answer: Teddy reappeared after her marriage to her husband was over and she needed someone to turn to.


text:
_ANCYLOTRYPA_ is a genus of African wafer trapdoor spiders that was first described by Eugène Simon in 1889.[1] Originally placed with the Ctenizidae, it was moved to the Cyrtaucheniidae in 1953.[2]

Species

it contains forty-four species:[3]

-   _Ancylotrypa angulata_ Roewer, 1953 – Congo
-   _Ancylotrypa atra_ Strand, 1906 – Ethiopia, Kenya
-   _Ancylotrypa barbertoni_ (Hewitt, 1913) – South Africa
-   _Ancylotrypa bicornuta_ Strand, 1906 – South Africa
-   _Ancylotrypa brevicornis_ (Hewitt, 1919) – South Africa
-   _Ancylotrypa brevipalpis_ (Hewitt, 1916) – South Africa
-   _Ancylotrypa brevipes_ (Karsch, 1879) – West Africa
-   _Ancylotrypa breyeri_ (Hewitt, 1919) – South Africa
-   _Ancylotrypa bulcocki_ (Hewitt, 1916) – South Africa
-   _Ancylotrypa coloniae_ (Pocock, 1902) – South Africa
-   _Ancylotrypa cornuta_ Purcell, 1904 – South Africa
-   _Ancylotrypa decorata_ (Lessert, 1938) – Congo
-   _Ancylotrypa dentata_ (Purcell, 1903) – South Africa
-   _Ancylotrypa dreyeri_ (Hewitt, 1915) – South Africa
-   _Ancylotrypa elongata_ Purcell, 1908 – Botswana
-   _Ancylotrypa fasciata_ Fage, 1936 – Kenya
-   _Ancylotrypa flaviceps_ (Pocock, 1898) – East Africa
-   _Ancylotrypa flavidofusula_ (Hewitt, 1915) – South Africa
-   _Ancylotrypa fodiens_ (Thorell, 1899) – Cameroon
-   _Ancylotrypa fossor_ Simon, 1889 (type) – Central Africa
-   _Ancylotrypa granulata_ (Hewitt, 1935) – Botswana
-   _Ancylotrypa kankundana_ Roewer, 1953 – Congo
-   _Ancylotrypa kateka_ (Roewer, 1953) – Congo
-   _Ancylotrypa lateralis_ (Purcell, 1902) – South Africa
-   _Ancylotrypa magnisigillata_ (Hewitt, 1914) – South Africa
-   _Ancylotrypa namaquensis_ (Purcell, 1908) – South Africa
-   _Ancylotrypa nigriceps_ (Purcell, 1902) – South Africa
-   _Ancylotrypa nuda_ (Hewitt, 1916) – South Africa
-   _Ancylotrypa nudipes_ (Hewitt, 1923) – South Africa
-   _Ancylotrypa oneili_ (Purcell, 1902) – South Africa
-   _Ancylotrypa pallidipes_ (Purcell, 1904) – South Africa
-   _Ancylotrypa parva_ (Hewitt, 1916) – South Africa
-   _Ancylotrypa pretoriae_ (Hewitt, 1913) – South Africa
-   _Ancylotrypa pusilla_ Purcell, 1903 – South Africa
-   _Ancylotrypa rufescens_ (Hewitt, 1916) – South Africa
-   _Ancylotrypa schultzei_ (Purcell, 1908) – Namibia
-   _Ancylotrypa sororum_ (Hewitt, 1916) – South Africa
-   _Ancylotrypa spinosa_ Simon, 1889 – South Africa
-   _Ancylotrypa tookei_ (Hewitt, 1919) – South Africa
-   _Ancylotrypa tuckeri_ Roewer, 1953 – Congo
-   _Ancylotrypa vryheidensis_ (Hewitt, 1915) – South Africa
-   _Ancylotrypa zebra_ (Simon, 1892) – South Africa
-   _Ancylotrypa zeltneri_ (Simon, 1904) – Ethiopia
-   _Ancylotrypa zuluensis_ (Lawrence, 1937) – South Africa

[1]

[2]

[3]

title: Ancylotrypa

question: What is "ancylotrypa"?

answer: A genus of spiders.

question: Where are they from?

answer: Africa.

question: When were they first described?

answer: 1889.

question: Who first described them?

answer: Eugene Simon.

question: Write a ~1 sentence summary.

answer: Ancylotrypa is a genus of African wafer trapdoor spiders that was first described by Eugene Simon in 1889.


text:
Senator Risa Hontiveros. INQUIRER FILE PHOTO / NINO JESUS ORBETA

Senator Risa Hontiveros on Monday vowed to investigate possible violations of the Anti-Hospital Deposit Law after a woman reportedly gave birth last week inside a taxi cab in Quezon City after being refused by two hospitals.

READ: IN THE KNOW: Anti-Hospital Deposit Law

Hontiveros said the incident would be looked into by the Senate committee on health, which she chairs, when it resumes its discussion on her bill that aims to strengthen Republic Act No. 8344, a law that prohibits hospitals from asking for deposits first before treating patients with emergency needs.

The senator has filed Senate Bill No. 216 or “The Amendments to the Anti-Hospital Deposit Act,” that seeks heavier penalties on hospitals that continue to demand any deposit or other form of advance payment, as a prerequisite for admission or medical treatment of an emergency patient.

READ: Hontiveros to prioritize health, equality bills in 2017

Based on the initial field investigation conducted by her office, Hontiveros said, a certain Aira Arellano was turned away by a public hospital in Caloocan City last January 11 after its staff allegedly assessed that she went into labor prematurely. The hospital staff reportedly told the mother that they had no incubator for the baby.

Arellano gave birth inside a taxi cab even before she could go to the next nearest hospital. She was later brought to a private hospital in Fairview, Quezon City but after cutting the umbilical cord of the infant, she was allegedly told that she could not afford the hospital’s fees, prompting them to transfer to the East Avenue Medical Center (EAMC).

The senator said the incident was worth investigating if the hospital in Fairview, Quezon City, violated the Anti-Hospital Deposit Law. Arellano and her child, she said, were victimized twice.

“She was a victim of a private hospital that refused to admit her because she couldn’t afford the deposit demanded of her, and a public hospital that lacked facilities. We cannot tolerate hospitals denying mothers and their children health services in their time of urgent need. Where will our people go if they can’t get medical help from either public and private hospitals?” Hontiveros said in a statement.

She said she would mobilize the resources of her committee to get to the bottom of this matter and coordinate with the Department of Health (DOH) “to get an inventory of the facilities at public hospitals and determine legislative and budgetary interventions that can improve health services.”

“No life should be unnecessarily put at risk, no person should be denied adequate and quality medical care just because they are poor and our government-run hospitals cannot adequately respond to their emergency medical needs. We have heard this unfortunate story so many times already. It’s time we put an end to it,” the senator added. _RAM/RGA_

question: What country is this article concerning?

answer: The Philippines

question: What is Republic Act No. 8344?

answer: a law in the Philippines that prohibits hospitals from asking for deposits before treating patients with emergency needs

question: Who is Aira Arellano?

answer: Aira Arellano is a woman who was denied care at a hospital and, consequently, gave birth in a taxi cab.

question: Who is Risa Hontiveros?

answer: Risa Hontiveros is a senator seeking to strengthen Republic Act No. 8344.

question: Write a ~2 sentence summary.

answer: Hospitals in the Philippines are demanding deposits prior to offering emergency services despite a law prohibiting the practice. Senator Risa Hontiveros is trying to rectify the issue by strengthening laws.


text:
[author image]

DIEGO MARADONA IS NO STRANGER TO CONTROVERSY AND THE ARGENTINA LEGEND PROVED IT ONCE AGAIN WHEN HE SLAPPED A JOURNALIST FOLLOWING A HEATED INTERVIEW WITH REPORTERS.

