Lady Amelia is the younger sister of Edward Windsor, Lord Downpatrick, and Lady Marina Windsor.

(meta data) TITLE: Lady Amelia Windsor Not Invited to Royal Wedding - Who Is Lady Amelia Windsor?

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# Lady Amelia Windsor Was Reportedly Not Invited to the Royal Wedding

## Here's what you need to know about the royal, model and all-around cool girl.

Prince Harry's chic third cousin, Lady Amelia Windsor, reportedly won't be at his wedding to Meghan Markle.

The 22-year-old and her siblings didn't get invites to the ceremony or the reception, according to The Sun.

"They were a little surprised not to be invited as they were looking forward to going," a friend of the young royal told the paper.

"Amelia is creating quite a name for herself with her modeling and Instagram posts," the source added.

"Perhaps Harry just wanted to keep the family invited to a small number or maybe he didn't want anyone upstaging the bride."

Lady Amelia has previously kept tight-lipped about her attendance at the royal wedding.

When asked by The Telegraph if she'd be present, she replied, "I can be quite last minute because I'm all over the place.

Sometimes you can be thinking 'Oh my gosh, what am I wearing?' on your way there.

It's a learning experience with each thing you go to."

She wasn't the only royal who was snubbed for the May 19 festivities.

Just last week, Duchess Sarah Ferguson (AKA Fergie) was reportedly not invited to the second, more private wedding reception, even though her ex-husband, Prince Andrew, and children, Princess Beatrice and Princess Eugenie, did receive invites.

Although Lady Amelia won't be a royal wedding guest, she's already stepping into the spotlight in her own right.

Here's what you need to know about the stylish member of the royal family.

### She's Prince Harry and Prince William's third cousin.

Her grandfather, the Duke of Kent, is first cousins with Queen Elizabeth II.

Her parents are George Windsor, the Earl of St Andrews, and Dr. Sylvana Tomaselli (her royal title is Sylvana Palma Windsor, Countess of St Andrews), who is a historian at the University of Cambridge.

Lady Amelia—who's 37th in line for the throne—has two siblings, Edward, Lord Downpatrick, 29, and Lady Marina, 25.

On the balcony of Buckingham Palace with other members of the royal family for Trooping the Colour in 2017

### She attended Meghan's first Christmas luncheon with the Queen.

The Queen hosts a pre-Christmas luncheon at Buckingham Palace every year that includes extended members of the royal family, and the event on December 20 marked Meghan Markle's first time attending.

In addition to more senior royals like the Duke and Duchess of Cambridge, Lady Amelia Windsor was also present.

She, like other guests for the fête, was photographed in the car on the way in.

It's unknown whether she and Meghan actually met.

Entering Buckingham Palace on December 20, 2017

### She was named "the most beautiful member of the royal family."

In 2016, the young royal made the cover of Tatler magazine, a British high-society glossy, which dubbed her "the most beautiful member of the royal family."

Her cameo also marked the first time a royal covered the magazine since 2008, when Princess Eugenie was featured for her 18th birthday, according to the Daily Mail.

Though she had always been a royal, Lady Amelia really was put on the map after this magazine appearance.

Lady Amelia has walked for Dolce & Gabbana two seasons in a row.

She made her runway debut for the Italian brand's Fall 2017 show, and walked again for its Spring 2018 presentation.

She's signed to Storm Models, the agency that discovered Kate Moss.

Other models in the roster include Cindy Crawford, Alek Wek, Toni Garrn, Karolina Kurkova, Behati Prinsloo and Josephine Skriver.

### She's a frequent fashion week attendee—and her style is impeccable.

When Lady Amelia's not on the runway, you can find often find her in the front row in London, Paris, or Milan.

She also flaunts her chic-meets-cool wardrobe for the throngs of street style photographers outside the shows.

Arriving to John Galliano, Dior, and Valentino shows

Her involvement with fashion goes beyond modeling.

She's worked for Azzedine Alaïa and interned for Bulgari during her time abroad, according to The Telegraph.

"I would love to make a contribution to any aspect behind the creative process.

On my year abroad I want to really further my understanding of every aspect of a fashion house: from the making of the fabrics to the production of a catwalk show," she said in an interview last January.

### She's a student at the University of Edinburgh.

According to Tatler, her scholarly activities include reading French and Italian and participating in student productions like The Crucible.

Before starting college, she took a gap year in 2014 to work for a charity called Veterans Aid, which supports veterans with finding homes, overcoming addiction, getting food and other issues.

The 22-year-old, known on Instagram as @amelwindsor, currently boasts over 37,000 followers.

She often posts about her enviable trips abroad, red carpet moments, fashion events and downtime with friends.

A post shared by Mel Windsor (@amelwindsor) on May 6, 2018 at 3:39am PDT

A post shared by Mel Windsor (@amelwindsor) on Apr 3, 2018 at 5:03am PDT

A post shared by Mel Windsor (@amelwindsor) on Mar 9, 2018 at 3:59am PST

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Lady Amelia Windsor was born on 24 August 1995 at Rosie Hospital in Cambridge and was christened in December 1995 at Chapel Royal, St James's Palace. She is the youngest child of George Windsor, Earl of St Andrews, and Sylvana Tomaselli. Her paternal grandfather, Prince Edward, Duke of Kent, is a first cousin of Elizabeth II. Her paternal great grandparents were Prince George, Duke of Kent, and Princess Marina of Greece and Denmark, a granddaughter of George I of Greece and first cousin of Prince Philip, Duke of Edinburgh. Her paternal great-great grandparents were George V and Mary of Teck. Her paternal grandmother, Katharine, Duchess of Kent, is the daughter of Sir William Arthington Worsley of Hovingham, 4th Baronet. She descends maternally from the Austrian Tomaselli family.


The company expanded to 180,000 square feet (17,000 m) in May 2019 by leasing the entire 28th floor.

(meta data) TITLE: Nasdaq Expands to 180K SF at Former Condé Nast Tower – Commercial Observer

# Nasdaq Expands to 180K SF at Former Condé Nast Tower

###### By Chava Gourarie May 24, 2019 2:44 pm

The Empire State Building, 4 Times Square and 1 Bryant Park lit up "Amazon Orange."

Photo: New York City Economic Development Corporation

Nasdaq is taking more space at the Durst Organization's 151 West 42nd Street in Times Square.

SEE ALSO: Vevo Takes 38K SF at 4 Times Square

The stock exchange signed a lease for 35,512 square feet on the 28th floor of the 48-story tower, bringing their total space at the property to 180,000 square feet, the New York Post first reported.

Nasdaq announced that it would move its headquarters to the building in 2018 and officially move in 2020, Commercial Observer reported at the time.

The lease is one of a rash of new leases at the property, which lost its former anchor tenant Condé Nast to 1 World Trade Center in 2014, freeing up 19 floors and 820,000 square feet.

The 1.8 million-square-foot tower is set to lose another major tenant, law firm Skadden, Arps, Slate, Meagher & Flom, which plans to decamp in 2020 for digs at One Manhattan West, freeing up another 600,000 square feet.

In April, BMO Capital Markets, the investment arm of the Montreal-based bank, signed a 15-year lease for the ninth and 29th to 33rd floors, spanning 215,056 square feet, and advertising research firm National Cable Communications inked an 11-year lease for 65,000 square feet on the 11th and part of the 12th floors in January.

Durst has invested $140 million in a capital improvement program for the building, also known as 4 Times Square, in the wake of Condé Nast's departure, and refinanced the building with a $900 million loan from J.P. Morgan Chase and Wells Fargo in April, CO reported.

The asking rent for the Nasdaq space was $100 per square foot, and asking rent in two remaining Condé floors are $85 and $95, according to NYP.

Nasdaq was represented by Newmark Knight Frank's Michael Ippolito and Daniel Katcher together with Cushman & Wakefield's Robert Tanzmann.

The Durst side of the deal was handled in-house by Tom Bow, Rocco Romeo and Tanya Grimaldo.

Keywords:151 West 42nd Street, 4 Times Square, Conde Nast, Cushman & Wakefield, Daniel Katcher, Durst Organization, michael ippolito, nasdaq, Newmark Knight Frank, Robert Tanzmann, Rocco Romeo, Tanya Grimaldo, Tom Bow

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In January 2019, National Cable Communications inked an 11-year lease for 65,000 square feet (6,000 m) on the 11th and partial 12th floor. Several months later, the company expanded by 16,724 square feet (1,553.7 m) to fully occupy the 11th and 12th floors of the building. Also in January, economic consulting firm Analysis Group signed a 10-year lease for 58,029 square feet (5,391.1 m) on the 23rd and partial 22nd floor. BMO Capital Markets signed a 15-year lease for 215,056 square feet (19,979.4 m) in April to serve as the company's headquarters in New York. The company planned to occupy the ninth floor as a trading floor and replace Skadden Arps on floors 29 through 33. In June, Vevo leased 38,000 square feet (3,500 m) directly from Durst after subleasing the 25th floor from Skadden Arps for the past seven years.
 The building's northwest corner holds NASDAQ's 24,000 square feet (2,200 m) MarketSite, a seven-story cylindrical tower whose electronic display provides market quotes, financial news and advertisements. The ground floor of the MarketSite contains a television studio with a wall of monitors and an arc of windows looking out onto Times Square. In February 2018, NASDAQ signed a 15-year, 145,000 square feet (13,500 m) lease to move the company's global headquarters to the building.


