title: The Disasters of War

text: Plates 1 to 47 consist mainly of realistic depictions of the horrors of the war fought against the French. Most portray the aftermath of battle; they include mutilated torsos and limbs mounted on trees, like "fragments of marble sculpture". Both French and Spanish troops tortured and mutilated captives; evidence of such acts is minutely detailed across a number of Goya's plates. Civilian death is also captured in detail. Spanish women were commonly victims of assault and rape. Civilians often followed armies to battle scenes. If their side won, women and children would search the battlefield for their husbands, fathers and sons. If they lost, they fled in fear of being raped or murdered. In , "No quieren" ("They do not want to"), an elderly woman is shown wielding a knife in defence of a young woman who is being assaulted by a soldier.


title: The Disasters of War

text: The group begins with "" ("Gloomy presentiments of what must come to pass"), in which a man kneels in the darkness with outstretched arms. The following plates describe combat with the French, who—according to art critic Vivien Raynor—are depicted "rather like Cossacks, bayoneting civilians", while Spanish civilians are shown "poleaxing the French." Plates 31 to 39 focus on atrocities and were produced on the same batch of plates as the famine group. Others are based on drawings Goya had completed in his "Sketchbook-journal", in studies where he examined the theme of the grotesque body in relation to the iconography of the tortured or martyred one. In his India ink wash drawing "We cannot look at this" (1814–24), he examined the idea of a humiliated inverted body with pathos and tragedy, as he did to comical effect in "" (1791–92).


title: The Disasters of War

text: Unlike most earlier Spanish art, Goya's rejects the ideals of heroic dignity. He refuses to focus on individual participants; though he drew from many classic art sources, his works pointedly portray the protagonists as anonymous casualties, rather than known patriots. The exception is , "Que valor!" ("What courage!"), which depicts Agustina de Aragón (1786–1857), the heroine of Zaragoza, who brought food to the cannoneers at the city defensive walls during the siege in which 54,000 Spaniards died. When all the cannoneers had been killed, Agustina manned and fired the cannons herself. Although it is agreed that Goya could not have witnessed this incident, Robert Hughes believes it may have been his visit to Zaragoza in the lull between the first and second phases of the siege that inspired him to produce the series.


title: The Disasters of War

text: The second group, plates 48 to 64, detail the effects of the famine which ravaged Madrid from August 1811 until after Wellington's armies liberated the city in August 1812. Starvation killed 20,000 people in the city that year. In these plates, Goya's focus is directed away from the generalised scenes of slaughter of anonymous, unaligned people in unnamed regions of Spain; he turns towards a specific horror unfolding in Madrid. The famine was a result of many factors. For example, French invaders and Spanish guerrillas and bandits blocked paths and roads into the city, hampering the provision of food.


title: The Disasters of War

text: Goya does not focus on the reasons for the shortage, nor does he apportion blame to any one party. Instead, he is concerned only with its effect on the population. Although the images in the group were based on the experience of Madrid, none of the scenes depict specific events, and there are no identifiable buildings to place the scenes. Goya's focus is on the darkened masses of dead and barely alive bodies, men carrying corpses of women, and bereaved children mourning for lost parents. Hughes believes , "Madre infeliz!" ("Unhappy mother!"), to be the most powerful and poignant of the group. He suggests that the space between the small girl sobbing and the corpse of her mother represents "a darkness that seems to be the very essence of loss and orphanhood". This group of plates was probably completed by early 1814. A scarcity of materials during the famine may have accounted for the freer application of aquatint in these prints; Goya was sometimes forced to use defective plates or reuse old plates after they were burnished.


title: The Disasters of War

text: Plates 65 to 82 were named "caprichos enfáticos" ("emphatic caprices") in the original series title. Completed between 1813 and 1820 and spanning Ferdinand VII's fall and return to power, they consist of allegorical scenes that critique post-war Spanish politics, including the Inquisition and the then-common judicial practice of torture. Although peace was welcomed, it produced a political environment that was in ways more repressive than before. The new regime stifled the hopes of liberals such as Goya, who used the term "fatal consequences" to describe the situation in his title for the series. Hughes refers to the group as the "disasters of peace".


title: The Disasters of War

text: After the six years of absolutism that followed Ferdinand's return to the throne on 1 January 1820, Rafael del Riego initiated an army revolt with the intent of restoring the 1812 Constitution. By March, the king was forced to agree, but by September 1823, after an unstable period, a French invasion supported by an alliance of the major powers had removed the constitutional government. The last prints were probably not completed until after the Constitution was restored, though certainly before Goya left Spain in May 1824. Their balance of optimism and cynicism makes it difficult to relate them directly to particular moments in these rapidly moving events.


title: The Disasters of War

text: Many of these images return to the savage burlesque style seen in Goya's earlier "Caprichos". "Farándula de charlatanes" ("Troupe of charlatans") shows a priest with a parrot's head performing before an audience of donkeys and monkeys. In , a pope walking a tightrope was "prudently reduced" to a cardinal or bishop in the print published in 1863. Some prints showing animal scenes seem to draw from a satirical verse fable by Giovanni Battista Casti, published in Italian in 1802; the "Animal Farm" of its day. In plate 74, the wolf, representing a minister, quotes from the fable—"Miserable humanity, the fault is thine"—and signs with Casti's name. The print "lays the blame for their rulers' barbarity on the victims' own acceptance of it".


title: The Disasters of War

text: A number of plates in this group reveal a scepticism towards idolatry of religious images. There are instances in the group where early Christian iconography, in particular statues and processional images, are mocked and denigrated. , "Esta no lo es menos" ("This is no less curious"), shows two statues carried by two stooped members of clergy. One statue is recognisable as the "Virgin of Solitude". In Goya's image, the statue is not carried vertically in processional triumph, rather it lies flat and undignified on the backs of the two almost crouched men. Shown horizontal, the object loses its aura, and becomes a mere everyday object. Art critics Victor Stoichita and Anna Maria Coderch wrote, "It is in effect a deposed, toppled image, stripped of its powers and its connotations." Goya is making a general statement: that the Church's attempts to support and restore the Bourbons were "illusory, since what they proposed was nothing more than the adoration of an empty form".


title: The Disasters of War

text: The published edition of "The Disasters of War" ends as it begins; with the portrayal of a single, agonized figure. The last two plates show a woman wearing a wreath, intended as a personification of Spain, Truth, or the Constitution of 1812—which Ferdinand had rejected in 1814. In , "Murió la Verdad" ("The Truth has died"), she lies dead. In , "Si resucitará?" ("Will she live again?"), she is shown lying on her back with breasts exposed, bathed in a halo of light before a mob of "monks and monsters". In plate 82, "Esto es lo verdadero" ("This is the true way"), she is again bare-breasted and apparently represents peace and plenty. Here, she lies in front of a peasant.


title: The Disasters of War

text: Many of Goya's preparatory drawings, mostly in red chalk, have survived and are numbered differently from the published prints. He produced two albums of proofs—among many individual proof impressions—of which only one is complete. The full album consists of 85 works, including three small "Prisioneros" ("Prisoners") made in 1811 which are not part of the series. Goya gave the copy of the full album, now in the British Museum, to his friend Juan Agustín Ceán Bermúdez. It contains a title-page inscription in Goya's hand, is signed at the page edges, and has numbers and titles to the prints written by Goya. These were copied on the plates when the published edition was prepared in 1863. By then, 80 had passed from Goya's son, Javier—who had stored them in Madrid after his father left Spain—to the Real Academia de Bellas Artes de San Fernando (Royal Academy of Fine Arts of San Fernando), of which Goya had been director. Comparison of the Ceán proof set and the engraved captions reveal changes to the inscriptions in factors such as spelling, punctuation and phrasing. These modifications sometimes affected the accompanying scene's meaning or impact, such as in Plate 36: in all printed editions, the title is given as 'Tampoco' ('Not in this case either'), while in the proof series it is written as 'Tan poco' ('So little'). Numbers 81 and 82 of the series rejoined the others in the Academy in 1870, and were not published until 1957. Goya's title for the series in the Ceán album, was "Fatal consequences of the bloody war in Spain with Bonaparte". Its subsequent shortening to "Los Desastres de la Guerra" was presumably an allusion to Jacques Callot's series "Les misères de la Guerre".


title: The Disasters of War

text: As the series progressed, Goya evidently began to experience shortages of good quality paper and copper plates, and was forced to take what art historian Juliet Wilson-Bareau calls the "drastic step" of destroying two etched and aquatinted landscapes, likely from the first years of the century, from which very few impressions had been printed. These were cut in half to produce four of "The Disasters of War"s prints. Partly because of the material shortages, the sizes and shapes of the plates vary somewhat, ranging from as small as 142 × 168 mm (5.6 × 6.6 in) to as large as 163 × 260 mm (6.4 × 10.2 in).