The 53-year-old was questioned by several journalists as he left a theatre in his homeland with the mother of his child, Veronica Ojeda, and their son Diego Fernando on Saturday.

But, after one reporter allegedly gestured or winked at Ojeda, Maradona was angered enough to get out of his car and slap the man.

The 1986 World Cup winning captain said: ‘Why mess with my wife if I do not mess with you?’

The incident has made headlines in Argentina after the slap was captured on camera.

After seeing this video, we are sure that journalists in Maradona’s homeland won’t be messing with him again any time soon…

 MORE : Manchester United will make ‘one final £30m bid for transfer target Mats Hummels’

question: Who is Diego Maradona?

answer: A 1986 World Cup champion from Argentina.

question: What did Maradona do to a journalist?

answer: He slapped a journalist.

question: Why did Maradona allegedly do what he did?

answer: A reporter gestured or winked at the mother of his child.

question: Where did the incident make headlines?

answer: in Argentina

question: Write a ~2 sentence summary.

answer:
Argentine World Cup champion, Diego Maradona, was angered and got out of his car to slap a reporter.
He was angered while exiting a theater with his son and the mother of his child when a reporter gestured at the mother, Ojeda.


text:
TIM LEBERECHT is a German-American author, speaker, and consultant. He is the former chief marketing officer of the creative firms Frog Design Inc. (styled as frog) and NBBJ. He now runs his own consulting firm, Leberecht and Partners, and writes and speaks about leadership, technology, and culture. He served on the World Economic Forum's Global Agenda Council on Values from 2012 to 2016, and he is a member of the NationSwell Council as well as an advisory board member for the strategy and innovation consulting firm Jump Associates.

Early life and education

Leberecht was born and raised in Germany.[1] He earned his Master of Arts in applied cultural studies at Lüneburg University, and a Master of Arts in communications management at the University of Southern California.[2]

Career

Leberecht was chief marketing officer at the architecture and design firm Frog Design Inc. (styled as frog) from 2006 to 2013, where he also served as chief marketing officer of its parent company Aricent from 2010 to 2012. He was chief marketing officer at the architecture and urban planning firm NBBJ from 2013 to 2015.[3][4][5][6] Prior to joining Frog, Leberecht held marketing positions at the mind mapping and innovation management software company Mindjet, the 2004 Summer Olympics, and Deutsche Telekom.[7][8] He now runs his own firm, Leberecht and Partners, which he founded in 2015.[9]

Leberecht has hosted innovation workshops for Fortune 500 companies and written about design, leadership, and marketing for _Fast Company_, _Forbes_, _Fortune_, and _Wired_, among other publications.[10][11] In 2015, Leberecht published _The Business Romantic: Give Everything, Quantify Nothing, and Create Something Greater Than Yourself_, which proposes ten principles for finding more enchantment and meaning at work.[12][13][14] _Forbes_ included the book in their lists, “15 Books for Creative Leaders to Read in Spring 2015” and “Top 10 Creative Leadership Books of 2015”.[15][16][17] In addition, _Inc._ included _The Business Romantic_ in their list of “Top 10 Motivational Books of 2015”.[18] Related to the book, Leberecht founded the Business Romantic Society, which has been described as “a global collective of artists, developers, designers and researchers who share the mission of bringing beauty to business”.[19][20]

Leberecht has presented at multiple TED conferences. In 2012, he presented “3 ways to (usefully) lose control of your brand” at “TedGlobal”,[21] which _Fortune_ included in their 2016 list of “5 TED Talks Every Business Owner Needs to Watch”.[22] He opined about the need to bring romance back to business and engineering in his talk “Let's bring romance back to business” at “TED University 2015”.[23] In 2016, he presented “4 ways to build a human company in the age of machines” at “TEDSummit”, in which he describes four ways to “create beauty” in business.[24]

Leberecht founded _Design Mind_ magazine and co-founded the dinner series “15 Toasts”,[25] which provides “safe spaces for people to have conversations on difficult topics”,[26] and is a “connector” for the Experience Institute.[27][28][29] He also served on the World Economic Forum's Global Agenda Council on Values from 2012 to 2016. He is a member of the NationSwell Council and an advisory board member for the strategy and innovation consulting firm Jump Associates.[30][31]

Migraine

Leberecht was a vocalist and guitarist for Migraine, a band formed in Stuttgart, Germany, along with saxophonist Jakob Hesler and bassist Lars Precht.[32] The jazz and pop band released multiple recordings: _Little Luxury_ (1994)[33] on Miramar Records, and _Anticipation on Me_ (1994) and _David Shrinks_ (1997) on Blue Flame Records.[34][35][36][37]

Bibliography

Books

-   [38][39]

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

[11]

[12]

[13]

[14]

[15]

[16]

[17]

[18]

[19]

[20]

[21]

[22]

[23]

[24]

[25]

[26]

[27]

[28]

[29]

[30]

[31]

[32]

[33]

[34]

[35]

[36]

[37]

[38]

[39]

title: Tim Leberecht

question: Who is Tim Leberecht?

answer: He is a German-American author, speaker, and consultant.

question: What degrees did Leberecht earn?

answer: He earned his Master of Arts in applied cultural studies at Luneburg University and a Master of Arts in communications management at the University of Southern California.

question: What was Leberecht's role at the design firm Frog Design?

answer: He was the chief marketing officer at Frog Design.

question: What band was Leberecht a vocalist and guitarist for?

answer: He was a vocalist and guitarist for the band Migraine, that was formed in Stuttgart, Germany.

question: Write a ~2 sentence summary.

answer: This article describes Tim Leberecht, a German-American author, speaker, and consultant. The article describes Leberecht's career in detail.


text:
Gov. Scott Walker joined other potential Republican candidates for president when, in a surprise move, he called on the Wisconsin Legislature to repeal the Common Core education standards.

State Sen. Joe Leibham, one of four Republicans seeking the GOP nomination for an open seat in Congress, applauded the announcement two days later.

"Like Governor Walker, I believe education decisions should be made at the local and state level, not through federal mandates like Common Core," he said in a July 19, 2014 news release.

Common Core -- a federal mandate?

No. That's a lesson we've learned before.

Let's review.

THE RACE

GOP U.S. Rep. Tom Petri, who has represented east-central Wisconsin in Congress since 1979, announced in April 2014 that he would not seek re-election. That was a week after state Sen. Glenn Grothman, R-Campbellsport, announced he would run.

Jumping in later were Leibham, of the Town of Sheboygan, state Rep. Duey Stroebel of the Town of Cedarburg and political newcomer Tom Denow of the Town of Algoma in Winnebago County.

The winner of the Aug. 12, 2014 primary will face Winnebago County Executive Mark Harris, who is running unopposed in the Democratic primary, in the November 2014 general election.

On the GOP side, much of the campaigning has centered on which candidate is the most conservative.

COMMON CORE'S ORIGINS

Increasingly, conservatives around the country have attacked the Common Core State Standards, a set of standards for English and math that were unveiled in 2010. The criticism has stirred debate about the federal government's role in the standards and whether the renewed focus on them is strictly political.

Tony Evers, the elected Wisconsin school superintendent, used his authority to have the state adopt Common Core in June 2010. More than three years later, in October 2013, the GOP-majority Legislature began holding hearings with the aim of reviewing and perhaps replacing Common Core. At the time, Evers said the pushback in Madison and elsewhere "is all about what's going on in Washington. It's all about controlling the message and the next (presidential) election."

Also in October 2013, we rated as Mostly True a claim by state Rep. Sondy Pope, D-Cross Plains, a Common Core supporter. She said Common Core "is not from the federal government," they "do not have their fingerprints on this thing at all."