The winner advances to play the 15th-ranked and 15th-seeded Butler Bulldogs in Indianapolis on November 20.

(meta data) TITLE: 2016 NCAA DI Men's Soccer Championship field announced | NCAA.com

Data Dive: How preseason poll compares to the final ranking

# 2016 NCAA DI Men's Soccer Championship field announced

The field and bracket for the 2016 NCAA Division I Men's Soccer Championship was announced Monday by the NCAA Division I Men's Soccer Committee, which awarded the tournament's No. 1 seed to the University of Maryland, College Park.

The Terrapins are looking to add a fourth national championship to the trophies they earned in 1968, 2005 and 2008, and enter the tournament with an 18-0-2 record.

Maryland and the University of Denver (17-0-3) both enter the tournament unbeaten.

The 48-team field is made up of the champions of 24 conferences, who qualified automatically, in addition to 24 teams that were selected at-large.

The top 16 teams were all seeded and receive first round byes.

All first-round games will be played Thursday, November 17, while all second-round action will take place Sunday, November 20.

The third round will be played November 26 and 27, while the quarterfinals will be played December 2 and 3.

The Men's College Cup will be held December 9 and 11 at BBVA Compass Stadium in Houston, Texas.

The Atlantic Coast Conference led the way with nine teams in the field, including No. 2 seed Wake Forest University, No. 3 seed Clemson University and No. 4 seed University of Louisville.

The Big East Conference, Conference USA and Pac-12 Conference each have four teams in the field.

The University of California, Los Angeles is making its 44th tournament appearance, the most of any team in the field and second all-time (Saint Louis University – 48) as it looks for a fifth national championship.

The University at Albany, University of the Pacific and Villanova University are all making their first appearance in the tournament field.

Last season, Stanford University won its first national championship with a 4-0 victory over Clemson in Kansas City.

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2016 SIU Edwardsville Cougars men's soccer team

Early on, both sides mostly controlled the ball in their own end of the field, looking for chance to attack. In the 37th minute, Jambga took the ball away, worked downfield and left through several defenders, cut right at the top of the 18 yard box, and slammed a hard, low shot just inside the post for the game's only goal on what would be the Cougars' only shot of the game. For the  remainder of the game, MoSt attacked, SIUE turned the attack aside, and the two teams did the same all over again and again, even after the Bears went a man down when Dal Santo was fouled hard while covering a loose ball in the box. The win gave the Cougars their second MVC Tournament title and automatic qualification to the NCAA Tournament in three years. They would take their trophy and their twelve-game unbeaten streak home to wait to see who they would face in the NCAAs.
 The "2016 MVC Men's Soccer All-Tournament Team" included Cougars Kyle Dal Santo, Devyn Jambga, Keegan McHugh, and tournament "Most Valuable Player" Austin Ledbetter. Additionally, Austin Ledbetter was named to the "College Soccer News" National Team of the Week. On the November 14 NCAA Selection Show for the 2016 NCAA Division I Men's Soccer Championship. the Cougars were announced as facing the 12th-ranked Michigan State Spartans in Ann Arbor on November 17.


He died at Dundrige in Harberton in Devonshire on 12 September 1875.

(meta data) TITLE: The Old Coot: Victoria Cross: F. E. H. Farquharson

I have many interests, so this is going to be a blog on lots of subjects.

Submarines, my family, history, books I read, the space programme, archaeology, astronomy, current events, the occasional joke....

Just don't expect any politics, sports or deep philosophy, and we should get along fine.

### Victoria Cross: F. E. H. Farquharson

FRANCIS EDWARD HENRY FARQUHARSONLieutenant, 42nd RegimentBorn: 25 March 1837, Glasgow,

ScotlandDied: 12 September 1875, Haberton,

THE Queen has been graciously pleased to confirm the grant of the decoration of the Victoria Cross to the undermentioned Officer of Her Majesty's Army, which decoration has been provisionally conferred upon him by the Commander-in-Chief in India, in accordance with the rules laid down in Her Majesty's Warrant instituting the same, for an Act of Bravery performed by him in that country, when serving under his personal Command, as recorded against his name; viz.:For conspicuous bravery, when engaged before Lucknow, on the 9th March, 1858, in having led a portion of his Company, stormed a bastion mounting two guns, and spiked the guns, by which the advanced position, held during the night of the 9th of March, was rendered secure from the fire of Artillery.

Lieutenant Farquharson was severely wounded, while holding an advanced position, on the morning of the 10th of March.[London Gazette issue 22278 dated 21 Jun 1859, published 21 Jun 1859.]

Retired sailor with 21+ years of service - including 13 years on 688-class submarines, and three on a sub tender.

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He later achieved the rank of major.
 He fell ill during the Ashanti campaign of 1874 and retired from active service.


In early 1956 he had an epiphany: while riding his bicycle, he heard Elvis Presley's "Heartbreak Hotel" playing from a nearby house, and the song piqued his interest in rock and roll.

(meta data) TITLE:  George Harrison, 1943-2001 | World news | theguardian.com

(meta data) AUTHOR: http://www.theguardian.com/profile/dave-laing

(meta data) PUBLISHED DATETIME: 2001-11-29T19:00EST

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Former Beatle George Harrison dies from cancer aged 58

The former Beatle George Harrison, who died today.

According to the Beatles producer Sir George Martin, George Harrison was "the Beatles' Third Man, always there yet somehow elusive".

As well as being the "quiet Beatle", he was the rock guitarist who introduced the sitar to British pop music, a stalwart devotee of transcendental meditation, a film producer and an underrated songwriter - his composition Something was recorded by dozens of singers and was the only Beatles song featured in concert by Frank Sinatra.

He was born in Wavertree, Liverpool in 1942, eight months after Paul McCartney and two years after John Lennon.

He experienced his "rock 'n roll epiphany", he later recalled, "when I was about 12 or 13 riding my bike and I heard Heartbreak Hotel coming out of somebody's house."

The son of a bus driver, George passed the 11-plus exam and was awarded a place at the Liverpool Institute, one of the city's leading grammar schools.

He met McCartney, who lived nearby, on the bus to school and the pair became close friends.

When Paul linked up with John in the Quarrymen skiffle group, he tried to persuade the group to invite George to join.

Lennon resisted, unwilling to have a 14- year-old kid in his band.

He relented after hearing George's acoustic guitar rendition of the rock hit Raunchy.

He realised that having a guitar soloist would allow the group to incorporate rock 'n roll material by Elvis Presley, Buddy Holly and Little Richard into its repertoire.

The disapproval with which Lennon's Auntie Mimi greeted George's teddy boy style and thick Scouse accent may also have helped change John's mind.

Harrison's absorption in music took its toll on his school career, and he left the Liverpool Institute in 1959 with only one exam pass, in art.

However, the following year his musical career began in earnest when the re-named Beatles were booked to play for four months in a club in Hamburg's Reeperbahn.

Although the trip was cut short when the 17-year-old Harrison was discovered to be under age, the quintet (including drummer Pete Best and guitarist Stuart Sutcliffe) had gelled into an arresting and idiosyncratic unit.

By 1962, the Beatles had signed their recording contract with EMI.

When their urbane producer, George Martin, politely asked them whether there was "anything you're not happy with?", Harrison quipped: "Yes, I don't like your tie".

The next eight years saw the Beatles become the most famous entertainers in the world and then implode.

George had his share of the adulation - on his 21st birthday he received 15,000 cards and a full-sized door plus key - but within the group he was relatively isolated, as John and Paul were locked into their volatile songwriting partnership.

Nevertheless, his contribution was considerable.

He designed guitar breaks and riffs to suit the range of song genres used by Lennon and McCartney, although he had less opportunity than he would have liked to cut loose in the rockabilly style of his great hero Carl Perkins.

He also got to sing at least one number on each album, beginning with Do You Want To Know A Secret? on the debut album.

Eventually, too, the Beatles agreed to record his compositions, of which Within You Without You (from Sgt Pepper) While My Guitar Gently Weeps (from the White Album) and Here Comes The Sun and Something (from Abbey Road) were among the most memorable.

But probably his most important influence on the group concerned the new sound textures he introduced.

Chief among these was the sitar that he first heard in a scene from the film Help!

George was intrigued and he contrived a meeting with the sitar virtuoso Ravi Shankar at the home of the leader of the Asian Music Circle in London.

He briefly studied with Shankar, not, as he explained, to be able to become a classical raga player, but to be able to use the sitar in Beatle music.

It was first heard on the Lennon song Norwegian Wood in 1965 and soon Brian Jones of the Rolling Stones and a dozen other pop musicians were featuring the sitar sound instrument on their records.