title: The Disasters of War

text: Goya completed 56 plates during the war against France, and these are often viewed as eye-witness accounts. A final batch—including plate 1, several in the middle of the series, and the last 17 plates—are likely to have been produced after the end of the war, when materials were more abundant. The titles of some plates, written beneath each, indicate his presence: "I saw this" () and "One can not look" (). While it is unclear how much of the conflict Goya witnessed, it is generally accepted that he observed first-hand many of the events recorded in the first two groups. A number of other scenes are known to have been related to him second hand. It is known that he used a sketchbook when visiting battle sites; at his studio, he set to work on copper plate once he had absorbed and assimilated meaning from his sketches. All drawings are from the same paper, and all the copper plates are uniform.


title: The Disasters of War

text: The titles of a number of scenes link pairs or larger groups, even if the scenes themselves are not related. Examples include plates and ("With or without reason" and "The same"), and ("The women are courageous" and "And they are fierce"), and , and ("They do not want to", "Nor these" and "Or these"). Other plates show scenes from the same story or incident, as in plates and ("This is bad" and "This is how it happened"), in which a monk is murdered by French soldiers looting church treasures; a rare sympathetic image of the clergy, who are generally shown to be on the side of oppression and injustice.


title: The Disasters of War

text: The Bermúdez set is considered "uniquely important ... because it shows the series as Goya must have intended to publish it, and the way he intended the plates to be printed". There is therefore a distinction between the published edition of 1863, with 80 plates, and the full series in the album, which contains 82 (ignoring the three small "Prisioneros"). The Bermúdez album was borrowed by the Academy for the 1863 edition. The original titles or captions were etched onto the plates, even with Goya's spelling mistakes. One title was changed, one plate had work added and, unlike the proofs, the printing was carried out selectively not wiping ink from areas of the surface of the plates, producing "surface tone", in accordance with mid-century taste.


title: The Disasters of War

text: Goya mostly used the tonal technique of aquatint, in which he became very skilled in producing dramatic contrasts, fully satisfying his needs for tonal effects. Reflecting the mid-19th century taste for a "rich overall tone", the 1863 edition took the "disastrous" decision to make considerable use of surface tone, which is not seen in the few early impressions made by Goya himself. Instead of the "luminosity and delicacy" of these, the later editions "provide a dulled and distorted reflection of the artist's intentions", according to Juliet Wilson Bareau.


title: The Disasters of War

text: "The Disasters of War" was not published during Goya's lifetime, possibly because he feared political repercussions from Fernando VII's repressive regime. Some art historians suggest that he did not publish because he was sceptical about the use of images for political motives, and instead saw them as a personal meditation and release. Most, however, believe the artist preferred to wait until they could be made public without censorship. A further four editions were published, the last in 1937, so that in total over 1,000 impressions of each print have been printed, though not all of the same quality. As with his other series, later impressions show wear to the aquatint. The 1863 edition had 500 impressions, and editions followed in 1892 (100) before which the plates were probably steel-faced to prevent further wear, 1903 (100), 1906 (275), and 1937. Many sets have been broken up, and most print room collections will have at least some of the set. Examples, especially from later editions, are available on the art market.


title: The Disasters of War

text: In 1873, Spanish novelist Antonio de Trueba published the purported reminiscences of Goya's gardener, Isidro, on the genesis of the series. de Trueba claims to have spoken to Isidro in 1836, when the gardener recalled accompanying Goya to the hill of Principe Pio to sketch the victims of the executions of 3 May 1808. Goya scholars are sceptical of the account; Nigel Glendinning described it as a "romantic fantasy", and detailed its many inaccuracies.


title: The Disasters of War

text: Detailing and protesting the ugliness of life is a common theme throughout the history of Spanish art, from the dwarves of Diego Velázquez to Pablo Picasso's "Guernica" (1937). Reflecting on "The Disasters of War", biographer Margherita Abbruzzese notes that Goya asks that the truth "be seen and ... shown to others; including those who have no wish to see it ... And the blind in spirit stay their eyes on the outward aspect of things, then these outward aspects must be twisted and deformed until they cry out what they are trying to say." The series follows a wider European tradition of war art and the examination of the effect of military conflict on civilian life—probably mostly known to Goya via prints. This tradition is reflected especially in Dutch depictions of the Eighty Years' War with Spain, and in the work of 16th-century German artists like Hans Baldung. It is believed Goya owned a copy of a famous set of 18 etchings by Jacques Callot known as "Les Grandes Misères de la guerre" (1633), which record the devastating impact on Lorraine of Louis XIII's troops during the Thirty Years' War.


title: The Disasters of War

text: The dead man in plate 37, "Esto es peor" ("This is worse"), forms a mutilated body of a Spanish fighter spiked on a tree, surrounded by the corpses of French soldiers. It is based in part on the Hellenistic fragment of a male nude, the "Belvedere Torso" by the Athenian "Apollonios son of Nestor". Goya had earlier made a black wash drawing study of the statue during a visit to Rome. In "Esto es peor" he subverts the classical motifs used in war art through his addition of a degree of black theatre—the branch piercing the body through the anus, twisted neck and close framing. The man is naked; a daring factor for Spanish art in the 19th century, during the time of the Spanish Inquisition. Art critic Robert Hughes remarked that the figures in this image "remind us that, if only they had been marble and the work of their destruction had been done by time rather than sabres, neo-classicists like Menges would have been in aesthetic raptures over them."


title: The Disasters of War

text: Goya abandons colour in the series, believing that light, shade and shadow provide for a more direct expression of the truth. He wrote, "In art there is no need for colour. Give me a crayon and I will 'paint' your portrait." He uses line not so much to delineate shape but, according to art historian Anne Hollander, "to scratch forms into existence and then splinter them, as a squinting, half blind eye might apprehend them, to create the distorting visual detritus that shudders around the edge of things seen in agonized haste ... This 'graphic' kind of clarity can be most sharp when it is most jagged." The immediacy of the approach suited his desire to convey the primitive side of man's nature. He was not the first to work in this manner; Rembrandt had sought a similar directness, but did not have access to aquatint. William Blake and Henry Fuseli, contemporaries of Goya's, produced works with similarly fantastical content, but, as Hollander describes, they muted its disturbing impact with "exquisitely applied linearity ... lodging it firmly in the safe citadels of beauty and rhythm."


title: The Disasters of War

text: In his 1947 book on Goya's etchings, English author Aldous Huxley observed that the images depict a recurrent series of pictorial themes: darkened archways "more sinister than those even of Piranesi's "Prisons""; street corners as settings for the cruelty of the disparities of class; and silhouetted hilltops carrying the dead, sometimes featuring a single tree serving as gallows or repository for dismembered corpses. "And so the record proceeds, horror after horror, unalleviated by any of the splendors which other painters have been able to discover in war; for, significantly, Goya never illustrates an engagement, never shows us impressive masses of troops marching in column or deployed in the order of battle ... All he shows us is war's disasters and squalors, without any of the glory or even picturesqueness."


title: The Disasters of War

text: "The Disasters of War" is the second of Goya's four major print series, which constitute almost all of his most important work in the medium. He also created 35 prints early in his career—many of which are reproductions of his portraits and other works—and about 16 lithographs while living in France. His first series, the 80-plate "Caprichos", were completed between 1797 and 1799 to document "the innumerable foibles and follies to be found in any civilized society, and ... the common prejudices and deceitful practices which custom, ignorance, or self-interest have made usual." "Caprichos" was put on sale in 1799, but was almost immediately withdrawn after threats from the Inquisition. In "The Disasters of War"s first two groups of prints, Goya largely departs from the imaginative, synthetic approach of "Caprichos" to realistically depict life-and-death scenes of war. In the last group, the "Caprichos" sense of the fantastic returns.


title: The Disasters of War

text: Between 1815 and 1816, Goya produced the "Tauromachia", a series of 33 bullfighting scenes, during a break from "The Disasters of War". "Tauromachia" was not politically sensitive, and was published at the end of 1816 in an edition of 320—for sale individually or in sets—without incident. It did not meet with critical or commercial success. While in France, Goya completed a set of four larger lithographs, "" ("The Bulls of Bordeaux"). His final series, known as "Los Disparates" ("The Follies"), "Proverbios" ("Proverbs"), or "Sueños" ("Dreams"), contains 22 large plates and at least five drawings that are seemingly part of the series but which were never etched. All these were left in Madrid—apparently incomplete and with only a handful of proofs printed—when Goya went to France in 1823. One plate is known to have been etched in 1816, but little else is established about the chronology of the works, or Goya's plans for the set.


title: The Disasters of War

text: Goya worked on "The Disasters of War" during a period when he was producing images more for his own satisfaction than for any contemporary audience. His work came to rely less on historical incidents than his own imagination. Many of the later plates contain fantastical motifs which can be seen as a return to the imagery of the "Caprichos". In this, he is relying on visual clues derived from his inner life, rather than anything that could be recognised from real events or settings.