Here's what we learned at the time:

Common Core came out of years of discussion between private nonprofit groups and state education departments. The goal: to better prepare students for college and careers and ensure that students in different states learn the same academic concepts.

The Council of Chief State School Officers -- a national organization of public officials who head state education departments -- discussed developing common standards during its annual policy forum in 2007, a year before Barack Obama won the presidency. In 2009, that council and the National Governors Association agreed to create Common Core. They developed the standards with the help of teachers, parents and experts.

Although Common Core is voluntary, the federal government has had a role in encouraging states to adopt the standards.

States earned the equivalent of extra points in the competition for grants from Race to the Top, Obama’s signature education program, if they had adopted standards to prepare students for college and work. They didn't have to adopt Common Core, but they were better positioned for federal money if they did.

Linking Race to the Top funding and Common Core is what Leibham cited to defend his claim.

"In this era of tight budgets, tying federal funding to the adoption of specific education initiatives like Common Core is inherently coercive," Leibham campaign spokesman Ryan Terrill wrote in an email.

"As Wisconsin struggles to maintain appropriate funding for K-12 education amid increasingly scarce (state) resources and declining property tax revenues in many districts, any individual suggesting that Wisconsin not try for RTTT funding would be ridiculed.  Therefore, Wisconsin’s grant application and the strings attached really were not entirely a matter of choice."

But that doesn't make Common Core a mandate -- a fact that has been reported repeatedly since we checked the Pope claim. Four examples, from March and April 2014:

1. PolitiFact Georgia noted that one of the leaders in developing Common Core, former Republican Gov. Sonny Perdue of Georgia, said it was a way to "prevent a federal mandate" in education.

2. U.S. News & World Report, in an article headlined "Common Core: Myths and Facts," labeled as the first myth: "The Common Core State Standards are a federally mandated curriculum."

The article pointed out that the 1965 Elementary and Secondary Education Act forbids the federal government from intervening in school curriculum development and that states independently adopted Common Core.

3. The Milwaukee Journal Sentinel, reported that Common Core is voluntary and, the curriculum and teaching methods are decided locally.

4. The Washington Post -- reporting on Indiana being the first state to pull out of Common Core after being among the first of 45 states to adopt it -- said Common Core isn't a federal mandate, and noted it was developed in part through the National Governors Association.

Indeed, the fact that not every state adopted Common Core -- and that Indiana, as well as Oklahoma and South Carolina adopted it and later dropped it -- underscore that the standards aren't mandatory.

As does the fact that Walker is calling on the Legislature to repeal them.

OUR RATING

Leibham said the Common Core education standards are a federal mandate.

States put themselves in better position for federal education funding by adopting Common Core. But the school standards were voluntary for states to adopt, not mandatory, and some have since pulled out of the program -- just as Wisconsin is considering doing.

We rate the statement False.

_To comment on this item, go to the Milwaukee Journal Sentinel’s web page._

question: What states are mentioned in this document?

answer: Wisconsin, Washington D.C., Georgia, South Carolina, Oklahoma, Indiana,

question: What is the GOP campaigning for?

answer: They are campaigning for a Congress seat in the Aug. 12, 2014 primary.

question: What is Common Core?

answer: It is a set of standards for English and math that were unveiled in 2010 during the Obama administration. It is voluntary, but the federal government has had a role in encouraging states to adopt the standards by offering more funding if they adopt it.

question: Why does the GOP want Common Core replaced?

answer: Some see it as a federal mandate.

question: How does Obama relate to this document?

answer: The Common Core State Standards were unveiled during the Obama administration.

question: Describe an example of Common Core not being a mandate.

question: Write a ~1 sentence summary.

answer: This document discusses Common Core and the GOP's belief that it is a federal mandate.


text:
ROBERT FRANCIS, pen name for JEAN GODMÉ, (1909–1946) was a French writer, winner of the 1934 edition of the Prix Femina.

Biography

Robert Francis was Jean-Pierre Maxence's brother, the pseudonym of Pierre Godmé. After studying science, he occupied a post of civil engineer in the North of France in the 1930s. At the same time, he devoted himself to letters and founded with his brother in 1928 a literary magazine, _Les Cahiers_, which disappeared in 1931. Robert Francis belonged to the middle of the _jeune droite catholique des années 1930_ (“Young Catholic Right of the 1930s”).[1][2] A friend of Thierry Maulnier, he wrote with him and his brother a work which had a certain success on its release: _Demain la France_ (“Tomorrow France”) which was a charge against the regime of the moment, written on the morrow of the 6 February 1934 crisis.

Work

Histoire d'une famille sous la Troisième République (suite romanesque) :

-   1933: (I) - _La Grange aux trois belles_, Paris, Librairie de la Revue française, Alexis Redier éd.
-   1934: (II) - _La Chute de la maison de verre - La maison de verre_, Librairie de la Revue française, Alexis Redier éd.
-   1934: (III) - _La Chute de la maison de verre_ - _Le Bateau-refuge_, Paris, éditions Gallimard - Prix Fémina 1934
-   1935: (IV) - _Les Mariés de Paris_, Gallimard
-   1937: (V) - _Le Gardien d’épaves_, Gallimard

Other publications :

-   1934: _Demain la France_, Paris, éditions Grasset, 1934, cowritten with Jean-Pierre Maxence and Thierry Maulnier
-   1936: _Une vie d'enfant_, Gallimard, (his first essay fiction, previously published in review)
-   1937: _Un an de vacances_, Gallimard
-   1938: _La Jeune Fille secrète_, Gallimard
-   1939: _L'Oie_, Gallimard
-   1941: _Souvenirs imaginaires_, Gallimard
-   1941: _Histoire sainte_ (tales), Gallimard

[1] Véronique Auzépy-Chavagnac, _La Jeune Droite catholique (années 1930 et 1940)_, Mil neuf cent, Revue d’histoire intellectuelle (cahiers Georges Sorel), n°13, 1995

[2] Nicolas Kessler, Jean-Louis Loubet del Bayle, _Histoire politique de la jeune droite (1929-1949)_, L'Harmattan, 2001

title: Robert Francis (writer)

question: Who was Robert Francis?

answer: A French writer. His real name was Jean Godmé.

question: What nationality was Robert Francis?

answer: French.

question: What awards did Robert Francis win?

answer: The 1934 edition of the Prix Femina.

question: What is Robert Francis's most well-known publication?

answer: That information can't be found.

question: What genre did Robert Francis write?

answer: That information can't be found.

question: What was Robert Francis's first published novel?

answer: La Grange aux trois belles

question: Write a ~2 sentence summary.

answer: Robert Francis was the pen name of Jean Godmé, a French writer. He received the 1934 edition of the Prix Femina.


text:
WEBSITE AUDIT is a full analysis of all the factors that affect website's visibility in search engines. This standard method gives a complete insight into any website, overall traffic and individual pages. Website audit is completed solely for marketing purposes. The goal is to detect weak points in campaigns that affect web performance.[1]

Description

The website audit starts from a general analysis of a website aimed at revealing the actions needed to improve search engine optimization (SEO). Many tools offer recommendations on how to raise the website rankings in search that can include on page and off page SEO audit such as broken links, duplicate meta descriptions and titles, HTML validation, website statistics, error pages, indexed pages and site speed.[2] Site audit is applicable for all online businesses and improves different aspects of the websites.

Purpose

There are many reasons to do a website audit, but in most cases SEO and content marketing are the main ones. Website audit made for SEO purposes discovers weak spots of a website's SEO score and helps understand the state of SEO. Content audit is used to analyze the engagement and what changes have to be made to the content strategy to enhance the site's performance.