Harrison and Shankar remained close friends, touring the United States together in 1974, and a Shankar recording appeared on Harrison's own record label, Dark Horse.

George's interest in Indian music led to the Beatles' famous entanglement with the Maharishi Mahesh Yogi in 1967-8.

With the other group members and their partners, George and his wife Patti Boyd (whom he had met on the set of the film A Hard Day's Night) travelled to the Maharishi's ashram in India.

When the event disintegrated after allegations that the guru had molested a female adept, Harrison alone of the group remained faithful to the precepts of the Vedic tradition.

He later showed his commitment in more practical ways by producing a hit record by the London-based Hari Krishna Temple group, by donating a Hertfordshire mansion for use as a centre of Hinduism and by playing concerts in support of the Natural Law party.

He did, however, turn down the Maharishi's request that he, Paul and Ringo stand as candidates in Liverpool in the 1992 general election.

By 1968, The Beatles were on a downward path as John and Paul drifted apart and both antagonised George, who walked off the set of the film Let It Be after an argument with Paul.

In these circumstances, it was perhaps not surprising that Harrison was the first of the group to record and succeed as a solo artist.

He made two instrumental albums - Wonderwall Music and Electronic Sound - before co-producing the three-LP set All Things Must Pass with Phil Spector and a range of distinguished instrumentalists.

With 3m copies sold worldwide, it was his most commercially successful record, although a successful plagiarism suit over the song My Sweet Lord eventually cost him almost $600,000 (£421,000) in a US court case.

The devastation caused by floods in Bangladesh in 1971 inspired Harrison to organise a major benefit concert in New York that was recorded and released as a live album the following year.

He continued to write and record at a fast pace for the next few years, releasing the hit Give Me Love (Give Me Peace On Earth) in 1973 and the albums Living In The Material World and Extra Texture.

By the late 1970s, however, his spiritual soft rock was out of fashion and for much of the next decade Harrison concentrated on a new career as a film producer through Handmade Films, the company he formed with Dennis O'Brien in 1979.

Their first success was the Monty Python's feature The Life Of Brian, which they took on after EMI's Lord Delfont decided it would incur charges of blasphemy.

During the 1980s Handmade was responsible for such critically-acclaimed movies as The Long Good Friday, Time Bandits, A Private Function, Mona Lisa and Withnail and I.

The failure of the Madonna-Sean Penn vehicle Shanghai Surprise in 1986 heralded a downturn in the company's fortunes and it was eventually wound up in acrimony with Harrison winning a $11 million lawsuit against his former partner.

John Lennon's tragic death in 1980 spurred George to compose the tribute song All Those Years Ago which he recorded with Paul and Ringo, but his own recording career was not rekindled until 1987 when he and Jeff Lynne of the Electric Light Orchestra co-produced the album Cloud Nine which included two hit singles, Got My Mind Set On You (a number one in America) and When We Was Fab.

With Lynne he next formed the Travelling Wilburys, a kind of anti-supergroup with Bob Dylan (a former songwriting partner of Harrison's), Roy Orbison and Tom Petty.

Despite Orbison's death in 1988, the group recorded two highly successful albums that in 1992 encouraged Harrison to undertake his first international tour for 18 years.

Among the supporting musicians was Eric Clapton, whose professional and personal life had been entwined with Harrison's since the 1960s.

After George and Patti Boyd had separated in 1974 she married Clapton, whose agonised love for her had inspired his famous song Layla.

In his 1979 autobiography I Me Mine, Harrison had written "I don't go out to clubs and parties.

I stay at home and watch the river flow".

In the 80s and early 90s he appeared in public infrequently, usually on Beatle-related occasions such as the court case in which the surviving Beatles prevented the release of a sub-standard live recording from Hamburg and at Linda McCartney's funeral.

During the remainder of the 90s, Harrison lived quietly in his lovingly restored 19th century mansion in Friars Park, Henley-on-Thames, with his second wife Olivia Arias and their 24-year-old son Dhani.

Their idyllic life was shaken when a schizophrenic Beatles fan, Michael Abram, broke into their home in December 1999.

Although he badly injured Harrison, he was found not guilty of attempted murder and was ordered to be detailed indefinitely in a secure psychiatric hospital.

A year before the attack, Harrison, previously a heavy smoker, had revealed he had undergone treatment for throat cancer.

After the break-in, Harrison developed lung cancer and received major surgery for the disease in America earlier this year.

His death follows last-hope treatment in Switzerland for a tumour on his brain.

He is survived by Olivia and their son Dhani.

George Harrison, guitarist, singer, songwriter, born 25 February 1943; died 30 November 2001.

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at 08.53 EST on Friday 30 November 2001.

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Kimon, an eight-year-old pet female long-tailed monkey, treats a kitten as her baby in Bintan Island, Indonesia

Harrison's biographer Joshua Greene wrote, "Every Sunday she tuned in to mystical sounds evoked by sitars and tablas, hoping that the exotic music would bring peace and calm to the baby in the womb."
 Harrison lived the first four years of his life at 12 Arnold Grove, a terraced house on a cul-de-sac. The home had an outdoor toilet and its only heat came from a single coal fire. In 1949, the family was offered a council house and moved to 25 Upton Green, Speke. In 1948, at the age of five, Harrison enrolled at Dovedale Primary School. He passed the eleven-plus exam and attended Liverpool Institute High School for Boys from 1954 to 1959. Though the institute did offer a music course, Harrison was disappointed with the absence of guitars, and felt the school "moulded [students] into being frightened".
 Harrison's earliest musical influences included George Formby, Cab Calloway, Django Reinhardt and Hoagy Carmichael; by the 1950s, Carl Perkins and Lonnie Donegan were significant influences.


During this time John Tooth was declared bankrupt and the Kent Brewery was leased to his nephews, brothers Robert and Edwin Tooth.

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This article was published in Australian Dictionary of Biography, Volume 6, (MUP), 1976

Robert Tooth (1821-1893), by unknown photographer

State Library of New South Wales, GPO 1 - 26268

Robert (1821-1893), Edwin (1822-1858), and Frederick (1827-1893), merchants, pastoralists and brewers, were born on 28 May 1821, 28 August 1822 and 14 February 1827, the first, second and fourth sons of Robert Tooth (b.1799), hop merchant of Swifts Park, Cranbrook, Kent, England, and his wife Mary Ann (d.1845), née Reader; they were nephews of John Tooth, merchant and brewer, born in 1803 at Cranbrook, who had arrived in Sydney in the Bencoolen in 1828 and received a 2560-acre (1036 ha) grant in County Durham.

John acquired numerous cattle runs and set up as a general merchant and commission agent in Spring Street, Sydney.

In September 1835 with Charles Newnham, an experienced brewer from Kent, he opened the Kent Brewery on a 4½-acre (1.8 ha) site on the Parramatta Road; Newnham withdrew from the partnership in 1843.

John over-extended his pastoral ventures and became bankrupt in 1848, paying 9d. in the pound; the brewery was mortgaged for £30,200.

He died of dropsy at Irrawang near Raymond Terrace on 1 October 1857, survived by his wife Elizabeth (d.1858), daughter of John Newnham, brewer and timber merchant, whom he had married at Cranbrook on 22 March 1830, and by four sons and five daughters.

The merchant and brewing firm of R. and E. Tooth began on 1 September 1843 when John leased the brewery to Robert and Edwin who had arrived in the Euphrates on 5 August 1843.

On 15 April 1844 he agreed to lease it to the brothers for nine years for £4000 a year.

Frederick joined the partnership about 1853 and R., E. and F. Tooth became R. and F. Tooth & Co. on 2 January 1860 when J. S. Mitchell became a partner.

In 1850 Robert with Thomas Mort and F. Mitchell, financed Charles Ledger to bring alpacas from Peru.

In 1852 with John Edye, James Alexander and (Sir) William Montagu Manning, Mort, J. Croft and Edwin, Robert formed the Twofold Bay Pastoral Association which acquired some 400,000 acres (161,876 ha) on the south coast and Monaro; Kameruka was the head station.

Threatened by (Sir) John Robertson's land bills they bought as much land as possible in their own names and disbanded in 1860.

Robert was in London in 1853-55; in the 1850s with Mort, Thomas Holt and others he speculated in buying pastoral properties.

With Edwin and Mort he was a shareholder in the unsuccessful Great Nugget Vein Gold Mining Co. of Australia.

In August 1857 he chaired a meeting of publicans in Sydney which raised the retail price of spirits, wines and beers; colonial ale was fixed at 4d. a pint.

In 1850 Robert was active in the anti-transportation movement.

From May 1856 to February 1857 he was a member of the Legislative Council.

A large squatter with about 600 employees, in January 1858 he stood for the seat of Sydney Hamlets in the Legislative Assembly, advocating free selection of land at £1 an acre without auction, tramways instead of expensive railways to bring produce to market and an elective Upper House.

He lost, but represented Sydney in the assembly in 1858-59.