title: The Disasters of War

text: In "The Disasters of War", Goya does not excuse any purpose to the random slaughter—the plates are devoid of the consolation of divine order or the dispensation of human justice. This in part a result of the absence of melodrama or consciously artful presentation that would distance the viewer from the brutality of the subjects, as found in Baroque martyrdom. In addition, Goya refuses to offer the stability of traditional narrative. Instead, his composition tends to highlight the most disturbing aspects of each work.


title: The Disasters of War

text: The plates are set spaces without fixed boundaries; the mayhem extends outside the frames of the picture plane in all directions. Thus, they express the randomness of violence, and in their immediacy and brutality they have been described as analogous to 19th- and 20th-century photojournalism. According to Robert Hughes, as with Goya's earlier "Caprichos" series, "The Disasters of War" is likely to have been intended as a "social speech"; satires on the then prevailing "hysteria, evil, cruelty and irrationality [and] the absence of wisdom" of Spain under Napoleon, and later the Inquisition. It is evident Goya viewed the Spanish war with disillusionment, and despaired both for the violence around him and for the loss of a liberal ideal he believed was being replaced by a new militant unreason. Hughes believed Goya's decision to render the images through etchings, which by definition are absent of colour, indicates feelings of utter hopelessness.


title: The Disasters of War

text: His message late in life is contrary to the humanistic view of man as essentially good but easily corrupted. He seems to be saying that violence is innate in man, "forged in the substance of what, since Freud, we have called the id." Hughes believed that in the end there is only the violated emptiness of acceptance of our fallen nature: like the painting of Goya's dog, "whose master is as absent from him as God is from Goya."


title: The Disasters of War

text: "The Disasters of War" plates are preoccupied with wasted bodies, undifferentiated body parts, castration and female abjection. There are dark erotic undertones to a number of the works. Connell notes the innate sexuality of the image in plate 7—Agustina de Aragón's igniting a long cannon. The art historian Lennard Davis suggests that Goya was fascinated with the "erotics of dismemberment", while Hughes mentions in "Los disparates", which shows a woman carried in the grip of a horse's mouth. To Hughes, the woman's euphoria suggests, among other possible meanings, orgasm.


title: The Disasters of War

text: Contrary to the idea of an erotic charge, the art historian, John J. Ciofalo, writes, that the artist's illness in 1793 and the deafness that resulted dramatically changed his art thereafter. But the 1808-14 "Spanish War for Independence"--"a violent convulsion of anarchy, starvation, and slaughter--injected his art with a new psychological sensibility, one that probed deep into the foundations of culture and the human psyche, into the lightless cracks and fissures created when these foundations are shattered by war," by "guerrilla" warfare. Goya sought to depict this modern mode of warfare, breaking down, by any means necessary, of the enemy's morale, and this includes disturbing images of rape against the walls of ruined buildings and in broad daylight. Far from being erotically charged, they are manifestly violent and abhorrent.


title: The Disasters of War

text: Despite being one of the most significant anti-war works of art, "The Disasters of War" had no impact on the European consciousness for two generations, as it was not seen outside a small circle in Spain until it was published by Madrid's Royal Academy of San Fernando in 1863.


title: The Disasters of War

text: Since then, interpretations in successive eras have reflected the sensibilities of the time. Goya was seen as a proto-Romantic in the early 19th century, and the series' graphically rendered dismembered carcasses were a direct influence on Théodore Géricault, best known for the politically charged "Raft of the Medusa" (1818–19). Luis Buñuel identified with Goya's sense of the absurd, and referenced his works in such films as the 1930 "L'Âge d'Or", on which he collaborated with Salvador Dalí, and his 1962 "The Exterminating Angel".


title: The Disasters of War

text: The series' impact on Dalí is evident in "Soft Construction with Boiled Beans (Premonition of Civil War)", painted in 1936 in response to events leading to the Spanish Civil War. Here, the distorted limbs, brutal suppression, agonised expressions and ominous clouds are reminiscent of , "Grande hazaña! Con muertos!" ("A heroic feat! With dead men!"), in which mutilated bodies are shown against a backdrop barren landscape.


title: The Disasters of War

text: In 1993, Jake and Dinos Chapman of the Young British Artists movement created 82 miniature, toy-like sculptures modelled on "The Disasters of War". The works were widely acclaimed and purchased that year by the Tate gallery. For decades, Goya's series of etching served as a constant point of reference for the Chapman brothers; in particular, they created a number of variations based on the plate "Grande hazaña! Con muertos!".


title: The Disasters of War

text: In 2003, the Chapman brothers exhibited an altered version of "The Disasters of War". They purchased a complete set of prints, over which they drew and pasted demonic clown and puppy heads. The Chapmans described their "rectified" images as making a connection between Napoleon's supposed introduction of Enlightenment ideals to early-19th-century Spain and Tony Blair and George W. Bush purporting to bring democracy to Iraq.


title: Republic of Hawaii

text: The Republic of Hawaii (Hawaiian: "Lepupalika o Hawaii") was a short-lived one-party state in Hawaii between July 4, 1894, when the Provisional Government of Hawaii had ended, and August 12, 1898, when it became annexed by the United States as an organized incorporated territory of the United States. In 1893 the Committee of Public Safety overthrew Kingdom of Hawaii Queen Liliuokalani after she rejected the 1887 Bayonet Constitution. The Committee of Public Safety intended for Hawaii to be annexed by the United States but President Grover Cleveland, a Democrat opposed to imperialism, refused. A new constitution was subsequently written while Hawaii was being prepared for annexation.


title: Republic of Hawaii

text: The leaders of the Republic such as Sanford B. Dole and Lorrin A. Thurston were Hawaii-born descendants of American settlers who spoke the Hawaiian language but had strong financial, political, and family ties to the United States. They intended the Republic to become a territory of the United States. Dole was a former member of the Royal Legislature from Koloa, Kauai, and Justice of the Kingdom's Supreme Court, and he appointed Thurston—who had served as Minister of Interior under King Kalākaua—to lead a lobbying effort in Washington, D.C. to secure Hawaii's annexation by the United States. The issue of overseas imperialism was controversial in the United States due to its colonial origins. Hawaii was annexed under Republican President William McKinley on 12 August 1898, during the Spanish–American War. The Territory of Hawaii was formally established as part of the U.S. on June 14, 1900.


title: Republic of Hawaii

text: The Blount Report "first provided evidence that officially identified the United States' complicity in the lawless overthrow of the lawful, peaceful government of Hawaii." American officials immediately recognized the new government and U.S. Marines were sent by the US Minister to aid in the overthrow. The Queen's supporters charged the Marines' presence frightened the Queen and thus enabled the revolution. Blount concluded that the United States had carried out unauthorized partisan activities, including the landing of U.S. Marines under a false or exaggerated pretext, to support the anti-royalist conspirators; that these actions were instrumental to the success of the revolution; and that the revolution was carried out against the wishes of a majority of the population of Hawaii.


title: Republic of Hawaii

text: In 1887, members of the Reform Party of Hawaii forced the King to accept a new constitution limiting the monarch's constitutional power as defined by the Constitution of 1864. The Constitution of 1887, also called the Bayonet Constitution for the threats used to secure the King's approval, was enacted without legislative approval, leaving the monarch as a figurehead. In 1893 a coup d'état against the monarch was carried out by more than 1,000 armed local men who were led by wealthy sugar planters and businessmen. There was no bloodshed as the royal armed force did not resist. A temporary Provisional Government of Hawaii was formed by the Committee of Safety. The leaders of the coup, who had strong economic ties with the United States, wanted to join the United States, lest Japan take control. Annexation was delayed by two petitions with over 20,000 signatures representing over half of the Native Hawaiian population and because U.S. President Cleveland opposed annexation. The Queen herself took up residence in Washington to lobby for her restoration.


title: Republic of Hawaii

text: President Cleveland sent an investigator who wrote the Blount Report, which concluded that Minister Stevens had manipulated and orchestrated the revolt. Cleveland decided that the United States should restore the Queen; he asked for Dole's resignation; however, Dole ignored the request. The U.S. Senate held hearings regarding another report called the Morgan Report, which undermined the Blount Report's claims. Public opinion in the United States favored annexation. In May 1894 the U.S. Senate unanimously passed a resolution opposing restoration of the Queen, opposing intrusion into the affairs of the Dole government, and opposing American action that could lead immediately to annexation. President Cleveland thereupon dropped the issue, leaving the Republic of Hawaii to effectively fend for itself.


title: Republic of Hawaii

text: The Provisional Government convened a constitutional convention, limited to Hawaiians, and taxpayers of American or European origins, not including Asians.


title: Republic of Hawaii

text: The President of Hawaii was the head of state and head of government of the Republic of Hawaii. The constitution provided that the presidential term of office would be six years and specified that individuals could not be elected to consecutive terms in office. The President had the authority to veto legislation, which could be overridden by two-thirds majority in both houses of the legislature, and he was also commander-in-chief of the military. The President appointed, subject to the confirmation of the Senate, members of his Cabinet. Cabinet members were considered users of both houses of the Legislature, they could participate in proceedings, but could not vote as they were not elected members of the Legislature. If the presidency became vacant, the Minister of Foreign Affairs could serve as Acting President until the Legislature voted to elect a successor.