Types

There are multiple types of site audits, including the following:[3]

-   Website health audits - analyzing overall health of the website while revealing all issues that require immediate attention.
-   Security audits - accessing a site for potential vulnerability issues such as high value sites and high-risk verticals.
-   Competitive site audits - the ability to monitor all gaps and opportunities for website promotion, and detect the benefits and drawbacks of competitors.
-   Red flag and recovery audits - analyzing a website for impending penalties and site metrics when there is an oncoming peril of algorithmic penalties.
-   Conversion optimization audits - accessing a site for possible technical and onsite conversion problems.
-   Technical SEO audits - this often involves crawling the entire site, beginning with a review of site content, structure, and adherence to best practices such as web accessibility.

All of these audits can form a part of the same audit. Each one is made to make sure that you have powerful and reliable system in place. It shows the unidentified dangers that can bring you down, tells what needs to change and what's working well and what's not good, and gives practical recommendations and insights into what need to prioritize more. All website audits start with site health audits.

[1]

[2]

[3]

title: Website audit

question: What is a website audit?

answer: A website audit is an analysis of all the factors that affect a website's visibility in search engines.

question: What are the most common reasons to do a website audit?

answer: The most common are SEO that discovers weak spots of a website's SEO score and content audit that discovers what changes have to be made to the content strategy to enhance the site's performance.

question: What is a security audit?

answer: A security audit is a type of site audit that discovers potential vulnerability issues such as high-value sites and high-risk verticals.

question: What is a website health audit?

answer: A website health audits is a type of site audit that analyzes the overall health of the website while revealing all issues that require immediate attention.

question: Write a ~2 sentence summary.

answer: A website audit is an analysis of all the factors that affect a website's visibility in search engines. It identifies the unidentified dangers that can bring a website down, weak spots of a website's SEO score, and what changes have to be made to enhance the site's performance.


text:
[Lieutenant Anthony P. Shepeard | Lake Linden Police Department, Michigan]

[Lake Linden Police Department, Michigan]

LIEUTENANT ANTHONY P. SHEPEARD

Lake Linden Police Department, Michigan

End of Watch Thursday, December 4, 1980

Add to My Heroes

Anthony P. Shepeard

Lieutenant Anthony Shepeard was killed when he was crushed under an old police car at a local junk yard. He had gone to the junk yard to remove parts from the police car.

When he failed to show up for the shift change a lookout was put out for him. The owner of the junk yard, hearing the lookout on the radio, went to the location of the old police car and found that the jack had collapsed and the car had crushed Lieutenant Shepeard.

Lieutenant Shepeard had served with the Lake Linden Police Department for 4 years and was survived by his wife, two sons, and a daughter.

Bio

-   Age 36
-   Tour 4 years
-   Badge Not available

Incident Details

-   Cause Accidental

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EOW: November 17, 2020

question: When was the article written?

answer: December 1980

question: How old was Lieutenant Shepeard when he died?

answer: 36 years old

question: Where did Lieutenant Shepeard die?

answer: A junk yard in Lake Linden, Michigan

question: Was foul play suspected in Shepeard's death?

answer: No

question: Write a ~1 sentence summary.

answer: Lieutenant Anthony Shepeard was killed when a jack collapsed and he was crushed under an old car at a junk yard in Lake Linden, Michigan.


text:
[Database leak]
Some of your most personal information may have been made available to hackers.

 Getty Images
If you're a US citizen, your personal information -- your phone number, home address, email address, even how many children you have -- may have just become easily available to hackers in an alleged massive data leak.

Florida-based marketing and data aggregation firm Exactis exposed a database containing nearly 340 million individual records on a publicly accessible server, Wired reported. Earlier this month, security researcher Vinny Troia found that nearly 2 terabytes of data was exposed, which seems to include personal information on hundreds of millions of US adults and millions of businesses, the report said.

"It seems like this is a database with pretty much every US citizen in it," Troia told Wired.

Exactis didn't respond to a request for comment or confirmation.

The alleged breach reportedly exposed highly personal information, such as people's phone numbers, home and email addresses, interests and the number, age and gender of their children. Credit card information and Social Security numbers don't appear to have been leaked. Troia told Wired that he doesn't know where the data is coming from, "but it's one of the most comprehensive collections I've ever seen."

Because Exactis hasn't confirmed the leak, and the data is reportedly no longer accessible, it's hard to know exactly how many people are affected. But Troia found two versions of the database that each had around 340 million records, with roughly 230 million on consumers and 110 million on business contacts, according to Wired. Exactis says on its website that it has over 3.5 billion consumer, business and digital records.

The data leak is noteworthy not only for its breadth, but also for the depth of information the records have on people. Every record reportedly has entries that include more than 400 variables on characteristics like whether the person smokes, what their religion is and whether they have dogs or cats. But Wired noted that in some instances, the information is inaccurate or outdated.

Just because people's financial information or Social Security numbers weren't leaked doesn't mean they're not at risk for identity theft. The amount of personal information that was exposed could still help scammers impersonate or profile them.

Huge compromises to personal information have been making headlines in recent years. In 2017, Equifax was involved in a massive data breach of 145.5 million people's data -- Social Security numbers, names, birthdates and addresses were stolen. And in October, Yahoo revealed that all 3 billion accounts were hacked in a 2013 breach.

[]

 Now playing: Watch this: Worst hacks of the year

 3:24

First published June 27, 2:14 p.m. PT.
UPDATE, JUNE 28 AT 10:14 A.M. PT: Adds more background on recent hacks.

Cambridge Analytica: Everything you need to know about Facebook's data mining scandal.

Follow the Money: This is how digital cash is changing the way we save, shop and work.

question: How did the data get exposed?

answer: It is implied that the firm, Exactis, exposed the data.

question: Which firm exposed the data?

answer: Exactis, a Florida-based marketing and data aggregation firm.

question: How many people may have been affected by the data breach?

answer: Around 340 million records had been exposed, with roughly 230 million on consumers and 110 million on business contacts.

question: Is there any information that hasn't been leaked?

answer: Credit card and Social Security numbers do not appear to have been leaked.

question: Write a ~6 sentence summary.

answer:
A Florida-based marketing and data aggregation firm, Exactis, has exposed a database with individual records. Although, the firm has not confirmed the leak as yet.

A security researcher, Vinny Troia, has found that nearly 2 terabytes of data have been exposed, with roughly 230 million on consumers and 110 million on business contacts. Credit card information and Social Security numbers appear to not have been leaked.

The breadth of the data breach puts people at the risk of identity theft. Each record reportedly has entries that include more than 400 variables.


text:
Click, clack. Click, clack. The sounds of metal against metal reverberated through the entire ship as the captain walked towards the guard rail on the starboard side. Every other step the captains prosthetic leg stuck the ships metal surface and rang out. From just below the knee a metal contraption attached to his leg. Hinges and blots dotted the device and ever few steps a release valve opened and steam hissed out. The device was solid bronze and extremely heavy and as such, it required a lot of strength to take a single step, much less walk across the ship.

He continued his difficult trek until he reached the railing. Leaning against it he looked over to his right and saw one of his passengers staring out across the night sky. She stood there silent, not even noticing the captains presence, completely enthralled by the view in front of her.

“Its beautiful isn’t it?” the captain said, breaking the silence. The female passenger could only manage a nod and did so without breaking eye contact with the view.

The captain gave a small chuckle.

 “I used to be just like you, the first time I saw all of this” he motioned with his arm, swinging it about.

Hundreds of feet below them the giant city spread out in every direction, seemingly never ending. The snow capped mountains that sat in the center of the city shined as the sun just barely peaked over the tip of the highest peak. The setting sun cast enough light to see the city as it feel asleep. And just enough darkness to see the stars coming to life. Their light brightening the night sky.