Questionably claiming to have disposed of all his runs except one on the Queensland border and opposing Robertson's land bill, Robert stood for West Sydney in December 1860 but again was defeated.

Tooth then concentrated on his business interests in the colony and in England.

Their London house, R. & F. Tooth & Mort, 155 Fenchurch Street, acted also as agents for Smyth's Sydney Marine Assurance Office and the Peak Downs Copper Mining Co.

He became a committee-man of the Society for the Suppression of Cattle Stealing in 1861 and of the Agricultural Society of New South Wales.

He was a partner of Robert Cran, F. F. Nixon, (Sir) Robert Lucas Tooth and Frederick under the style of Tooth and Cran until March 1872 at Yengarie near Maryborough, Queensland, and in the Wide Bay and Burnett districts.

From 1865 they experimented with meat preserving at Yengarie and in 1870 won a prize at the Intercolonial Exhibition, Sydney.

In the mid-1860s Robert still nominally held the Lachlan and Wide Bay runs he had leased in the 1850s; he had added Jondaryan and Irvingdale, almost 300 sq. miles (777 km²) on the Darling Downs and some twenty-eight runs, amounting to 700 sq. miles (1813 km²), in the Maranoa District of Queensland.

Tooth was a director of the Bank of New South Wales in the 1850s and 1860s (president in 1862-63) and a director of the Colonial Sugar Refining Co. in 1855-63; R., E. & F. Tooth were the second largest share-holders when the company was established in 1855.

A prominent Anglican layman, he was a director of the Society for the Relief of Destitute Children, a fellow of St Paul's College within the University of Sydney and an original committee-man of the Union Club.

He began building his fine residence, Cranbrook, at Rose Bay in 1859 but sold it to Robert Towns in 1864.

Robert retired from R. and F. Tooth & Co. in April 1872 and Frederick and R. L. Tooth carried on as F. Tooth & Co.

This partnership was dissolved on 31 March 1873 when Frederick retired, Mitchell and R. L. Tooth carrying on as Tooth & Co.

Most of the profit from this successful business came from importing wines, spirits and beer, as colonial beer was not widely drunk until the 1880s.

Leaving issue, Robert died at Bedford, England on 19 September 1893.

On 1 May 1849 he had married at St Mark's Church, Pontville, Van Diemen's Land, Maria Lisle, daughter of Captain G. B. Forster, R.N.; on 24 June 1871 he married Elizabeth Mansfield.

Edwin had pastoral interests outside his partnership with Robert until 1855; he had bought J. C. Lloyd's stations and also runs in Gippsland.

He was in pastoral partnership with his father, brother Robert, Holt and Thomas de Lacy Moffatt, and was a director in 1855 as well as shareholder in the Colonial Sugar Refining Co.

Edwin lived in Tasmania for many years, settled in Sydney in 1852 and left the colony in December 1855.

In London he lived at 29 Cleveland Square, Hyde Park, and was on the London board of the Bank of New South Wales.

He died at Tutbury, Staffordshire, on 29 August 1858 and was buried in St Dunstan's churchyard, Cranbrook, Kent.

In February 1844 he had married Sarah, daughter of Francis Lucas of Blackheath, Kent; they had three sons and three daughters.

Frederick was a director of the Southern Insurance Co. Ltd, the Bank of New South Wales in 1857-61, 1863-69 and 1871-74 (president 1867-68), and of the Colonial Sugar Refining Co. in 1863-64.

In England he was on the London board of the bank with Edwin and lived at Park Farm, Sevenoaks, Kent.

He died of apoplexy in his London residence, 4 Orme Square, Bayswater, on 20 December 1893, survived by his wife, son and three daughters.

Probate of his estate was sworn in London at £343,000; he bequeathed £1800 to Sydney charities, including £500 to Sydney Hospital, and smaller amounts to charities in England.

He married three times: first on 22 August 1848 to Jane Jackson of Southsea, Hampshire, England; second to Susan Frances Gosling; third to Fanny Peach on 12 June 1889 at Notting Hill, London.

The enduring legacy of this enterprising pioneer family is the Kent Brewery on its original site on the Parramatta Road, Sydney, and the famous 'Tooth's K.B.' beer.

Tooth & Co. Ltd became a public company in 1888 with a capital of £900,000; in 1929 the firm took over Edmund Resch's Waverley Brewery.

Historical Records of Australia, series 1, vol 14In the House of Lords, Between W. C. Wentworth … and Robert Tooth … (np, c1862, copy ML)Tooth & Co. Ltd, The First Hundred Years (Syd, 1935), and Over a Century of Brewing Tradition (Syd,

1953)A. Barnard, Visions and Profits (Melb, 1961)Sydney Gazette, 24 Sept

Stephen, Cecil Bedford (nephew by marriage)

G. P. Walsh, 'Tooth, Robert (1821–1893)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/tooth-robert-4731/text7851, accessed 4 February 2014.

This article has been amended since its original publication.

This article was first published in hardcopy in Australian Dictionary of Biography, Volume 6, (MUP), 1976

© Copyright Australian Dictionary of Biography, 2006-2014

Robert Tooth (1821-1893), by unknown photographer

State Library of New South Wales, GPO 1 - 26268

(meta data) TITLE: Biography - Edwin Tooth - Australian Dictionary of Biography

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This article was published in Australian Dictionary of Biography, Volume 6, (MUP), 1976

John acquired numerous cattle runs and set up as a general merchant and commission agent in Spring Street, Sydney.

On 15 April 1844 he agreed to lease it to the brothers for nine years for £4000 a year.

In 1850 Robert with Thomas Mort and F. Mitchell, financed Charles Ledger to bring alpacas from Peru.

Robert was in London in 1853-55; in the 1850s with Mort, Thomas Holt and others he speculated in buying pastoral properties.

With Edwin and Mort he was a shareholder in the unsuccessful Great Nugget Vein Gold Mining Co. of Australia.

In 1850 Robert was active in the anti-transportation movement.

From May 1856 to February 1857 he was a member of the Legislative Council.

He lost, but represented Sydney in the assembly in 1858-59.

Tooth then concentrated on his business interests in the colony and in England.

From 1865 they experimented with meat preserving at Yengarie and in 1870 won a prize at the Intercolonial Exhibition, Sydney.

He began building his fine residence, Cranbrook, at Rose Bay in 1859 but sold it to Robert Towns in 1864.

Robert retired from R. and F. Tooth & Co. in April 1872 and Frederick and R. L. Tooth carried on as F. Tooth & Co.

This partnership was dissolved on 31 March 1873 when Frederick retired, Mitchell and R. L. Tooth carrying on as Tooth & Co.

Leaving issue, Robert died at Bedford, England on 19 September 1893.

Edwin lived in Tasmania for many years, settled in Sydney in 1852 and left the colony in December 1855.

In London he lived at 29 Cleveland Square, Hyde Park, and was on the London board of the Bank of New South Wales.

He died at Tutbury, Staffordshire, on 29 August 1858 and was buried in St Dunstan's churchyard, Cranbrook, Kent.

In February 1844 he had married Sarah, daughter of Francis Lucas of Blackheath, Kent; they had three sons and three daughters.

In England he was on the London board of the bank with Edwin and lived at Park Farm, Sevenoaks, Kent.

1953)A. Barnard, Visions and Profits (Melb, 1961)Sydney Gazette, 24 Sept

Stephen, Cecil Bedford (nephew by marriage)

G. P. Walsh, 'Tooth, Edwin (1822–1858)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/tooth-edwin-4944/text7851, published first in hardcopy 1976, accessed online 19 April 2015.

This article has been amended since its original publication.

This article was first published in hardcopy in Australian Dictionary of Biography, Volume 6, (MUP), 1976

© Copyright Australian Dictionary of Biography, 2006-2015

29 August 1858 Tutbury, Staffordshire, England

History.:Subdivision of the villa grants.

Icely had also acquired the neighbouring allotment of "Lindesay" at the time. Icely had been settled in the colony since 1822 and after an early dalliance in trading, went into pastoralism. The Darling Point grant, arguably the most favourably sited and extensive on the promontory, remained vacant. In the same year the Kent Brewery was opened on Parramatta Road at Blackwattle Bay. It was founded by John Tooth and his brother-in-law, Charles Newnham.
 Meanwhile, Barker's two grants, within which Swifts is sited, had been purchased in 1838 by Thomas Urmson Ryder, a partner in the mercantile company Aspinall, Brown & Co. Ryder had the land subdivided into 14 lots suitable for villas and put up for auction in April 1840 as the DeLamere Estate, which netted some £13,531. With the northern-most allotments comprising the site of the future Swifts, ownership changed hands successively during the 1840s and 1850s through conveyance, mortgage or trusteeship, but no development ensued.


In 2015, she came in 2nd place with earnings of $9 million.

(meta data) TITLE: The World's Highest Paid Models

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To hear Ed Razek, chief marketing officer of Limited Brands, describe it, discovering a true supermodel, with all of the requisite gifts, is a daunting task.