title: Republic of Hawaii

text: Article 23 of the constitution of 1894 specifically named Sanford B. Dole as the republic's first President. He would also be the nation's only President, as it was annexed by the United States in 1898. Upon annexation, Hawaii became a U.S. territory and Dole became its first Governor.


title: Republic of Hawaii

text: The republic's Legislature consisted of a senate and a house of representatives. Each had fifteen members with the former having six-year terms and the latter only two with the exception of the first legislature which was constitutionally granted a three-year term. Appropriation bills originated from the Minister of Finance and were delivered to the Senate. The Senate also held the right to confirm presidential appointments and ratify treaties which made it more powerful in every aspect over the lower house. It was possible for legislators to concurrently serve as president, Cabinet minister, or Supreme Court justice.


title: Republic of Hawaii

text: As royalists had boycotted the republic and refused to take the oath of allegiance to run for office, the American Union Party won every seat in the 1894 and 1897 elections. There was also a property requirement of $1500 net worth to vote for Senators, kept from the 1887 constitution, which ran counter to the prevailing trends of that period. The 1897 election had the lowest turnout in Hawaii's history with less than one percent of the population going to the polls. The new Republic Constitution allowed only men that were natural born citizens of the Hawaiian Kingdom, or naturalized Citizens of the Kingdom to vote in the new Republic. This eliminated most all Japanese, Chinese, Portuguese, and European immigrants from voting. As a result, Native Hawaiians had a two-thirds majority voting block and were the highest represented group in the Republic Legislature. The Speaker of the House of the Republic was also a Hawaiian, John Lot Kaulukoʻu.


title: Republic of Hawaii

text: Robert William Wilcox was a Hawaiian native revolutionary. In 1889, he led an army of 150 Hawaiians, Europeans and Chinese in rebellion against the Hawaiian Kingdom. Wilcox was brought to trial but released as juries refused to find him guilty of wrongdoing. In 1895, Wilcox participated in another attempt, this time to overthrow the Republic of Hawaii and to restore Queen Liliuokalani to power. Royalist supporters landed a cargo of arms and ammunition from San Francisco, California in a secret Honolulu location. At the location on January 6, 1895, a company of royalists met to draft plans to capture the government buildings by surprise. A premature encounter with a squad of police alarmed Honolulu and the plans were abandoned as the royalists were quickly routed. Wilcox spent several days in hiding in the mountains before being captured. The son of one annexationist was killed. Several other skirmishes occurred during the following week resulting in the capture of the leading conspirators and their followers. The government found arms and ammunition and some potentially evidential documents on the premises of Washington Place, Liliuokalani's private residence, outlining in her own handwriting who she would select for her cabinet after the counter revolution, further implicating her in the plot.


title: Republic of Hawaii

text: The Republic of Hawaii put the former Queen on trial. The prosecution asserted that Liliuokalani had committed misprision of treason, because she allegedly knew that guns and bombs for the Wilcox attempted counter-revolution had been hidden in the flower bed of her personal residence at Washington Place. Liliuokalani denied these accusations.


title: Republic of Hawaii

text: She was sentenced to 5 years' imprisonment at hard labor and a fine of $10,000. However, the imprisonment was served in a large bedroom with a piano, bathroom with hot and cold running water bathtub and sink at Iolani Palace where she was allowed two maids in waiting while under guard by military personnel at all times. After eight months she was allowed to go to her Washington Place home and kept under house arrest by President Sanford B. Dole. A year later she was granted a full pardon, including the right to travel, and President Dole gave her a passport to travel to Washington D.C. to visit her friends and in-laws. However, she used that opportunity to lobby the U.S. Senate in 1897 against annexation.


title: Republic of Hawaii

text: Upon the inauguration of William McKinley as the 25th President of the United States on March 4, 1897, the Republic of Hawaii resumed negotiations for annexation, which continued into the summer of 1898. In April 1898, the United States went to war with Spain, and Republic of Hawaii declared its neutrality. In practice, it gave enormous support to the United States, demonstrating its value as a naval base in wartime, and winning widespread American approval for its non-neutral behavior.


title: Republic of Hawaii

text: With the opposition weakened, Hawaii was annexed by means of the Newlands Resolution, which required only a majority vote in both houses. Most of the support came from Republicans. It passed the house by a vote of 209 to 91. It was approved on July 4, 1898, and signed on July 7 by McKinley. The transfer of sovereignty over the Hawaiian islands took place on August 12, 1898, with the lowering of the Flag of Hawaii and hoisting of the "Stars and Stripes" flag of the United States over the former royal Iolani Palace in its place. It was renamed from the Republic of Hawaii to the Territory of Hawaii, which was formally organized as an organized incorporated territory of the United States two years later.


title: Republic of Hawaii

text: The issue of annexation became a major political issue heatedly debated across the United States, which carried over into the 1900 presidential election. By then the national consensus was in favor of the annexation of both Hawaii and the Philippines.


title: Republic of Hawaii

text: Historian Henry Graff says that in the mid-1890s, "Public opinion at home seemed to indicate acquiescence... Unmistakably, the sentiment at home was maturing with immense force for the United States to join the great powers of the world in a quest for overseas colonies."


title: Republic of Hawaii

text: President Cleveland's biographer Alyn Brodsky argues his position was a deeply personal conviction that would not tolerate an immoral action against the little kingdom :


title: Republic of Hawaii

text: Cleveland had to mobilize support from Southern Democrats to fight the treaty. He sent former Georgia Congressman James H. Blount as a special representative to Hawaii to investigate and provide a solution. Blount was well known for his opposition to imperialism. Blount was also a leader in the white supremacy movement that in the 1890s was ending the right to vote by southern Blacks. Some observers speculated he would support annexation on grounds of the inability of the Asiatics to govern themselves. Instead, Blount opposed imperialism, and called for the US military to restore Queen Liliuokalani. He argued that the Hawaii natives should be allowed to continue their "Asiatic ways."


title: Republic of Hawaii

text: A vigorous nationwide anti-expansionist movement, organized as the American Anti-Imperialist League, emerged that listened to Cleveland and Carl Schurz, as well as Democratic leader William Jennings Bryan and industrialist Andrew Carnegie, As well as author Mark Twain and sociologist William Graham Sumner. The anti-imperialists opposed expansion, believing that imperialism violated the fundamental principle that just republican government must derive from "consent of the governed." The League argued that such activity would necessitate the abandonment of American ideals of self-government and non-intervention—ideals expressed in the Declaration of Independence, George Washington's Farewell Address and Lincoln's Gettysburg Address.


title: Republic of Hawaii

text: However, the Antis could not stop the even more energetic forces of imperialism. They were led by Secretary of State John Hay, naval strategist Alfred T. Mahan, Republican congressman Henry Cabot Lodge, Secretary of War Elihu Root, and young politician Theodore Roosevelt. These expansionists had vigorous support from newspaper publishers William Randolph Hearst and Joseph Pulitzer, whipping up popular excitement. Mahan and Roosevelt took the forging a global strategy calling for a competitive modern navy, Pacific bases, an isthmian canal through Nicaragua or Panama, and, above all, an assertive role for America as the largest industrial power. President McKinley's position was that Hawaii could never survive on its own. It would quickly be gobbled up by Japan—already a fourth of the islands' population was Japanese. Japan would then dominate the Pacific and undermine American hopes for large-scale trade with Asia.


title: East Bay

text: The East Bay is the eastern region of the San Francisco Bay Area and includes cities along the eastern shores of the San Francisco Bay and San Pablo Bay. The region has grown to include inland communities in Alameda and Contra Costa counties. With a population of roughly 2.5 million in 2010, it is the most populous subregion in the Bay Area.


title: East Bay

text: Oakland is the largest city in the East Bay and the third largest in the Bay Area. The city serves as a major transportation hub for the U.S. West Coast, and its port is the largest in Northern California. Increased population has led to the growth of large edge cities such as Alameda, Concord, Emeryville, Fremont, Livermore, Pleasanton, San Ramon and Walnut Creek.


title: East Bay

text: Although initial development in the larger Bay Area focused on San Francisco, the coastal East Bay came to prominence in the middle of the nineteenth century as the part of the Bay Area most accessible by land from the east. The Transcontinental Railroad was completed in 1869 with its western terminus at the newly constructed Oakland Long Wharf, and the new city of Oakland rapidly developed into a significant seaport. Today the Port of Oakland is the Bay Area's largest port and the fifth largest container shipping port in the United States. In 1868, the University of California was formed from the private College of California and a new campus was built in what would become Berkeley. The 1906 San Francisco earthquake saw a large number of refugees flee to the relatively undamaged East Bay, and the region continued to grow rapidly. As the East Bay grew, the push to connect it with a more permanent link than ferry service resulted in the completion of the San Francisco–Oakland Bay Bridge in 1936.