“When I first saw it I knew that I would never be able to go back. And I haven’t, I have called this ship home ever since.” the captain said after a few moments of silence.

The female passenger pointed down to the ships running through the rivers that cut through the city. and spoke for the first time

“They don’t even know what they are missing.” she said almost in shock.

“And that is the way of things, you never really know what you are missing until you have held it in your hands and you wonder were has it been your entire life.” The captain sighed.

“I have meet so many river boat captains who say that airship travel is impractical and unorthodox and unsafe. They neglected to mention it is beautiful.”

“The airship is a relatively new invention, compared to boats. New is scary, and new is confusing. They say that only the foolish mess with the scary and confusing.” he gave a quick laugh “And as such, I am a fool among fools.”

The passenger looked at the captain and asked him.

“How did you first come to fly on this ship?” she asked.

“Ah.” he sighed “Now there is a story. Have you ever heard of Jeremiah the Mad?” the captain say the lack of recognition on the passengers face and continued. “I assumed as much, he was way before your time. Anyways, Jeremiah was a captain like I am myself on board a very similar vessel such as this one. Only he was not a captain of a passenger vessel, he was a thief and a murder and was greatly feared through out the water district.” the captain paused for a moment and took a deep breath.

“I suppose you can see were this story is going, my family owned a shipping company. The Eastern Trading Company as it was called back then. My family has just commissioned the build of a new line of passenger ships and the first one was ready for its maiden voyage.” the captain stopped once again and leaned against the railing, his mechanic leg hissing.

“My father thought is was a good idea if my family and I were on board the ship for its voyage. The first night of the voyage the ship was attacked and boarded by Jeremiah the Mad and his crew. We fought back and they killed my family. I lost my leg.” He raised his mechanic leg as he said this, then continued his story.

“I was twelve years old.” he said quietly. The passenger next to him stood staring with her eyes wide open.

“Oh my god I am so sorry!” she exclaimed. The captain gave a small smile.

“The past is the past, no use feeling sorry for what already happened” he said. The passenger stood silent, not
saying a word. The captain then turned and started to limp away. Click, clack. Click,  clack. As he walked away the passenger realized he never answered her question.

“wait!” she yelled “you never answered, how did you come to fly on this ship?”

The captain stopped and turned around to face her.

“But I did tell you, you are standing on the ship that used to belong to Jeremiah the Mad.” he said.

“What?” she said in shock. “how did you get his ship?”

“That is a story for another time.” he answered. He turned and continued to walk away, leaving her in absolute shock. As he walked away he spoke over his shoulder.

“Best be getting under shelter, a storm is picking up” he said as he disappeared under the deck.

The passenger just stood in shock watching the captain disappear. She turned and faced the guard rail and ran her hand over it, whipping dust off it. Something caught her eye. Looking down she could faintly see a symbol scathed into the railing. It read.

J

title: The Airship (first story)

question: How did the captain lose his leg?

answer: He lost his leg while he was cruising on his family's ship and it was attacked by a pirate called Jeremiah.

question: What kind of ship are they on?

answer: Airship

question: What city were they flying over?

answer: Information not found

question: Where were they flying to?

answer: Information not found

question: Write a ~4 sentence summary.

answer: The captain of an airship was walking towards the railing, where one of the female passengers was admiring the sky. They strike up a conversation, talking about how beautiful the view was. The passenger asked the captain how did he come to fly that ship. He says he'll tell that story another time and instead tells her the story of how he lost his leg.


text:
I was a child soldier in Uganda when I was 12. I couldn't write, so I dictated my will to my slave master/commander, who would kill my family if I tried to run away. In the event of my death, my only possession, a gold plated AK-47, was to be given to my mother and six sisters so they might be able to afford food with our terribly inflated currency.

Later on, when I was captured by the United Nations peacekeepers they taught me how to read while I was awaiting trial. I then realized that my former commander couldn't read nor write either, so he had only scribbled on a piece of paper and intended to keep my rifle.

title: Will and Testament

question: Describe the narrator's family's financial situation.

answer: They seem to be poor.

question: Describe the twist at the end of the story.

answer: The narrator realizes that since his slave master couldn't read of write, the narrator's will, which his slave master wrote down, was not legitimate.


text:
History is told by the victor. So simple it is for the them to revel in their glory, their pride. To look to their loved ones that they fought so hard to protect with caring, yet tired smiles. Not even a hint of remorse for the families they've torn apart, destroyed, and broken. Of course, there are those who regret, although happy to be alive,yet burning from inside out simply knowing they can never forget the lives they extinguished for their countries ‘noble’ cause. How they seek retribution for their actions, solace in their emotions, a sanctuary amongst their inner turmoil for the hopes at piecing together what is left of their broken hearts. Some fail, and continue their lives all the while rotting away, but a diamond in the rough exists. It just takes one with enough heart to make the difference, even if it doesn't exist.

Gyrus (Jy-ruhs), a country of science. Humans of technology whose pride is within their problem solving androids, capable of emotion, yet given orders unable to disobey. Built of turning gears, and clicking clockwork breathing life into their very being, while families treat them as if they were their own children with just more of a; technological disposition. Cities mirroring it’s ‘Children of Gears’ composition of moving clockwork, co-inhabited by its human denizens.  Its government comprised of one true ruler holding all power, king of the ages said to have ushered in peace, tranquility, and progress. Yet with all this power, when a ruler is lost, the lineage must go on.

Feyrus (F-ey-ruhs) a country of magic. Its denizens, humans with animal like qualities whose pride lie within their medical advancements through the use of mana. A teal energy that exists in all things, yet unseen to humans. With an aptitude for channeling the latter, they heal the sick with ease, while moving with almost superhuman speed, and strength. Clans based on the animals they ever so slightly resemble, but with each of their chiefs together form the Feran Council. The country itself comprised of a democratic government, and as such each village has a say in political matters, at least, they did.

Once Gyrus had taken an interest in Feran magic, things changed drastically. The advanced medical technology possible with Feran magic was far too valuable to ignore. Androids now outfitted for war, and Gyran armies compiled together; they were to invade Ferus under the orders of King Rheon ( R-ee-onn). For most soldiers of Gyrus it was not hard, as the Ferans, similar in their names, were thought to be no more than feral animals. But as the war dragged on it was evident that these animals, these people. They were ever so human as the invaders they feared.

Click. A Feran soldier fell dead, Click, and yet another. A steel maiden gliding effortlessly through the battlefield resembling a village, while not even a hint of emotion evident. Sword coated in blood, glinting in the moonlight with every swing. A negative emotion with every click that resounded, but what emotion was it? Bang. A gunshot resounded in the rain. What did it all mean?

"You, and your unit are to take this village." A Gyran captain announced, while pointing at a map. 'By any means necessary.'  The emotions in his face hardening, lips forming a tight line. His words ringing through the deafening sound of the raging storm just outside the tent.

“Understood.” An android of the Valkyrie Model confirmed, a click resounding in the room. Her face unreadable, with an unknown emotion coursing through her circuitry, after all this isn't the first village shes taken. The android beside her, a Medical Model, frowned. “What about the villagers, their families, the children even?” She said with obvious discontent. “We’ve already won!” Her frown deepening immensely, eyes briefly tightening shut.

The captain stared at the Medical Model, his emotions unwavering under her glare. “If they fight back, then they are to be eliminated.” A smirk coming across his face. “It’s not as if you could disobey a direct order anyways.” His voice now dripping with venom. “Those Feran scum deserve it.”