"In the entire history of the Victoria's Secret Fashion Show, 140 separate women have walked that runway," Razek says.

"There are seven billion people on the planet.

That makes each of them not one in a million, not one in five million, not one in ten million.

That literally makes them one in 50 million humans."

And that's all the women who have participated in the show over the last 15 years.

The elite list of models Forbes has compiled is even more rarefied company -- and they're paid handsomely for their talents.

Over the last 12 months, the combined earnings of the top ten highest-paid models, from Gisele Bündchen to Candice Swanepoel, totals just under $100 million.

See the full gallery of the top ten highest-paid models here.

Just like last year, the Brazilian bombshell Bündchen leads the pack with a stunning $45 million in earnings (all estimates from May 1st, 2011 to May 1st, 2012).

Even in her early thirties, Bündchen remains an unparalleled force within the fashion world.

As the world's most powerful supermodel, she racks up modeling gigs, spokesperson deals, and independent licensing ventures at every turn.

The veritable endorsement queen shills for brands such as Pantene, Esprit, and Versace, and makes a percentage of profits on Ipanema flip-flops and other products bearing her name.

While in the United States many know her as the wife of New England Patriots quarterback Tom Brady, Bündchen's effect as a spokesperson, especially in her native Brazil, can make a huge difference.

Bündchen's success combining business with modeling is influencing young, ascendant models.

"The ones that are coming up, their model for excellence is Gisele.

They're looking at her and saying 'that's what I want to shoot for,'" Razek said.

Coming up a distant second in the rankings is British supermodel Kate Moss, with earnings of $9.2 million.

Moss is known for her party-hard ways, but she remains one of fashion's biggest icons, with big endorsement deals with Longchamp, Mango, Rimmel, and Vogue Eyewear.

She also has a lucrative design deal with TopShop going back to 2007.

Natalia Vodianova, a Russian model whose name may be less familiar, was third with $8.6 million.

Fragrance campaigns with Guerlain and Calvin Klein Euphoria have boosted Vodianova's earnings into the highest echelons of modeling.

The 30-year-old, who now lives in the UK, also designs lingerie collections for Etam and shoes for Centro.

"There was a time where the odd beauty was in style, and that created a backlash for a time when advertisers couldn't use those girls," said David Bonnouvrier, chairman of DNA Models, which represents Vodianova, along with fellow top models Doutzen Kroes (#5) and Alessandra Ambrosio (#6).

"The top girls now represent a return to a true representation of beauty, not the odd beauty or a fashion-diverted version of beauty."

Adriana Lima, who's primarily known as a Victoria's Secret Angel, registered $7.3 million in an exciting year.

In addition to announcing that she's expecting her second child, Lima made a big splash in early 2012 when she appeared in two attention-grabbing Super Bowl commercials, one for Kia and another, more seductive spot for Teleflora.

Crossing over from the fashion world to a more mainstream audience, she now has more Facebook followers than any other model, and grabbed the final spot on Forbes' Celebrity 100 list.

"Adriana's a very modern, diverse beauty," said her agent, Chris Gay, president of Marilyn New York.

"She's an ethnic mix of a girl, where quite frankly because she has such a multi-racial, multi-cultural background, everybody is accepting of her.

If you've followed our annual ranking in past years, you might wonder what happened to German supermodel Heidi Klum.

Last year she ranked number two overall, after Bündchen, and her $20 million in earnings this year would have placed her comfortably into the same spot this time.

However, Forbes determined that, like Tyra Banks before her, Klum has graduated from model to mogul.

Since ending her 13-year run as a Victoria's Secret Angel in 2010, Klum has become more of a businesswoman and multi-media personality.

Klum still endorses products, like Coca-Cola in Germany, but a large portion of her earnings comes from hosting popular television shows like Project Runway and Germany's Next Top Model.

She's also partnered with companies to start her own business ventures.

Klum has worked with New Balance and Amazon to create her own clothing brand and launched a jewelry line on QVC in September 2011.

She even has her own micro-site within AOL for advice on everything from fashion to parenting.

Looking ahead, it's tough to see anyone who might be able to dethrone Bündchen in the near future, given her sizable earnings lead.

But there are young models coming up who may eventually challenge for the top spots.

Candice Swanepoel, while only ranked 10th, is the youngest supermodel on the list.

The 23-year-old South African has become a staple in Victoria's Secret advertising.

Same with Erin Heatherton, another 23-year-old who just missed the list.

Or perhaps it will be someone like Kate Upton, the 2012 Sports Illustrated Swimsuit cover model.

Until now, Upton has found more mainstream fame, especially online, than traditional modeling opportunities.

But the 20-year-old has plenty of time to capitalize in that direction.

Brian Solomon was a Forbes staff writer from 2011 to 2017.

He most recently covered technology startups, with a special focus on the on-demand economy of Uber, Airbnb, ...

 Adriana Lima (Brazilian Portuguese: [adɾiˈãnɐ ˈlimɐ]; born June 12, 1981) is a Brazilian model and actress, best known as a Victoria's Secret Angel from 1999 to 2018. She was their longest-running model and named "the most valuable Victoria's Secret Angel" in 2017. She is also known as a spokesmodel for Maybelline cosmetics since 2003 and for her Super Bowl and Kia Motors commercials. At the age of 15, Lima won Ford's "Supermodel of Brazil" competition, and took second place the following year in the Ford "Supermodel of the World" competition before signing with Elite Model Management in New York City.
 Lima is currently ranked by Models.com as one of the New Supers in the fashion industry. Since 2014, Lima has been the world's second highest-paid model. In 2012, she came in 4th on the "Forbes" top-earning models list, estimated to have earned $7.3 million in one year. In 2013, she came in 3rd place and in 2014 she came in 2nd place with earnings of $8 million.


The specially created music score, by Serge Besset, is based on "La Follia" by Arcangelo Corelli.

(meta data) TITLE: The Oxonian Review » A Beautiful Language

Animation Michael Dudok de Wit Sarah Molinoff

The animator, illustrator, and director Michael Dudok de Wit was born in 1953 in the Netherlands and now lives in London.

He studied film and animation at the West Surrey College of Art and Design, and his work combines hand-drawn animation and watercolor, a sense of space and brushwork from China and Japan, and a unique use of film language.

Dudok de Wit's shorts are known for their ability to convey the maximum amount of emotion, meaning, and humor in just a few animated brushstrokes.

Even though his work loses much of its impact by being posted on sites such as YouTube, the Internet has ensured that his films can reach a wider audience than just those who go to animation or short film festivals.

Dudok de Wit's animated short films appear around the world in festivals and have won numerous prizes.

His best-known short is the moving eight-minute Father and Daughter (2000), which won a BAFTA, the 2001 Academy Award for Best Animated Short, and many other awards at festivals.

The animation shows a girl whose father has left her, for unknown reasons, and at the end of her life they are reunited.

The film tends to inspire intensely personal comments on websites where it is posted, both because of the poignant ending and the ambiguity surrounding the departure of the father, which allows the viewer to relate the film to his or her own story.

The Monk and the Fish (1994), nominated for an Oscar and a BAFTA, is a light-hearted story of a monk obsessed with catching a fish at his monastery.

More economical in its delivery than Father and Daughter, the film expresses joy and humor not just in the plot but also in the image itself, aided by a tune from the Baroque composer Corelli.

The film ends with the monk and the fish coming together.

Dudok de Wit often experiments with unusual media and abstract settings, such as in The Aroma of Tea (2006), which was drawn with tea and depicts a small brown dot moving among lines, spirals, organic shapes, and other animated dots accompanied by affective music, again from Corelli.

Despite the abstraction, the film seems to have a definite plot that hinges on the ability of the dot to find his way.

Dudok de Wit's films attest to the profoundly emotive power of animation, as well as the continued value of the short as an artistic endeavor in itself, rather than a somehow lesser substitute for feature-length film.

Can you begin by telling us about how you got into animation?

It's quite easy, actually: I drew a lot as a kid, like most of my colleagues.

So going to art college was an obvious choice, and then once I was at art college I realized how much I liked narrative art like film and comic strips, and combining art with sound and music.

Then I specialized: I came to England to study animation.

What really attracts me to animation is the use of film language.

Not just timing and zooming in and panning, but also the more subtle use of film language, a language which is usually understood on a subconscious level by the audience.

You can combine so many elements in such a rich way, not unlike cooking: it's not only the individual elements that count, but also the chemistry between them.

I like how the end result can be very individualistic.

With animation, because you work on every frame, literally every frame, you do it all consciously.

You can really play with the subtleties of camera movement, timing, and so on.

It's slow and laborious, but I think it's a beautiful language.

Let's talk a bit about some of your films.

What I find most interesting about The Monk and the Fish is how its comedic value is somehow inherent in the image.

The disruption to the monk's life contrasts so comically with the soothing watercolors and beautiful music.

It was that sequence I wanted to create, where there is a serene union between the monk and the fish.