title: East Bay

text: The Bay Area saw further growth in the decades following World War II, with the population doubling between 1940 and 1960, and doubling again by 2000. The 1937 completion of the Caldecott Tunnel through the Berkeley Hills fueled growth further east, where there was undeveloped land. Cities in the Diablo Valley, including Concord and Walnut Creek, saw their populations increase tenfold or more between 1950 and 1970. The addition of the BART commuter rail system in 1972 further encouraged development in increasingly far-flung regions of the East Bay. Today, the valleys east of the Berkeley Hills contain large affluent suburban communities such as Walnut Creek, San Ramon and Pleasanton.


title: East Bay

text: The East Bay is not a formally defined region, aside from its being described as a region inclusive of Alameda and Contra Costa counties. As development moves generally eastward, new areas are described as being part of the East Bay. In 1996, BART was extended from its terminus in Concord to a new station in Pittsburg, symbolically incorporating the newly expanded Delta communities of Pittsburg and Antioch as extended regions of the East Bay. Beyond the borders of Alameda County, the large population of Tracy is connected as a bedroom community housing commuters traveling to or through the East Bay.


title: East Bay

text: Except for some hills and ridges which exist as parklands or undeveloped land, and some farmland in eastern Contra Costa and Alameda Counties, the East Bay is highly urbanized. The East Bay shoreline is an urban corridor with several cities exceeding 100,000 residents, including Oakland, Hayward, Fremont, Richmond, and Berkeley. In the inland valleys on the east side of the Berkeley Hills, the land is mostly developed, particularly on the eastern fringe of Contra Costa county and the Tri-Valley area. In the inland valleys, the population density is less and the cities smaller. The only cities exceeding 100,000 residents in the inland valleys are Antioch and Concord.


title: East Bay

text: The East Bay has a free weekly newspaper, the "East Bay Express", which has reported on the culture and politics of the East Bay for over 30 years, and has influenced the identification of the East Bay as a culturally defined region of the Bay Area. "The East Bay Monthly", another free newspaper, has been published since 1970. In the early years of the evolution of "USA Today", during the early 1980s, they operated regional newspapers, with the region's paper entitled "East Bay Today".


title: East Bay

text: The Solano Avenue Stroll, the oldest and largest street festival in the greater San Francisco Bay Area, is held every September on the Solano Avenue shopping district in Albany and Berkeley.


title: East Bay

text: The East Bay is the birthplace of many musical acts, including Creedence Clearwater Revival, Counting Crows, Yesterday and Today, Digital Underground, Green Day, Operation Ivy, Primus, Rancid, Set Your Goals, Tower of Power (whose debut album is titled "East Bay Grease"), The Pointer Sisters, MC Hammer, Tony! Toni! Tone!, Tupac Shakur, Too Short, Spice 1, en Vogue, Pete Escovedo and Sheila E, Keyshia Cole, and Mac Dre. The region is a major center for the development of rock, folk, funk, jazz, hip hop, soul and women's music.


title: East Bay

text: Bay Area thrash metal has centered strongly on the East Bay, including the bands Exodus and Metallica, among others. Possessed and Death, both considered the first death metal bands, have roots or connections in the East Bay: Possessed formed in El Sobrante, with Death debuting nationally while in Concord.


title: East Bay

text: Major music (and sports) venues include the Oakland Oracle Arena; adjacent O.co Coliseum, home of the Oakland A's; the Oakland Paramount Theater, venue for the Oakland East Bay Symphony; the Fox Oakland Theatre, the UC Berkeley Greek Theater, the nonprofit The Freight and Salvage, and the Concord Pavilion (formerly Sleep Train Pavilion).


title: East Bay

text: Major museums include the Oakland Museum of California, the Lawrence Hall of Science and the Chabot Space and Science Center.


title: East Bay

text: The East Bay Regional Parks District operates over fifty parks, many consisting of significant acreage of wildlands, in the East Bay, many directly adjacent to urban centers. Tilden Regional Park, is one of the largest regional parks () located directly adjacent to the urban center of Berkeley. Briones Regional Park, at 5,000 acres, is another large wildlands park near an urban center, Walnut Creek.


title: East Bay

text: The East Bay also has a rich political history. One of the revolutionary movements founded in Oakland was the Black Panther Party.


title: East Bay

text: The East Bay is home to many of the restaurants central to the creation of California Cuisine, including Chez Panisse.


title: East Bay

text: All vehicular crossings of the San Francisco Bay land in the counties comprising the East Bay. Interstate highways in the East Bay include: Interstates 80, 580, 680, 880, 980, and 238. California State Routes 24, 4, 13, 92, 160, 242, 84, and Richmond Parkway are limited access highways for at least part of their lengths in the area. State Route 61, State Route 84, State Route 123, State Route 185, and State Route 238 are major surface streets that receive state funding for maintenance. San Pablo Avenue previously carried U.S. Route 40 until the terminus was moved progressively east to Utah.


title: East Bay

text: AC Transit is the major bus transit agency for the region, and provides bus service throughout Alameda and Contra Costa counties, hence the "AC" moniker. County Connection, WestCAT, WHEELS, Tri-Delta Transit and Union City Transit also provide bus service in the East Bay.


title: East Bay

text: Ferry service is provided by San Francisco Bay Ferry from Jack London Square and Alameda Harbor, with service at Richmond Ferry Terminal slated to begin in 2018. Hercules may also see future ferry service to San Francisco.


title: East Bay

text: Bicycle transportation is strongly promoted by city and county agencies, and by organizations like the East Bay Bicycle Coalition.


title: East Bay

text: Major pedestrian paths across the region include the San Francisco Bay Trail, the Bay Area Ridge Trail, the Ohlone Greenway, Iron Horse Regional Trail, Contra Costa Canal Trail, and the Richmond Greenway.


title: East Bay

text: Rail service in the East Bay dates to the First transcontinental railroad, when the Western Pacific Railroad was contracted by the Central Pacific Railroad to provide the link between the Bay and Sacramento. This railroad eventually became the Niles Canyon Railway. Service to Alameda commenced in September 1869, four months after driving the golden spike at Promintory, Utah. Oakland Long Wharf eventually became the western terminus before ferry service to San Francisco. This road provided the sole link to the rest of the country until about 1879 when a more direct route across the Carquinez Strait was completed. Today, Altamont Corridor Express (ACE) operates commuter rail services through Niles Canyon to San Jose.


title: East Bay

text: Streetcar service across the East Bay was historically provided by the Key System, incorporated in 1902 as the San Francisco, Oakland, and San Jose Railway. An amalgamation of several streetcar companies established in the late part of the century, the Key System provided interurban routes across Alameda county, with connections to San Francisco ferries via their private Key System Pier. Southern Pacific ran a competing system, East Bay Electric Lines, until they, too, had the Key System take over operations. When the San Francisco–Oakland Bay Bridge opened in 1936, Key System cars could make the trip directly to the Transbay Terminal across the lower deck. Streetcars were replaced with busses in 1948 and transbay service halted in 1958. The system's assets were sold to the newly formed AC Transit in 1960.


title: East Bay

text: The East Bay's modern rail transit service is Bay Area Rapid Transit, or BART, which was primarily designed to deliver commuters to San Francisco via the Transbay Tube, and to a lesser extent Oakland and Berkeley.


title: East Bay

text: Amtrak's "California Zephyr" terminates in Emeryville, providing connections as far as Chicago, and further stations across the East Bay are served by Amtrak California's "Coast Starlight" and "San Joaquin".


title: East Bay

text: The East Bay has a mixed economy of services, manufacturing, and small and large businesses. The region is headquarters to a number of highly notable businesses, including Kaiser Permanente, Chevron, and Safeway, among others. The East Bay Economic Development Alliance was founded by Alameda County as the Economic Development Advisory Board in 1990 as a public/private partnership with the mission to promote the East Bay as an important region for development, with Contra Costa County joining in 1996, and the current name chosen in 2006.


title: East Bay

text: The East Bay, as a part of the greater Bay Area, is a highly developed region, and is a major center for new and established economic ventures. Along with the county governments of Alameda and Contra Costa, the largest employers are:


title: East Bay

text: Other major companies with headquarters in the East Bay include 10x Genomics, 24 Hour Fitness, Alibris, ANG Newspapers, Clif Bar, Clorox, Columbus Salame, Dreyer's, Ellie Mae, GE Digital, Ghirardelli Chocolate Company, Gillig Corporation, Leapfrog, Peet's Coffee, Pixar, Ross Stores and Workday. Mervyn's headquarters were located in the East Bay until they declared bankruptcy. The New United Motor Manufacturing, Inc. (NUMMI) automobile manufacturing plant employed about 5,100 employees at its peak. Tesla, Inc. has taken over part of the NUMMI plant, which is still the only automobile manufacturing plant in California.