All that could be heard now was the deafening rain, the village was deathly quiet. The villagers, all of them, fought to protect themselves, but their orders were evident. “Titania, how do you do it?” The Medical Model said with barely a whisper, staring at the aftermath of the attack. “How many lives have we taken?.” Click. Titania the Valkyrie Model stood there silently taking in the sight of the bodies littering the village. “Orders.” She said frankly, her gears whirring quietly, and her face still devoid of emotion. “ You know this is wrong!” The Medical Model’s voice rising. “They didn't deserve this, none of them!” The rain trickling down her face reminiscent of tears, how ironic. Click, she had nothing to say, simply because she did not understand.

Titania, as all androids should, have the capacity to experience emotion, but for her it was different. When Titania was first built, the scientist were mesmerized at her lack of display of emotion. It was supposed to be in her programming after all, and yet nothing they did to get a rise out of her worked. For Titania, with every attempt they tried, she heard a click resound in her head, but she could never tell what it was. Was this a so called emotion? What does it mean? What does it do? So many questions, but a question like “What is emotion?” cannot be simply answered. Her model was to resemble the word Valkyrie in such that she was a guardian to those who needed guarding. They wrote it off as a glitch, because of that fact. But because Gyrans valued androids as people, they could not bring themselves to decommission her.

“Sylph, what is emotion?” Titania asked, her voice monotone. Sylph the medical model simply looked at her, eyes tired, and emotionally broken. “Something i wish i didn't have.” She said now with her eyes downcast, unable to look at the bodies any longer.

Sylph, created with the purpose of pharmaceutical needs, was always very emotional. After all, she must be, medical models need emotions to help reduce panic in patients during treatment. Once the war started she personally believed it to be a curse, with every village she invaded with Titania’s unit, she could feel a part of herself break. But orders were orders no matter what they were, they were impossible to disobey. Each of the androids were produced in pairs, and as such created sibling like environments. To her surprise, Sylph’s designated sister, was none other than Titania her complete opposite.

A babies cry resounded through the rain from a lone cot in the distance.”Ah!” Sylph felt immediate joy, yet the negative emotions were still fresh, as she sprinted to the small building. Click. Following suit, face unchanged, Titania bolted after her.

With the cot now in front of her, pausing briefly to take in the rundown building. “I'm so sorry.” Titania heard a voice from the now opened door. Upon entering she saw, grey, and black? A small baby boy with wolf ears, and a tail, was being cradled in Sylph’s arms. Click. “Can you believe it?” Sylph said with mixed emotions. “ A baby boy, but with no family to take care of him.” Rain Water trickling from Sylph’s hair, falling past her eyes, yet again reminiscent of tears. Click, Titania heard it, but this time it was different, something- hurt? “Ha-ha, finally something huh?” Sylph was looking at her solemnly, a smile on her face. Titania was frowning.

title: [FN] Heart Of Clockwork- Chapter 1

question: What does the story say about how different Titania was to the other androids?

answer: Androids were being built for war and they even had the capacity to experience emotion. Titania was different and scientists were surprised at her lack of emotion even though she was programmed to feel them. Scientists wrote her off as a glitch but androids were valued as people and they could not bring themselves to decommission her.


text:
IBM's Watson Discovery Service is a suite of APIs that aims to make it easier for companies to ingest and analyze their data, even if they don't have an advanced degree in data science.

[wdsibm.jpg]
Image: IBM

A new IBM Watson service, announced Thursday, could make it easier for businesses to process, analyze, and glean insights from their data. The Watson Discovery Service, unveiled in a blog post, is a suite of APIs that assist users in collecting, organizing, and using their data.

The service works with structured and unstructured data, leveraging core APIs like AlchemyLanguage and Document Conversion to help users make sense of their data. It also helps to democratize and scale the big data analytics process, making it easier for all employees to learn from data.

"With Watson Discovery Service, even customers lacking systems engineering or machine learning skills can rapidly analyze and gain insights from enormous collections of unstructured data," the post said.

SEE: IBM WATSON: THE SMART PERSON'S GUIDE

In its post, IBM cited a New York Times article that claims data scientists can spend up to 80% of their time processing, cleaning, and organizing their data--also referred to as "data janitor" work. This is the proposed value addition of Watson Discovery Service in that it streamlines the process of getting data ready for useful analysis.

More about Big Data

-   Top 5 steps for good data science
-   Top 5 programming languages for data scientists to learn
-   7 data science certifications to boost your resume and salary
-   Cheat sheet: Data management (free PDF)

It starts by ingesting and standardizing your data. Then, it "enriches" the data with natural language capabilities like sentiment analysis, named entity extraction, and concept tagging. Users can then use a query API to segment the data and search through it, an IBM video explained.

Many insights can be found in relationships among text-based data, such as news reports, and social media. Because Watson Discovery Service can read into these sources and understand the data at "massive scale," the report said, the new service can open up new opportunities for developer to make use of that data.

"For example, you could identify all the companies acquired by a competitor over a specific period of time, or the diseases impacted by a target chemical compound, or key events impacting supply chain or shipping routes," the post said.

As mentioned above, the new service is meant to be able to be leveraged by many different types of employees. The post equated using the service to the process by which one would call a REST API.

Watson Discovery Service is focused on natural language understanding, but IBM said it is working on making other cognitive capabilities available in a similar fashion.

The 3 big takeaways for TechRepublic readers

1.  On Thursday, IBM announced the Watson Discovery Service, a suite of APIs that makes it easier to store, analyze, and understand data at scale.
2.  The service relies on API calls and is meant to be able to used by all employees, even those who may not have an expertise in data science.
3.  Watson Discovery Service focuses on natural language understanding, but the company is looking to make other capabilities available in a similar way.

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-   Photos: 8 products you didn't know were built with IBM Watson (TechRepublic)
-   IBM Watson: What are companies using it for? (ZDNet)
-   IBM Watson takes on cybercrime with new cloud-based cybersecurity technology (TechRepublic)
-   Should IBM be your AI and machine learning platform? (ZDNet)
-   IBM Watson is coming to the iPhone, and that's big news for business users (TechRepublic)

question: Why did IBM come up with the Watson Discovery Service?

answer: It came up with the service to make it easier for companies to ingest and analyze their data.

question: How would this new service help data analysts?

answer: By using this service it would be easier for the analysts to get the data ready to analyze.

question: Would the service put any companies out of business?

answer: This information can't be found.

question: Would the service make analyzing data easier or more tedious?

answer: It would make the process easier.


text:
I wrote this when I was 14 and I'm looking to rewrite it. Suggestions for change are encouraged.

**Rats**

The man had come to town in a large, beat up, eighteen-wheeler. The side of the truck advertised the clear effectiveness of his chosen career path, shown by a rat with its eyes X'd out and a skull-and-crossbones over its head. Its limp body was encased in sharp light from the lightning bolt hitting its fragile frame. One glance at the side of the beat up van told you exactly what this man did and what a fine job he did of it. He arrived at the town's lowest point like an ill timed superhero. There was no phone communication; the rats had sliced through them with obvious malicious intention. There was next to no food, it had been stolen and hoarded by the vicious beasts. They kept it and ate it slowly in front of us. A few would run up from the sewers and nibble on a ham in the gutter and before you could get to them they would rush down the storm drain, cackling as they went. They terrified the children, who wouldn't go out and play in the streets, and if they did they went in packs, finding some comfort in numbers.

They had come about two weeks before the man and it almost seemed planned the way they dismantled the town. They mainly stayed out of the way of the public. One would be spotted in the produce at the local store or in the corner of a house harassing the dog. They grew from there till they were in the beds and behind the curtains waiting to leap at whoever was unfortunate enough to uncover them. They were in gardens and sheds, swarming over any weapons that could be used to stop them. They chewed off the stocks of rifles, gnashed their way through the handles of shovels and hoes, and dragged off cutlery to the sewers, hoarding it with the food.