The ending by itself would be flat, too abstract, to pull the audience in, so I clearly needed to have a build-up, to establish and feel empathy with the character.

In contrast to the ending, in the beginning the monk is obsessed, obsessed, obsessed, but in the ending he arrives at a resolution.

In addition, the chase of the monk and the fish was fun to animate.

Part of the joy was creating the agitated movements and different variations.

That sounds similar to what the Italian neorealist Rossellini said about his Germany Year Zero, that he created the whole film because he just wanted to shoot the scene at the end with the boy wandering abstractly through the rubble of Berlin.

It's one of my favorite films, and I think sometimes that he did the same.

The music for The Monk and the Fish is perfect for the story.

You adapted it from the Corelli, is that correct?

Yes, it's a well-known musical theme, La Folia, adapted by Corelli, Vivaldi, Bach and other composers.

I'd heard it on the radio many years before and I knew then that it would be perfect for an animated film because it has a whole range of emotions.

It's basically one tune repeated over and over again, so you can mold it perfectly to what you want.

So when I wrote The Monk and the Fish, I knew already that I wanted that music.

I gave the composer a selection of recordings that I liked, mostly Corelli's and Vivaldi's variations.

I said, "These are the variations I like, this is the structure of the story, please make your version of it."

Would you say there's a kind of moral at the end, about coming to terms with our environment and our obsessions?

Yes, though I'm not certain about the word "moral".

I'm not sure why you can't use that word.

Have you heard of the Ten Oxherding Pictures?

It's a comic strip from China, very ancient, many centuries old, so not technically a comic strip.

The pictures are well known, and there are many variations.

It's basically Zen Buddhist or Taoist teaching condensed in a sequence of images.

The story is about a man trying to catch a lost ox.

He finds the ox, catches it, and you would think that this is the end of the story, but you're only halfway.

The images that follow represent the essence of the Zen philosophy.

That was the inspiration for the film, though the film doesn't go as far as these pictures because they are so profound that I can't reproduce the same sequence with my own authority.

The Monk and the Fish is not a story about the solution of a conflict, it's more about the rise above the conflict, the rise above duality.

So there isn't really a moral, it's more like another point of view.

Much of your work uses a Chinese or Japanese style of brushwork.

Did you grow up with such influences, or did you just come upon the style?

I discovered the traditional Japanese brush art and calligraphy in my early twenties.

The styles are so strong and so exquisite, it's easy to feel attracted to it.

The Japanese in particular, and also the Chinese and the Koreans, have a way of using negative space, of not filling the picture, which is very typical of the Far East and very untypical of the West.

We can be inspired by it, but it's profoundly in their culture—in their genes maybe, and not so much in ours.

It's not just about the brush line, it's also the space around the line that is inspiring.

Some parts of The Monk and the Fish reminded me of Tove Jansson, who illustrated the Moomin books.

Like hers, your drawings manage to be very expressive while using very few lines.

That's a huge compliment—I think the Moomin books are brilliant, just brilliant.

Well, it's brush and ink, and originally it was going to be black ink.

I thought it would be nice to have a rich brown, and something with tea, which goes with the subject.

There's something nice about using a technique which has not been used in animation yet.

Again, though I also don't like the word moral, The Aroma of Tea does seem to be metaphorical for life in a way.

We end up rooting for this little dot even though he looks like all the others.

With Father and Daughter, I found that the spare quality of the imagery, perhaps this idea of "negative space", allowed room for the viewer to enter the story and assert his own history on the film by crawling into its spaces.

You can find many highly personal interpretations online.

What do you think of people projecting their narratives on the film?

That's on purpose, and it's very tricky, because I want to be very clear and transparent and explicit.

On the other hand, I want the individual who sees the film to relate it to his or her own experience and understanding.

So for instance, a particular event in the story may be recognized by one individual as physical death, whereas another individual may not relate it to death at all.

It all depends on each person's own perception of death.

You give people the opportunity to make their own interpretation, but it's dangerous, because it can also become a lazy way of storytelling.

Almost like, "I do what I like, and you figure it out yourself.

It's a film about biking, in a way, and the wheels turn as the girl's clock runs out of time.

I've used the bicycle wheel to reflect the circular quality of time, as in the changing of seasons, the changing of generations, and the music too has a circular quality—it's a waltz.

It's true that traditional clocks indicate time in a circular way.

Do you know anyone else who uses similar methods or is interested in similar things to you, such as experimenting with different media?

The tragedy is that there are lots, and you wouldn't know unless you look for them.

And these days there are hundreds of animation festivals—when I started there were just a handful.

Or you can see them on the very rare programs dedicated to putting shorts together.

What do you think is the future of shorts?

A good question, because I would never have guessed that something like YouTube would become so popular.

In that sense, it's a massive opening for shorts.

The other day, I looked there for a film from a colleague.

In the old days, it would have been screened at festivals and have been seen by thousands of people.

He puts it on YouTube, it got a lot of positive reactions, and now it's been seen by six million.

So to give you a short answer, yes, I think there is a future for shorts.

But there are still a lot of people who see them as little exercises that you do before doing serious work like making feature films.

Shorts are more like poems, whereas features are more like novels.

There's recently been a lot of talk about the revitalization of the short story.

I'm not saying they inspire each other (I have seen a few animated shorts based on short stories, but not many), but there is a similarity there.

Again, with short stories, people often consider them as exercises for the real stuff, which is a pity.

The good thing about short films is that they are very individualistic, or can be, whereas feature films are diluted, purely because of the size of the team.

A short animated film can be made almost alone, and even if there are ten people helping you, it can be very personal.

You don't have to explain everything, you just do it because you feel right about it.

And the British are generally good at appreciating individualism.

Where would one go to see more animation?

London has an animation festival in the summer.

There's not one major festival in Britain, but three or four.

I hesitate to say YouTube because some things suffer from the YouTube quality; they really do.

Especially when the synchronization is a few frames out, and it completely destroys the sharp effect.

I don't mean this disrespectfully, but animation like The Simpsons is fine on a small screen.

I almost cry when I see Father and Daughter on YouTube!

But then you have people in remote villages who see your films, people who may not have another opportunity to see independent short films.

I would rather many people see them in poor quality than a few in high quality.

Have you seen any Pixar features lately?

Sometimes they show shorts before the feature.

Yes, I saw Wall-E of course, though I can't remember the last short I saw.

Pixar is a studio that feels that making shorts, giving directors the time to make a short, stimulates the creativity and the general ambiance.

How many projects do you work on at any given time, and how long do your projects take to complete?

When I do a commercial, I often have to start immediately.

I'll get a call asking me, "Are you interested in this, we need to know now."

And then often you start straight away, though sometimes you have to wait.

Commercials can take two-four months, roughly.

Something might be in your head long before you actually put anything on paper.

Once you start, once you've written a synopsis, figured out how to approach it, and then secured funding for it…

Altogether, my eight-minute film, Father and Daughter, took two years to make.

Actually it was much longer, but I interrupted the work to teach.

My six-minute film, The Monk and the Fish, took seven months to make.

So you see there's no standard time frame.

You mentioned the task of getting funding.

What is the funding situation like for short films?

It's very, very hard, because there is a supply, but there are many colleagues who apply for the same sources.

Many short films you see in festivals, for instance, are student films.

Students get the time and facilities they need to make their films.

What do you think about technological developments in the media, such as the growth of CGI and digital media?

How have such changes affected animation?

Computer animation is clearly dominating the market, in shorts and in features.

There was a time when people thought it would completely take over and that would be it.

I think hand-drawn animation will live side-by-side with CGI, and there are also lots of exciting hybrid versions.

Basically, the digital developments have hugely increased the variety of tools and techniques and they have made the art form more accessible to non-professionals.

Sarah Molinoff is reading for an MSt in Film Aesthetics at Keble College, Oxford.

She is the Film Editor for the Oxonian Review.

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The film was made using a cel animation technique; nowadays cel animation is often assisted by computers, but this has been made in the traditional way using brush, Indian ink, and watercolour.


Each Hurricane Heat event is unique to the others in terms of obstacles and location.

(meta data) TITLE: Spartan Race Hurricane Heat: Bright

64/72 Coronation Ave, Bright VIC 3741, Australia

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The Spartan Race Hurricane Heat at Pioneer Park Recreation Reserve in Bright in Victoria on Friday, 6 October 2017 is a 4-hour team obstacle course.

The Hurricane Heat was born in August 2011.

On the advice of local emergency services, a US Spartan Race was cancelled due to severe weather, which was later named Hurricane Irene.

There was a loud minority of racers who didn't see this as valid and wouldn't let it go.

Joe Desena, Spartan Race founder eventually posted, "if you want to do the course in a hurricane, then be there at 6 am."

100 or so people showed up, and JD took them over the course as a team, adding a number of obstacles and challenges along the way.

The Hurricane Heat is run as a team so individual times are not applicable.

Getting to the finish line as a team is the only goal.

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Event Types.:"Endurance Events".:Hurricane Heat (4-8, 12-, and 24-hour).