title: Bob Feller

text: Robert William Andrew Feller (November 3, 1918 – December 15, 2010), nicknamed "the Heater from Van Meter", "Bullet Bob", and "Rapid Robert", was an American baseball pitcher who played 18 seasons in Major League Baseball (MLB) for the Cleveland Indians between 1936 and 1956. In a career spanning 570 games, Feller pitched 3,827 innings and posted a win–loss record of 266–162, with 279 complete games, 44 shutouts, and a 3.25 earned run average (ERA). His career 2,581 strikeouts were third all-time upon his retirement.


title: Bob Feller

text: A prodigy who bypassed baseball's minor leagues, Feller made his debut with the Indians at the age of 17. His career was interrupted by four years of military service (1942–1945) as a United States Navy Chief Petty Officer aboard during World War II. Feller became the first pitcher to win 24 games in a season before the age of 21. He threw no-hitters in 1940, 1946, and 1951, and 12 one-hitters, both records at his retirement. He helped the Indians win a World Series title in 1948 and an American League-record 111 wins and the pennant in 1954. Feller led the American League in wins six times and in strikeouts seven times. In 1946 he recorded 348 strikeouts, the most since 1904 and then believed to be a record.


title: Bob Feller

text: An eight-time All-Star, Feller was ranked 36th on "Sporting News"s 1999 list of the 100 Greatest Baseball Players and was named the publication's "greatest pitcher of his time". He was a finalist for the Major League Baseball All-Century Team in 1999. Baseball Hall of Fame member Ted Williams called Feller "the fastest and best pitcher I ever saw during my career." Hall of Famer Stan Musial believed he was "probably the greatest pitcher of our era." He was elected into the Baseball Hall of Fame in 1962 on his first ballot with the then fourth highest percentage of votes. He was elected the inaugural President of the Major League Baseball Players' Association and both organized and participated in barnstorm exhibition games which featured players from both the Major and Negro leagues. Feller died at the age of 92 in 2010.


title: Bob Feller

text: Feller played primarily as a shortstop or outfielder, emulating Rogers Hornsby's batting stance. From the age of 15, he began to pitch for the Oakviews after a starting pitcher was injured; while doing so, Feller continued to play American Legion baseball. His catcher during this period was Nile Kinnick, who later won the Heisman Trophy in 1939 and became a member of the College Football Hall of Fame.


title: Bob Feller

text: A student at Van Meter High School, Feller was a starting pitcher for the school's baseball team. During this time, he continued to play on the Farmers Union team in the American Amateur Baseball Congress, and had 19 wins and four losses for Farmers Union one season. He also was the starting center for the high school basketball team. By the age of 16, Feller possessed what critics judged a high quality fastball; major league scouts traveled to Dayton, Ohio to watch him in the annual national baseball tournament. After the game, several big league clubs offered signing bonuses with their contract offers, but he had already been signed to a professional contract with the Cleveland Indians.


title: Bob Feller

text: In 1936, Feller was signed by Cy Slapnicka, a scout for the Indians, for one dollar and an autographed baseball. While scouting Feller, Slapnicka said, "This was a kid pitcher I had to get. I knew he was something special. His fastball was fast and fuzzy; it didn't go in a straight line; it would wiggle and shoot around. I didn't know then that he was smart and had the heart of a lion, but I knew that I was looking at an arm the likes of which you see only once in a lifetime." Feller was assigned to the Fargo-Moorhead Twins and was to report there after finishing the high school semester.


title: Bob Feller

text: Slapnicka was later named general manager of the Indians and transferred Feller's contract from Fargo-Moorhead to the New Orleans Pelicans. He was planning to add Feller, along with outfielder Tommy Henrich, to the major league roster after a few exhibition and semi-pro games, without either playing for a farm club. By doing so, the Indians would be in violation of Major League Baseball's rule stating that, at the time, only minor league teams could sign amateur baseball players to contracts.


title: Bob Feller

text: After a three-month investigation, concluding in December 1936, about whether the Indians broke any Major League Baseball rules by signing Feller, Commissioner Kenesaw Mountain Landis disagreed with the argument presented by Slapnicka and Indians president Alva Bradley, but awarded both Feller and Henrich free agency and required the club to pay a $7,500 fine, . Landis made the decision partly due to the testimony of Feller and his father, who wanted his son to play for Cleveland and who had also told Landis he would take the issue to court. Feller elected to remain with the Indians but Henrich joined the New York Yankees. Sports columnist Joe Williams wrote, "For $7500 the Cleveland Indians received $500,000 [] worth of publicity. ... I feel pretty sure Mr. Alva Bradley, president of the Indians, will admit this is the cheapest investment he ever made in publicity."


title: Bob Feller

text: Feller joined the Indians and made his Major League debut on July 19, 1936, in a relief appearance against the Washington Senators. A month later on August 23, Feller made his first career start against the St. Louis Browns. Indians manager Steve O'Neill had Denny Galehouse warmed up in the bullpen in case the 17-year-old Feller had early troubles, but he struck out all three batters he faced in the first inning, and recorded 15 strikeouts in earning his first career win. His strikeout total was the highest for a (starting) pitching debut. Three weeks later, he struck out 17 batters, tying a single-game strikeout record previously set by Dizzy Dean, in a win over the Philadelphia Athletics. He finished the season with a 5–3 record, having appeared in 14 games; he had 47 walks and 76 strikeouts in 62 innings. Feller's fame reached such a level that when he returned to Van Meter for his senior year of high school, the governor of Iowa greeted him. His record-setting rookie year made him, according to baseball writer Richard Goldstein, "the best-known young person in America, with the possible exception of Shirley Temple." Feller's entrance to the big leagues was later described:


title: Bob Feller

text: As the 1937 season began, Feller appeared on the cover of the April 19, 1937 issue of "Time" magazine. In his first appearance of the season on April 24, Feller suffered an injury to his elbow while throwing a curveball. He spent April and May healing the arm, and in May graduated from high school; the ceremony aired nationally on NBC Radio. In mid-May, the Indians considered ending Feller's season early. "We're not taking any chances on that arm and we're not going to allow him to pitch again until the last trace of soreness has disappeared", said Slapnicka. On May 18, Feller appeared in his first game since April 24 but did not record an out. He did not pitch again until June 22, when he recorded two innings, then returned to normal pitching duties on July 4.


title: Bob Feller

text: On October 2, 1938, Feller was the starting pitcher of a season-ending double-header against the Detroit Tigers. Detroit's Hank Greenberg was two home runs short of Babe Ruth's then-single-season record of 60 home runs. By the ninth inning, Feller had recorded 16 strikeouts, one fewer than the MLB record in a nine-inning game. He tied the record when he struck out Detroit's Pete Fox and, when he struck out Chet Laabs for the fifth time that day, broke the record, to set the modern major league record of 18. Greenberg went 1–4 with a double, then 3–3 in the nightcap, all singles. He later said of the game, "Feller's curve was jumping wickedly and with that and his fast ball, he was murder." Feller did not earn a win, however, as the Indians lost, 4–1. "It was one of those days when everything feels perfect, your arm, your coordination, your concentration, everything. There was drama in the air because of Greenberg's attempt to break Ruth's record, and the excitement grew even greater when my strikeouts started to add up", Feller said. For the 1938 season, Feller led all pitchers with 208 walks and 240 strikeouts.


title: Bob Feller

text: In 1939, Feller received his first career Opening Day start, against the Tigers, after a match against the Browns was rained out. He won the game 5–1, allowing three hits. On Mother's Day, Feller pitched against the Chicago White Sox with his family in attendance. One pitch was fouled off by Marv Owen into the seats and into the face of Feller's mother; he went on to win the game. Feller finished the 1939 season leading the AL in wins (24), complete games (24) and innings pitched (296.2), and led the majors for a second consecutive year in both walks (142) and strikeouts (246).


title: Bob Feller

text: Opening Day of the 1940 season featured a no-hitter from Feller against the Chicago White Sox. Feller was assisted by Indians second baseman Ray Mack when he made a diving play to record the final out. This is the only no-hitter to be thrown on Opening Day in major league history. However, he followed his no-hitter with a six-run, three-inning performance in his next start, in a game against the Detroit Tigers. By the end of the season, he had a 27–11 record, with his win total the best in the majors that season, and a career-high for Feller. He accomplished the pitching triple crown for the 1940 season, as he led the AL in ERA (2.61), wins (27) and strikeouts (261) (the latter two led the entire majors). Feller also led the majors with 31 complete games and 320.1 innings pitched, and won the "Sporting News" Player of the Year Award. Feller later assessed his first few years in the majors: "I relied on the catcher too much. It's swell to have a good catcher calling 'em for you, but the pitcher should take responsibility on his own shoulders."


title: Bob Feller

text: To publicize Feller's extraordinary pitching speed, the Office of the Commissioner of Baseball commissioned sports film analysis pioneer and former major leaguer Lew Fonseca to pit Feller's fastball against a motorcycle in a "100 mph" speed trial. The test was conducted in Chicago's Lincoln Park, with Feller in street shoes, suit pants, dress shirt, and tie, pitching without a mound on an asphalt roadway. He was required to hit a target in diameter from away, "as control is as important as speed". The still accelerating Harley-Davidson passed Feller going , yet even with a generous head start the ball beat the bike to the target by several feet. Feller's throw was calculated at the time to have reached 98.6 mph (158.7 km/h), later raised to 104 mph (167 km/h) using updated measuring methods.