We're not sure who spotted the monstrous vehicle first but whoever it was ran to the mayor's office, past the streets heavily laden with filth and black spirited brown rats. Mayor Hamlin himself, the most famous person known to all who lived in the area, knocked on the back of the truck and the doors immediately flew open and out stumbled a gray bearded, greasy haired, rank man who fell face first into the muck on the street.

The man got to his feet in the most dignified manner possible for a man who just fell out of a poorly decorated, rusting insult to all respectable eighteen-wheelers. The crowd gathered round had moved back with an over exaggerated gasp, in a sad attempt to create drama and maintain suspense.

"Welcome to our town!" said Hamlin cheerfully, with a hint of nervousness shown by the sweat beading on his balding head.

The man stared at him, bewildered. A rat crawled on top of the van.

"Our, um, able-bodied townspeople couldn't help but notice that you seem to make a, um, living off of, erm, pest control?"

The man nodded and grunted a confirmation. A rat crawled up the wheel of the van and started gnawing nonchalantly on the rubber, vaguely interested in what was going on around it.

"Our town is in desperate need of someone with your, um, expertise. What are your wages?"

Silence embraced the crowd. The man spoke with a voice that sounded like gravel being slowly moved by a shovel, raspy and dry. He named a figure, the only word anyone in the town ever heard him spoke. The words hung in the air, the lofty price floating high above their heads and wallets, taunting the town with a number just out of their reach.

Mayor Hamlin's eyes bulged out of his head like a pumpkin being slowly squashed by a steam roller. "I will, uh, certainly have to discuss this with my constituents."

The constituents wholeheartedly agreed and retreated with the mayor to the building next to his office which was a school during day and town hall the rest of the time. One man ran through the streets and called the meeting to the public's notice and so the constituents ran from their holes and homes to enter the school like they used to when they were children, and their parents before them. They sat down in chairs two sizes too small for all of them. Most had bought their children who glared indignantly in the corner at their artwork hung up on the wall, now in tatters from the rats. They celebrated in hushed joy, however, at the textbooks in the same state as the artwork.

Hamlin settled the crowd with a short rap on the blackboard with a yardstick. He tried his hardest to be professional and maintain control. The board was cluttered with equations and sentences and cursive handwriting, an odd backdrop for the small, sweating man who chose the school as the place for town hall meetings in a desperate hope to strike a chord of authority when making the townspeople sit in their old desks and think of him reminiscent of their own teachers. Hamlin erased the board and stretched his arm up as far as he could reach (about the middle of the board) and wrote the man's figure in chalk. Below that he wrote what the town could afford. There was a large gap between the two numbers which the town recognized even with their minimal math training.

"Well? Any suggestions?" asked Hamlin, who checked corners for rats as he anxiously tapped the yardstick in his hand just waiting for one to drop from the ceiling. (The rats chittered amongst themselves beneath the floorboards, waiting on the decision.)

A man in the back looked around, and after seeing that no one else was going to talk stood up and said "Why don't we offer to 'elp him out? Then he'll charge less!" He smiled a very self satisfactory smile and everyone sitting close to him congratulated him on his idea.

Mayor Hamlin looked disappointed. "No no that won't do" he said "There's not enough equipment probably and he seems too professional to want help." Everyone sitting close to the man who spoke from the back row glared at him and rolled their eyes at his poor thinking skills.

After a moment of silence, a girl about 9 or 10 years old in the second row raised her hand. Everyone chuckled and Hamlin pointed at her, ushering her to speak.

"Well" She said loudly "I say we give 'im what we 'ave so he finks we got more right? Then he does his job and we say we can't pay the rest! Wots he gonna do? Bring the rats back? He's already kill'd 'em hasn't he?"

The town agreed with this plan and thought this was a good deal for everyone because he was charging an outrageous price and must learn to be reasonable. Plus, the rat problem had to go.

Hamlin was shocked that he hadn't thought of this himself. He thanked the girl and ushered everyone out of the school/town hall. The mayor bustled into his office next door and pulled a wad of money from the wall safe, bustling back out again to a crowd waiting expectantly to see what happened next.

title: Rats: A Retelling of the Pied Piper of Hamelin

question: What happens first: The rat infestation or the exterminator arriving unplanned?

answer: The rat infestation precedes the arrival of the exterminator by two weeks.

question: Describe the progression of the rat infestation.

answer: Rats moved into the town. At first there were only one of two hiding in corners, then they took over everything and everywhere. They disabled all the weapons that could be used against them including rifles. They dragged off cutlery and food to the sewers and taunted the people with it. They chew off the telephone lines.

question: Why is the meeting between the mayor and his constituents held in the school?

answer: The building was used for the school during the day and as the townhall the rest of the time. All the chairs were two sizes too small for the people. The mayor also hoped that hosting the meeting at the school would strike a note of authority when making the townspeople sit at their old desks and think of him reminiscent of their own teachers.

question: Does the townspeople plan to pay the exterminator for his work?

answer: The plan is to pay him what they have. This falls well short of the man's price. After the rats are gone and the man demands payment, they will inform that they cannot pay him. They think this will be successful because the rats are already dead and the man's price is not reasonable.

question: Summarize all the information relating to the mayor.

answer: Mayor Hamlin is the most famous person known to all the people who live in the area. He approached the exterminator and asked for a price to handle their rat problem. The price made his eyes bulge. He calls a town meeting in the school to demand respect. The mayor asks the townspeople to come up with the difference between what the town can afford and what the man's price is. He accepts a proposal to bluff the man by paying him what they have to let him do the work and then disappoint him when it comes to payment.

question: Write a ~3 sentence summary.

answer: Rats threaten the lives of a town's people. An exterminator arrives unexpectedly and names a very high price to address the rat problem. The mayor calls a meeting at the school and accepts a proposal to pay the exterminator only part of the price, relying on the fact that the work cannot be undone.


text:
[_King Street, Stepney_. John Crowther, watercolour.] JOHN CROWTHER (1837 – c. 1902) was an English watercolour painter. He exhibited at the Royal Academy and was commissioned by Charles Chadwyck-Healey to record the threatened architecture and streets of Victorian London.

Early life and family

John Crowther was born in Pudsey, Yorkshire, England, in 1837.[1] He married Eleanor and they had daughters Emily A.P. Crowther and Lizzy B. (Blanche) Crowther.[2] At the time of the 1871 census he was living at Manningham,[3] Yorkshire, but by 1881 he was at Oakley Crescent, Chelsea, London.[4] At the time of the 1901 census he was living in Evandale Road, Lambeth, London.[5]

Career

Crowther exhibited at the Royal Academy, the Royal Society of British Artists and the Royal Institute of Painters in Water Colours from 1876 to the late 1890s.[6][7]

In 1879, he was commissioned by the barrister Charles Chadwyck-Healey (1845-1919), later Sir Charles, to record the buildings endangered by the expansion and modernisation of Victorian London. Over 15 years he produced over 440 watercolours and drawings of central and suburban London, including many of the Inns of Court, home to London's barristers. His other subjects included coaching inns, manor houses, and the interiors of the City of London's livery halls.[8]

Death and legacy

Crowther died around 1902.[9]

In 1961, Sir Edward Chadwyck-Healey (died 1979), the grandson of Sir Charles Chadwyck-Healey, donated a collection of Crowther's work commissioned by his grandfather to the City of London's Guildhall Library where it is known as the Chadwyck Healey Collection. In 2009 the collection was transferred to the London Metropolitan Archives.[10]

Exhibitions

-   1947, display of watercolours at Guildhall Art Gallery.[11]
-   1963, display of drawings at Guildhall Art Gallery.[12]
-   c. 2005, a two-part exhibition of drawings of interiors at the Guildhall Library.[13]

Gallery

File:The Victoria Tower of the Houses of Parliament Seen from Parliament Square by John Crowther.jpg|_The Victoria Tower of the Houses of Parliament Seen from Parliament Square_, 1893.[14] File:View of the entrance to Lincoln's Inn Fields in Duke Street by John Crowther.jpeg|_View of the entrance to Lincoln's Inn Fields in Duke Street_ (Duke Street was demolished by 1905 during the construction of Kingsway, the arch thereafter) File:View of the Junction of Howard Street and Norfolk Street, London, 1880 by John Crowther.jpg|_View of the Junction of Howard Street and Norfolk Street, London_, 1880. (both streets demolished c.1970s) File:Wren’s All Hallows the Great, John Crowther, 1884.jpg|_Wren's All Hallows the Great_, 1884.[15] (demolished 1894)

[1]

[2] John Crowther, England and Wales Census, 1871. FamilySearch. Retrieved 24 December 2016.