The Hurricane Heat Endurance Event was created in August 2011 due to the cancellation of a prior Spartan Race caused by Hurricane Irene. In the Hurricane Heat, the goal is for the competitors’ teams to reach the finish line; individual times are not applicable. The Hurricane Heat is composed of 4-8, 12, and 24 hour courses.


Smith died in Blackville, New Brunswick, on 24 January 1957.

(meta data) TITLE: The first nurse, National Portrait Gallery

Rev. Victor B. Walls and Mrs. Walls, Trinidad, B.W.I., c.1930

Nowhere in Marion Smith's First World War service records is there any evidence of her country of birth.

Yet nestled in the records of the Queen Alexandra's Imperial Military Nursing Service Reserve is evidence of possibly the only Australian Aboriginal woman to serve during the First World War.

Marion Elizabeth Leane Smith spent her first few years in Liverpool, New South Wales.

Her grandmother Lucy Leanne was a Darug woman and is on record for petitioning the NSW Aborigines Protection Board in 1889, where she described herself as 'only surviving native woman of the Georges River and the Liverpool District'.

Her daughter Elizabeth was born and raised in Liverpool, where she later married her English cousin George William Smith in 1890.

It is not clear what prompted George and Elizabeth Smith to move to Canada with their daughter Marion.

However, the turn of the century was textured by growing concerns about the welfare of 'half-caste' children, leading to the devastation of the Stolen Generations.

Had the Smiths remained in Australia, Marion's upbringing would have been decidedly different.

Following her childhood in Canada, Marion temporarily moved to the United States to train as a nurse at the New England Hospital in Roxbury, Massachusetts.

On the other side of the Atlantic, Germany invaded Belgium, refusing Britain's demands to retreat, resulting in Britain declaring war in August 1914.

This declaration automatically incorporated Britain's colonies, including Canada.

Marion returned to Canada before enlisting with the Queen Alexandra's Imperial Military Nursing Service Reserve (QAIMNS) on 7 March, 1917.

The QAIMNS was established in 1902 and replaced the Army Nursing Service in Great Britain.

At the outbreak of the First World War there were around 300 nurses in the service, and over the course of the war a further 11 000 joined the QAIMNS.

These women tended to be over twenty-five years old and single, and were required to be well-educated and of good social standing.

Smith was twenty-six years old when she joined, and would have been required to complete a three year training course in a War Office-approved hospital.

Smith embarked for France in March 1917 where she joined No. 41 Ambulance Train by the end of the year.

The ambulance trains were specially fitted to transport injured troops from casualty clearing stations on the front to base hospitals, and were in operation in France and Belgium.

As the trains bumped along, nurses navigated narrow aisles and dim lighting to tend to the casualties.

Troops lay in bunks arranged in three tiers on either side of the crowded aisles.

Some trains also included surgical theatres for emergency operations.

Smith excelled despite the difficult conditions, and the sister in charge of No. 41 Ambulance Train reported that 'Staff Nurse Smith has given complete satisfaction in the carrying out of her duties whilst on this Train; her work is both quickly and efficiently done.

As nurses were employed by contract in the QAIMS, when Smith's expired in September 1918 she requested an extension.

She then served in Italy with Britain's Italian Expeditionary Force before moving to the University War Hospital in Southampton, where she remained until after the war ended.

In May 1919, Smith sailed home to 'Home Farm' in Fredericton Junction, Canada.

She met a clergyman named Victor Benjamin Walls and they married on New Year's Day in 1924 at the Smiths' family home.

There is some speculation that Walls and Smith met during the war, as Walls had also served.

He had interrupted his studies at Dalhouse University to enlist with the Canadian Medical Corps, with which he served in Britain, France and Belgium.

Not long after their wedding, Victor and Marion Walls travelled to Trinidad so Victor could take up his post as principal of Naparima College, where he would remain for almost thirty years.

During this time, Marion gave birth to a son and became dedicated to the school's extra-curricular activities.

She also wrote the school hymn, which continues to be sung today.

Marion was devoted to raising medical awareness in Trinidad.

When the Second World War erupted, Marion brought the Red Cross to the country and served as the commandant for the duration of the war.

For her work she was awarded the Distinguished Service Medal, which is awarded to those who show 'distinguished leadership in action'.

Upon Victor's retirement, the Walls returned to Canada and lived in Blackville, New Brunswick.

Marion died four years later on 24 January 1957, aged 66.

Victor Walls remained in Blackville where he served as a United Church minister briefly from 1972-73, and married Verna E. Augustine from Trinidad.

Victor Walls died in Newcastle, Canada on 19 September 1984, aged ninety-two.

The small black and white photograph of Victor and Marion Walls was taken just before they departed for Trinidad.

It was kept in the United Church of Canada's Archives and found through the pioneering research of Philippa Scarlett, who first uncovered the story of Marion Smith, the only known Australian Indigenous servicewoman of the First World War.

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The ambulance trains were designated to transport injured soldiers from the front lines to military hospitals, and were known to be difficult environments in which to work. Nevertheless, Smith distinguished herself; her supervisor noted that "Her work is both quickly and efficiently done. She is most capable in every way". After the conclusion of her ambulance train contract, Smith went first to Italy with the Italian Expeditionary Force and then to the University War Hospital in Southampton, UK.
 Smith returned to Canada in 1919 and married veteran Victor Walls. The couple moved to Trinidad, where Walls served as headmaster of Naparima College; Smith wrote the school's hymn and created its dormitory infirmary. At the outbreak of the Second World War Smith served as commandant for the first iteration of the Red Cross on the island, as well as leading a Nurses' Council; for her service she was later awarded a Distinguished War Service Medal. They returned to Canada in 1953. Smith and Walls had one son, born during their time in Trinidad.


For the latter, she led an initiative called Lead Like A Woman, and featured in a short film named "Leading with Intensity" (2019) made by an all-female cast and crew.

(meta data) TITLE: Exclusive: Jessica Chastain On Her New Ralph Lauren Fragrances Campaign And Leading Like a Woman

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# Exclusive: Jessica Chastain On Her New Ralph Lauren Fragrances Campaign And Leading Like a Woman

Opinions expressed by Forbes Contributors are their own.

Ralph Lauren is taking the name of their latest fragrance, WOMAN INTENSE, quite seriously.

With Jessica Chastain as its Global Ambassador, they made a short film, Leading with Intensity, featuring an all-female cast and crew, for the brand's Lead Like a Woman initiative.

The flick features Chastain and a group of female leaders—including actor Jodi Balfour; actor and producer Alice Braga; chef Dominique Crenn; actor, director, writer and producer Zoe Lister-Jones; CEO and jewelry designer Jen Meyer; and philanthropist Kelly Sawyer; to name a few—challenging what it means to be an intense woman, and the negative stereotypes that come along with that.

The fragrance itself shows how intensity can be beautiful, and is the latest addition to the WOMAN franchise.

Chastain tells us all about the campaign, plus why fragrance is personal to her.

Why did you decide to team up with Ralph Lauren Fragrances as the Global Ambassador of WOMAN?

First of all, Ralph Lauren is a fashion brand and company that I really respect.

I love the images of women that they put out.

A woman in a suit is a very powerful image, and that's very exciting to me.

In addition to that, partnering with them on this campaign and scent, WOMAN, coincides with everything I've ever said in every interview about how I feel about women in our society.

I don't think there's anything that could have coincided better.

I like the complexity and duality of it, the soft floral notes and the woody undertones.

I think that's exactly what I like about the Ralph Lauren suit—it's masculine, it's feminine, or I guess old fashioned ideas of what masculine and feminine are.

To me, it's a scent that also could be unisex.

How was working exclusively with an all-female cast and crew on the short film Leading with Intensity different without any men on set?

I wasn't in a situation where I was hit over the head with the fact that it was an all-female cast and crew.

It just felt easy and I think that's what all sets should feel like, no matter who is on set.

There was a sense of camaraderie and everyone was there to create something special and we just got to work, down to business.

What does "lead like a woman" mean to you personally?

'Lead like a woman' to me is similar to 'fight like a girl.'

'Fight' and 'lead' are verbs that in the past have been exclusively connected to men in our society in terms of our media, in terms of the way we talk about gender.

And what it does is it actually empowers the word for women, and for women to acknowledge that it is their given right to lead.

They don't have to adhere to an old stereotype of what a woman is supposed to be, because that is actually a very unhealthy society that keeps women out of leadership positions and it empowers female leadership.

I think when we look at the statistics, empathy is one of the highest traits of a great leader and women have that in spades, so I think it's a very empowering call to action, lead like a woman.

Which negative stereotype of being an "intense" woman would you most like to dispel of?

It's an interesting thing when we talked about this, because before we had this discussion on set, I said for me 'intense' is something that relates to women and men, it's an adjective—I am intensely loving, I am intensely ambitious.

It just means to me going fully into your life, to live with intensity, to not back down, to go head first into whatever you're feeling or doing or participating in.

There has been a lot of progress in the film industry, but as a staunch defender of gender equality, what other changes would you still like to see the most?