title: Bob Feller

text: Feller again led the majors in wins (25), strikeouts (260), innings pitched (343), and walks (194) for the 1941 season. His six shutouts were an AL-best on the season. That year, Joe DiMaggio talked about Feller's pitching ability, stating "I don't think anyone is ever going to throw a ball faster than he does. And his curveball isn't human." Feller appeared in the May 12, 1941, edition of "Life", which said: "... he is unquestionably the idol of several generations of Americans, ranging in age from 7 to 70. They represent every city, town and village in the land, speak of him familiarly as 'Bob', and talk about him by the hour, with enthusiasm."


title: Bob Feller

text: The United States entered World War II with the attack on Pearl Harbor on December 7, 1941. Feller heard about the bombing while returning from a visit to his terminally ill father at Des Moines to Chicago where he was to sign a new Indians contract. Two days later, he volunteered for the United States Navy, becoming the first American professional athlete to enlist. Originally he tried to enlist as a fighter pilot but failed hearing tests. Feller attended basic training at Norfolk Naval Base and served as a physical fitness instructor there. He also pitched in baseball games hosted by the military. Although he had received a military exemption owing to his father's failing health, he wanted to serve in combat missions. Feller said, "I told them I wanted to ... get into combat; wanted to do something besides standing around handing out balls and bats and making ball fields out of coral reefs." Feller was assigned to ; he had hoped to serve on , but it would not be commissioned for another six months after Alabama, joining the fleet February 22, 1943.


title: Bob Feller

text: Shortly before Feller left for combat, his father died of brain cancer in early January 1943. Five days later, he married Virginia Winther, whom he had met while in Florida for spring training; she was a student at Rollins College. After the marriage, Feller returned to service as Gun Captain aboard "Alabama" and kept his pitching arm in shape by throwing near a gun turret. Feller and the "Alabama" crew spent most of 1943 in the British Isles along with , but in August were reassigned to the Pacific Theater of Operations. Feller's first taste of direct combat was at Operation Galvanic in November 1943. "Alabama" also served during Operation Flintlock while primarily being used as an escort battleship in 1944. Feller participated in the Battle of the Philippine Sea before his combat duty ended in January 1945; he spent the rest of the war at the Great Lakes Naval Training Station as an instructor.


title: Bob Feller

text: When the war ended, Feller was discharged as a Chief Petty Officer on August 22, 1945. He was decorated with six campaign ribbons and eight battle stars while serving on missions in both the Pacific and North Atlantic, and was made an honorary member of the Green Berets later in life.


title: Bob Feller

text: Feller pitched for the Norfolk Naval Station's Bluejackets baseball team, which went 92–8 in 1942, and later for the Naval Station Great Lakes team.


title: Bob Feller

text: In 1945, from early spring to late summer, Feller's naval duties were again at Great Lakes Naval station, where he replaced Mickey Cochrane as manager of the baseball program, as well as performed as an active pitcher for the team.


title: Bob Feller

text: Upon arrival in Cleveland after his discharge, Feller was honored with a civic luncheon on August 24, 1945, at the Carter Hotel. Feller said to the thousand-plus crowd: "The real heroes didn't come home." Later that day, the city held a parade and Feller was the starting pitcher in the Indians' game against the Detroit Tigers. Feller allowed four hits in the game and earned a win in the Indians' 4–2 victory. "I was so tired from all the receptions I didn't know if I could finish the game", Feller said. For the 1945 season, he appeared in nine games and notched a 5–3 record with 59 strikeouts and 2.50 ERA.


title: Bob Feller

text: Before the 1946 season, Feller signed a $37,500 () contract for that year, including a bonus for attendance, as the Indians felt many were attending baseball games primarily to see him; he was offered $100,000 by Jorge Pasquel to play in the Mexican League, but declined to leave the States again. Feller recorded his second career no-hitter on April 30, 1946, against the New York Yankees. He allowed five walks and struck out 11 Yankees. Feller said of the game, "The no-hitter on opening day in Chicago is the one that gets all the attention. But my no-hitter at Yankee Stadium was against a much better team than the White Sox. There was no comparison. I had to pitch to Tommy Henrich, Charlie Keller and Joe DiMaggio in the ninth inning to get the Yankees out." At one point during the season (as he thought he might be nearing Rube Waddell's AL record for strikeouts of 344), Feller claims he confirmed Waddell's total with the AL office. In his last appearance of the season he fanned five Detroit Tigers on September 29 to set what was then believed to be the then-AL single-season strikeout record of 348. Later research into box scores for Waddell's 1904 pitching appearances credited him with five additional strikeouts, moving the mark to 349 and bumping Feller from the top spot. Feller's tally proved the highest for 62 years, until passed by Sandy Koufax's then record 382 in 1966.


title: Bob Feller

text: During the 1946 season Feller registered career-highs in strikeouts (348), games started (42), games pitched (48), shutouts (10), complete games (36), and innings pitched (377.1)–– all major league bests that season. Feller finished 26–15 with an ERA of 2.18, the latter a career-low. Nearly 20 years later, Feller recalled, "For the 1946 season, though, the Indians were so thin in pitching that [player-manager] Boudreau decided I was to pitch every fourth day, regardless of rainouts, open dates, or anything else."


title: Bob Feller

text: Feller began 1947 by setting up a barnstorming tour, pitting his own selected team against a Negro league baseball team led by Satchel Paige. Feller's team included Stan Musial and Phil Rizzuto, while Paige's included Buck O'Neil and Hilton Smith. They played in 22 games across the United States, and at the conclusion of the tour, each player had made nearly as much money as the St. Louis Cardinals made as a team for their 1946 World Series win. Against the St. Louis Browns, in Feller's second start of the season, he extended his major league record for one-hitters when he recorded his ninth one-hit game in a shutout win on April 22. In a June 13 game against the Philadelphia Athletics, having already amassed 10 strikeouts through four innings, Feller fell from the mound, which rain had made slippery, and injured his back. "My fastball was never the same after that", Feller said. He ended the season as the AL leader in wins (20) and shutouts (5), and led the majors in strikeouts (196) and innings pitched (299).


title: Bob Feller

text: In 1948, the Indians had one of their finest seasons, though Feller experienced a season that had a considerable number of downs as well as ups. Feller was selected to represent the AL All-Stars for the seventh time in his career in the 1948 All-Star Game, but declined to play, feeling that his performance did not warrant selection as an All-Star. At one point he was winless for a month, and by July 22, his record was 9–12. Lou Boudreau, the Indians' player-manager, declared "we sink or swim with Feller", and continued to pick him. Feller proceeded to go 10–3 for the remainder of his appearances to finish the season with a record of 19–15, a league-leading 164 strikeouts, and a 3.56 ERA. The Indians won a one-game playoff against the Boston Red Sox to determine the team to represent the AL in the World Series; it was the first time the team had won the pennant since the 1920 season.


title: Bob Feller

text: Feller started Game One of the 1948 World Series against the NL-champion Boston Braves. In the eighth inning, Feller and Boudreau appeared to have picked off the Braves' Phil Masi as he attempted to steal a base, but umpire Bill Stewart ruled he was safe. Masi scored the only run of the game on a Braves single. Despite surrendering just two hits on 85 pitches for the game, Feller and the Indians lost 1–0. Later, photographs showed that Boudreau had tagged Masi out by two feet. Feller said, "Stewart was the only guy in the park who thought he was safe." Feller was again named the starter in Game Five, which set an attendance record; the 86,288 fans at Municipal Stadium in Cleveland was the then-largest attendance at a baseball game. The Braves put up three runs in the top of the first inning. The Indians came back to tie the game, but by the seventh inning, the Braves regained the lead for good and Feller was removed from the game. He finished having allowed eight hits and seven earned runs. Lemon won Game Six and gave the Indians their second World Series championship. After the Indians returned to Cleveland and were given a victory parade, Feller said, "This is as good as being President."


title: Bob Feller

text: After taking a pay cut to start the 1949 season, Feller pitched on Opening Day against the St. Louis Browns. During the game, he injured his shoulder and missed the rest of April. His performances were mixed during the rest of the season, and he finished the year with a 15–14 record and a 3.75 ERA. Before the 1950 season, Feller suggested to Indians management he take a pay cut, and did so. Indians general manager Hank Greenberg said, "He himself made the suggestion. In fact, he offered to take more than the 25 per cent maximum pay cut allowed. There was absolutely nothing to it. We all agreed quickly on the figure after Bob showed up yesterday." In a win over the Detroit Tigers in the second game of a doubleheader, Feller became the 53rd pitcher to win 200 games. Throughout the year, players noted that his velocity had returned, and, winning games with finesse rather than power, he was again effective. He finished the year with 16 wins and a 3.43 ERA.