[3]

[4] John Crowther, England and Wales Census, 1881. FamilySearch. Retrieved 24 December 2016.

[5] John Crowther, England and Wales Census, 1901. FamilySearch. Retrieved 24 December 2016.

[6] John Crowther. Government Art Collection. Retrieved 23 December 2016.

[7] The Victoria Tower of the Houses of Parliament seen from Parliament Square. Art in Parliament. Retrieved 23 December 2016.

[8] Chadwyck Healey Collection. London Metropolitan Archives. Retrieved 23 December 2016.

[9]

[10]

[11]

[12]

[13]

[14]

[15] Letters: City churches demolished to make way for traffic. _The Telegraph_, 16 August 2010. Retrieved 24 December 2016.

title: John Crowther

question: When was Crowther born?

answer: 1837

question: Where did Crowther exhibit his works between 1876 and the late 1890s?

answer: The Royal Academy, the Royal Society of British Artists, and the Royal Institute of Painters in Water Colours

question: Where was Crowther living at the time of the 1901 census?

answer: Evandale Road, Lambeth, London

question: Who commissioned Crowther to record the architecture and streets of Victorian London?

answer: Charles Chadwyck-Healey

question: Write a ~2 sentence summary.

answer: John Crowther was an English watercolor painter commissioned by Charles Chadwyck-Healey to record the architecture and streets of Victorian London. He was born in 1837 and died around 1902.


text:
ANTON GILL (born December 5, 1994) is an American basketball player for Finnish team Koiviston Kipinä Basket of the Finnish 2nd division.

High school career

Gill played three seasons at Ravenscroft School and led the team to a 78-14 record in that span. He was an AP first-team all-state selection as a junior. As a junior, he averaged 18.1 points, 6.3 rebounds, 3.1 assists and 1.3 steals per game and led the team to the Class 3A North Carolina state championship. In the state title win, Gill finished with 14 points, six rebounds and two assists.[1] For his senior season, Gill transferred to Hargrave Military Academy. He averaged 28.2 points, 5.3 rebounds and 4.1 assists per game to help lead Hargrave to a 38-8 record. Gill's senior season included two 50-point games, including a school-record 56 points in a contest.[2]

Gill was considered to be one of the top players in the class of 2013, as he was ranked 48th by ESPN and Scout, 50th by Rivals and 52nd by 247Sports.[3][4][5] Gill received offers from Charlotte, East Carolina, Louisville, Miami (Fl.), NC State, Oklahoma State, South Carolina, Virginia Tech, Wake Forest, and Xavier. On December 21, 2011, Gill verbally committed to Louisville.[6]

College career

Gill saw limited action is his freshman season at Louisville, averaging 1.3 points in 5.7 minutes per game. He increased his averages to 2.5 points in 9.4 minutes per game as a sophomore and had a season-high 15 points against Florida International. Gill scored seven points in Louisville's Sweet Sixteen victory over NC State. After the season, Gill opted to transfer to Nebraska.[7]

After sitting out the 2015-16 season due to transfer rules, Gill appeared in 12 games (including one start) for the Huskers as a junior. On December 25, 2016, Gill suffered a ruptured patella tendon in his right knee during practice. The injury required surgery and ended Gill's season.[8] Nebraska coach Tim Miles said watching the injury sickened him.[9]

On December 20, 2017, Gill scored a career-high 21 points against UTSA, including a late eight points.[10] Gill averaged 8.1 points and 1.9 rebounds per game as a senior, shooting 37.8 percent from behind the arc.[11]

College statistics

|- | style=“text-align:left;”| 2013–14 | style=“text-align:left;”| Louisville | 24 || 0 || 5.7 || .324 || .240 || .333 || 0.7 || 0.2 || 0.2 || 0.0 || 1.3 |- | style=“text-align:left;”| 2014–15 | style=“text-align:left;”| Louisville | 31 || 0 || 9.4 || .353 || .256 || .368 || 0.8 || 0.5 || 0.5 || 0.1 || 2.5 |- | style=“text-align:left;”| 2016–17 | style=“text-align:left;”| Nebraska | 12 || 1 || 17.3 || .271 || .276 || .625 || 1.9 || 0.5 || 0.3 || 0.0 || 3.8 |- | style=“text-align:left;”| 2017–18 | style=“text-align:left;”| Nebraska | 31 || 14 || 24.5 || .399 || .378 || .829 || 1.9 || 1.1 || 0.5 || 0.1 || 8.1 |- | style=“text-align:center;” colspan=“2”|CAREER | 97 || 15 || 14.4 || .362 || .329 || .625 || 1.3 || 0.6 || 0.4 || 0.1 || 4.2 |-

Professional career

On October 23, 2018, Gill was included in the training camp roster of the Lakeland Magic.[12] In 2019, he signed with the Fraser Valley Bandits of the Canadian Elite Basketball League.[13][14] Gill averaged 12.9 points, 2.6 rebounds and 1.8 assists per game in eight games in the CEBL. He joined Reales de La Vega of the Dominican Liga Nacional de Baloncesto in October 2019 in the semifinals. in January 2020, Gill signed with Koiviston Kipinä Basket in Finland.[15] Gill played four games for Kipinä Basket before season was abruptly ended because of COVID-19. With Gill's lead Kipinä Basket won all those four games and topped their league. Gill averaged 44.25 per game, including 47 points in 89-84 away win against league's second placed team Joensuun Kataja II.[16][17] Eventually Kipinä Basket got promoted as a best ranked team in their division. [18]

Personal life

Gill was born on December 5, 1994 in Raleigh, North Carolina, the son of Anton and Shauntell Gill. His father played basketball for East Carolina and was named to the first team All-Colonial Athletic Conference in 1995. Gill has two younger sisters, Ashley and Aliya. Gill majored in Communication Studies at Nebraska and was on the 2015 All-Atlantic Coast Conference Academic Men's Basketball team at Louisville.[19]

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

[11]

[12]

[13]

[14]

[15]

[16] https://www.eurobasket.com/player/Anton-Gill/Canada/Fraser-Valley-Bandits/302155

[17] (Kipinä Basket's report of Kataja II match in Finnish) https://sites.google.com/site/kipinarysivut/kausi-2019-20/katajabasketiivskipin%C3%A4-22-2-2020?authuser=0

[18] https://www.basket.fi/basket/uutiset/korisliigojen-sarjalisenssit-kaudelle-2020-21-myonnetty/

[19]

title: Anton Gill (basketball)

question: Where does Anton Gill play at the time of the article?

answer: For Finnish team Koiviston Kipinä.

question: Did he play more in high school or in college games?

answer: In high school.

question: What kind of injury did he sustain in 2016?

answer: A ruptured patella tendon in his right knee.

question: Did he have a positive effect on his team's (Koiviston Kipinä) results?

answer: Yes. They got promoted as a best ranked team in their division.

question: Write a ~1 sentence summary.

answer: The text is about Anton Gill, an American basketball player who currently plays in Finland.