The more we see women in power positions, the more changes will filter down the line.

I think that's what we really, really need to tackle, which is why I'm so excited about Ralph Lauren doing that with this campaign, the Lead Like A Woman initiative.

We need more female studio heads, we need more decision makers, we need more female directors because we know that in most cases, a woman in a leadership position hires other women in leadership positions.

That is something I really, really want to tackle as we move into the future, not just in mine, but in all industries.

Through your work with Ralph Lauren Fragrances, have you worked with the nonprofit Women In Film?

I've always been associated with Women in Film from the beginning of when it first started, which is actually not that long ago.

The most amazing thing is when I first signed on to this, I remember having a meeting with people involved in this whole campaign and they were talking to me about my industry and where they could put some resources and I brought up some very important organizations and Women In Film was one of them that helped to create equity in my industry.

Ralph Lauren Woman Intense, RalphLauren.com

You're known for choosing roles with a feminist bent.

How do you choose which roles to take on?

Elizabeth Sloane in Miss Sloane, she would never define herself as a feminist, even though I do personally.

I look for female characters that are pushing against an expectation of what society has planned for them because it's really interesting for me to play female characters that I recognize in my reality.

I am constantly surrounded by these incredible women and I was just tired of not seeing women shown in media as they truly are.

I'm definitely drawn to playing characters that embody reality.

What have you learned about fragrance from working with Ralph Lauren Fragrances?

In the past when I thought about fragrance I never really thought about the way it can truly make a difference.

We are in an interesting time right now because when I started the gender boundaries and rules started to get blurred about what is masculine and what is inherently feminine and those lines; I think we're all questioning it.

Through this collaboration with Ralph Lauren, I've realized that fragrance doesn't have to be essentially male or female.

What is feminine to me could be masculine to someone else.

We're all our own definitions of what it is to be a woman.

That's been a really eye-opening and exciting thing that I've learned that has coincided with Ralph Lauren.

What are your favorite scents and smells?

Scent to me is very connected to memory and emotion and fresh cut grass just makes me feel like I'm 10 years old and you're playing outside and wishing the sun wouldn't set so you could just play outside forever.

That's a very evocative smell for me and I love that smell.

Behind the scenes with Jessica Chastain at the Ralph Lauren Woman Intense shoot

My earliest fragrance memory probably would be my grandmother.

My grandmother is the most glamorous woman I know.

I remember she'd come and visit us, she always looked so beautiful and she always had this smell about her.

But I didn't understand that because I was a little kid—I just knew it was grandma's smell.

And I remember sneaking into her bedroom and opening her drawers and smelling her sweaters because they still had her fragrance on them.

I later found out she had a special perfume made for her and that's what was grandma's fragrance that I was remembering, but that was the first time that I understood that fragrance was a form of expression and it's something that coincides with who you are and what you want to project.

It depends on where I'm going, it depends on what characters I'm working on.

I have a different fragrance for each part that I play and I start wearing it when I'm at home prepping the part because like I said, fragrance is very connected to a deep, emotional memory to me, so if I'm working on something and in my subconscious I have this fragrance around me, when I'm on set and I use the fragrance it's going to bring everything back.

I went to a yoga class this morning and I had a little jasmine oil because I thought that would help me in class.

I use it in terms of what I feel I need in the moment.

Which scent did you use to get into your character on X-Men: Dark Phoenix?

That one I actually didn't wear anything.

I can't reveal too much; for me it's something that wouldn't even be a scent that we could recognize.

There's two different things: her true scent would be something that we weren't ever familiar with and then there's another scent that she'd wear that would make each of us feel immediately at peace and make us feel when we were around her like we were around anyone, someone who could just disappear into the crowd, so that's a complicated one for me, because there's an otherworldly quality about her.

She would know what you were thinking and she would choose a fragrance that would remind you of your childhood.

For more of my stories on beauty, grooming and fashion, check out my page at Forbes.

Some kids dream of growing up and becoming President of the United States, or going into outer space.

I, on the other hand, always dreamed of becoming a writer.

Lea Goldman of "Marie Claire" compares her craft to that of actresses Meryl Streep and Cate Blanchett, and writes that she values her craft over her looks. Describing her film career in 2017, the journalist Ben Dickinson of "Elle" wrote:
 "With her often haunted-looking eyes, pale complexion, and gorgeous red mane [...] she can project everything from icy hauteur ("The Martian", "Miss Sloane") to loving warmth ("The Tree of Life", "The Zookeeper's Wife") or an unstable equilibrium and high intelligence in between ("Zero Dark Thirty" and "A Most Violent Year")." "Vogue" has described Chastain as being "excessively luscious [with] pale Botticelli features wrapped around a bone structure that has a touch of the masculine, right down to the cleft in her chin". She was named the sexiest vegetarian actress in a poll conducted by PETA in 2012. From 2012 to 2014, she was featured in AskMen's listing of the most desirable women, and in 2015, "Glamour" magazine ranked her as one of the best-dressed women.
 "Time" magazine named Chastain one of the 100 most influential people in the world in 2012. That same year, she was invited to join the Academy of Motion Picture Arts and Sciences, and she endorsed an Yves Saint Laurent fragrance called Manifesto. In 2015, she became the global ambassador for the Swiss jewelry and watchmaking company Piaget SA, and in 2017, she was made the face of Ralph Lauren's fragrance campaign, named Woman.


At the time of his death, Hoffman was filming "The Hunger Games: Mockingjay – Part 2", the final film in the series, and had already completed the majority of his scenes.

(meta data) TITLE: Philip Seymour Hoffman Was Nearly Finished Shooting 'Hunger Games' – Variety

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# Philip Seymour Hoffman Was Nearly Finished Shooting 'Hunger Games'

## Actor's sudden death will not delay release dates of 'Mockingjay' Parts 1 and 2

With Hollywood still in shock over the death of Philip Seymour Hoffman, Lionsgate was forced to consider how it will move forward with the industry's most lucrative franchise.

"The Hunger Games" is currently in production on its final two installments.

Hoffman, who was found dead Sunday morning in New York of an apparent drug overdose, joined the hit franchise in its most recent installment, "Catching Fire," playing the game master Plutarch Heavensbee.

That film grossed a giant $860 million at the worldwide box office.

According to Lionsgate, the majority of Hoffman's scenes had been completed, with just seven days left to shoot on "Mockingjay — Part 2."

Release dates (Nov. 21, 2014 and Nov. 20, 2015) for either installment will not be affected, Lionsgate said.

The "Mockingjay" shoot began in September in Atlanta and is planned to last into the spring, before shifting to Berlin and Paris for a month, ending in May.

Both installments are shooting simultaneously.

Lionsgate released a statement saying, "Philip Seymour Hoffman was a singular talent and one of the most gifted actors of our generation.

We're very fortunate that he graced our 'Hunger Games' family.

Losing him in his prime is a tragedy, and we send our deepest condolences to Philip's family."

Hoffman's part in the last "Hunger Games" became more significant by the end of the film, though it still was a supporting role.

Hoffman's two completed films, "A Most Wanted Man" and "God's Pocket," both have domestic distributors: Roadside Attractions and IFC, respectively.

"A Most Wanted Man" still is scheduled to launch in August, according to Roadside, while IFC has yet to finalize release plans for "God's Pocket," which the distrib just acquired at this year's Sundance Film Festival.

Additionally, Hoffman was attached to direct the Prohibition era drama "Ezekiel Moss," which Exclusive Media was set to start selling at the European Film Market in Berlin.

The company released a statement saying it will not be presenting the film to buyers, "while producers explore the next steps for the film."

By comparison, Universal, which delayed the release of "Fast and Furious 7" following the death of Paul Walker, faced a much more daunting task given Walker's central role in the franchise, added to the fact that much of his footage had yet to be shot.

"Fast 7" is slated to bow April 10, 2015.

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"A Late Quartet" was Hoffman's other film release of 2012, where he played a violinist in a string quartet whose members (played by Christopher Walken, Catherine Keener, and Mark Ivanir) face a crisis when one is diagnosed with Parkinson's disease. The drama received favorable reviews, and Stephen Holden of "The New York Times" called Hoffman's performance "exceptional". In 2013, Hoffman joined the popular "Hunger Games" series in its second film, "The Hunger Games: Catching Fire", where he played gamemaker Plutarch Heavensbee. The film finished as the 10th-highest grossing in history to that point, and Hoffman became recognizable to a new generation of film-goers. In January 2014, shortly before his death, he attended the Sundance Film Festival to promote two films. In Anton Corbijn's "A Most Wanted Man", a thriller based on John le Carré's novel, Hoffman played a German intelligence officer. His performance was praised by Xan Brooks as one of "terrific, lip-smacking relish: full of mischief, anchored by integrity." The other was "God's Pocket", the directorial debut of actor John Slattery, in which Hoffman played a thief. In November 2014, nine months after his death, Hoffman was seen in "The Hunger Games: Mockingjay – Part 1".