title: Bob Feller

text: On July 1, 1951, Feller recorded his third career no-hitter against the Detroit Tigers. "I was depending on my slider and I didn't begin to think of a no-hitter until about the seventh inning. I tried to keep it in the back of my mind, bearing down and concentrating on one hitter at a time", Feller said. Feller was the third pitcher, after Larry Corcoran and Cy Young, to record three career no-hitters. He became the first pitcher of the 1951 season to reach 20 wins after he pitched a shutout against the Washington Senators on August 21. Along with Early Wynn and Mike Garcia, Feller reached the 20-win mark during the season; they were the first trio of pitchers on the same staff to earn 20 wins since 1931. The Cleveland starting rotation was so strong that future Hall of Famer Bob Lemon's 17 wins was the only time in an eight-year stretch he "didn't" win 20.


title: Bob Feller

text: Feller went 22–8 in 1951, leading the AL both in wins and with a .733 win percentage. He was named the "Sporting News" Pitcher of the Year.


title: Bob Feller

text: Feller started the 1952 season with three wins in his first five starts; one of the losses was an April 23 one-hitter against Bob Cain, who also allowed only one hit. Feller struggled for the rest of the season, and after an argument with an umpire over a strike call in late August, manager Al López shut Feller down for the season, finishing 9–13 and a 4.74 ERA. He improved the following year, winning 10 games and losing 7 in 25 starts after Lopez gave him extra days of rest between appearances. The Indians won 111 regular-season games during 1954, breaking an AL record previously held by the 1927 New York Yankees. The 35-year-old Feller finished 13–3 on the year, earning his 250th pitching victory in a May 23 win and his 2,500th career strikeout in a win on June 12.


title: Bob Feller

text: The Indians played against the New York Giants in the 1954 World Series, getting swept in four games. Unlike the 1948 Series, Feller did not make an appearance. Indians manager Al López said of not starting Feller, "I know Feller wanted to start one of the games in the 1954 World Series (when the Indians were swept by the New York Giants), though we never really talked about it ... If we had won the first or second game in New York, I was going to start Feller in Cleveland in the fourth game. But when we didn't (win either game in New York), why in the hell was I going to pitch Feller? He was the fifth starter on the club at that time, and wasn't the Feller he'd been (earlier in his career)." In 1955, Feller spent part of the season as a starter, then was moved to the bullpen later in the season. He went 4–4 in 25 appearances. During the off-season, he became chairman of the Ohio March of Dimes and served as player representative for the American League. He worked with National League representative Robin Roberts throughout the off-season, discussing the possibility of player arbitration and pensions with baseball owners; he then became president of the Major League Baseball Players' Association.


title: Bob Feller

text: In the 1956 season, Feller started four games and appeared in 15 others, and finished with an 0–4 record and career-worst 4.97 ERA. The Indians held "Bob Feller Night" on September 9, and he appeared in his last major league game on September 30. After the season, speculation mounted regarding whether Feller would retire as a player. In December 1956, Feller told "The Plain Dealer": "I will return to Cleveland later this week and plan to confer with Hank Greenberg before Christmas. I hope to reach a decision at that time." Greenberg had also offered Feller his release or a job with the Indians in their front office. Greenberg said, "We sincerely want Feller to remain with us. As far as I'm concerned, there will always be a job waiting for Bob in the Cleveland organization." On December 28, Feller officially retired from the Indians as a player to continue his work selling insurance. Announcing his retirement, Feller said, "I could have gone with a couple other ball clubs, but anything I might have done with them would have taken the edge off the success I have had with the Cleveland club the last 20 years." He continued, "What if I did pitch another year, so what? I would have to come to the decision I am making now, some time."


title: Bob Feller

text: He spent his entire career of 18 seasons with the Indians, being one of "The Big Four" in the Indians' pitching rotation in the 1950s, along with Bob Lemon, Early Wynn and Mike Garcia. Feller shares the Major League record of 12 one-hitters with Nolan Ryan, and was the first pitcher to win 20 or more games before the age of 21. He ended his career with 266 wins, 2,581 strikeouts and 279 complete games. Over the course of his career, he led the AL in strikeouts seven times and walks four times. Upon his retirement, Feller was number three all-time in strikeouts, behind only Walter Johnson and Cy Young, and held the major league record for most walks in a career (1,764), and holds the 20th-century record for most walks in a season (208 in 1938). The Indians retired his jersey number, 19, on December 27, 1956.


title: Bob Feller

text: As a hitter, Feller posted a .151 batting average (193-for-1282) with 99 runs, 28 doubles, 13 triples, 8 home runs, 99 RBI and 100 bases on balls. Defensively, he recorded a .963 fielding percentage.


title: Bob Feller

text: In 1962, Feller was elected to the National Baseball Hall of Fame and Museum, along with Jackie Robinson. Both were the first to be elected on their first ballot appearance since the original induction class of 1936. At the time of his induction, only Ty Cobb (98.2%), Babe Ruth (95.1%), and Honus Wagner (95.1%) had a higher percentage of ballot votes. In 2010, after Feller had been admitted to hospice, a reporter released a story recalling a 2007 interview with an aged Feller where he brought up Feller's candid assessment of Robinson as a ballplayer. "They overhyped Jackie Robinson. He was a good baserunner. He was a fair hitter. He was an average second baseman. He was not as good a ballplayer as Larry Doby. There were a lot of better black ballplayers than Jackie Robinson," said Feller.


title: Bob Feller

text: Throughout his career, Feller played exhibition games during the off-season, playing in towns unaccustomed to seeing major league ballplayers. His exhibition tours often featured other big leaguers and Negro league players, like Satchel Paige, who was also a teammate of Feller's with the Indians. Other players included Stan Musial, Mickey Vernon, and Jeff Heath. During a barnstorming tour in 1945, Feller pitched against Jackie Robinson after he had been signed by the Brooklyn Dodgers. He told a reporter in Los Angeles that he believed Robinson was too muscle-bound to succeed against pitching in the major leagues, although Robinson recorded two hits off Feller. Players had to notify the Commissioner of Baseball, A.B. "Happy" Chandler, before participating in exhibition games and were not allowed to begin games before the conclusion of the major-league season. Feller wrote to Chandler, challenging the league's limit on the number of games that were allowed to be played and proposing an increase; the Commissioner agreed to Feller's proposal. To minimize travel time, Feller employed airplanes, such as two Douglas DC-3s in 1947, to transport players from town to town. Feller's involvement, as well as that of other major league players, was the subject of meetings between the Commissioner and AL and NL presidents.


title: Bob Feller

text: In 1947, Feller announced that he would pitch in the Cuban winter league during the off-season, but Commissioner Chandler ruled no major-leaguer could play in Cuba. Feller said he would donate his profits from playing in the Cuban winter league to the American Major League players' pension fund: "I want to prove I'm not going to Cuba for any selfish interest but because there is a principle involved and that is the right of any ball player to work at his chosen profession". Feller also believed it was "grossly unfair" that major leaguers who were U.S. citizens could not play in winter leagues but Latin Americans were permitted. Indians owner and president Bill Veeck said, "I have no comment on Bob's outside activities. I don't know whether they've hurt him or not. But I do know this. The great majority of the people of Cleveland think they've hurt him."


title: Bob Feller

text: Feller's barnstorming business savvy and endorsement details made him one of the wealthiest players of his time but he claimed his off-season exhibitions and barnstorming were necessary to pay for increased medical expenses for his family. His first wife developed anemia after giving birth to their second child when she was given the wrong type of blood during transfusions; she subsequently became addicted to the prescribed medication for her condition. Feller was trying to make up lost earnings as a result, since he missed out on $125,000 or more in salary when he served in the Navy; he missed more than three major league seasons. Feller's biographer John Sickels suggested: "They were trying to make money, but part of it was also, he felt that the black players weren't necessarily getting a fair chance and that he wanted to sort of showcase it. And seeing those, I think, those exhibition games helped people realize that the Negro league players were just as good as the Major League players."


title: Bob Feller

text: Feller, who averaged over 25 wins for the three seasons preceding his military service and won 26 his first year out, estimated that the nearly four years he missed while in the U.S. Navy cost him at least 100 career wins. Given his proven performance on both sides of his hitch it is likely that Feller would have finished his career with more than 350 wins and perhaps 3,800 strikeouts. The always plain-speaking Feller said, "I know in my heart I would have ended up a lot closer to 400 than 300 if I hadn't spent four seasons in the Navy. But don't take that as a complaint. I'm happy I got home in one piece."


title: Bob Feller

text: There are numerous claims of how fast Feller could actually throw a ball. All are inherently dubious (due to the extremely inaccurate means of measuring used), and none can be proven valid. Best estimates are at least 98 mph and quite possibly several miles an hour over 100 mph. Among them is footage of a Feller fastball being clocked by Army ordnance equipment (used to measure artillery shell velocity) and registering at . However, this took place in the later years of his career and the speed of the ball was measured as it crossed the plate (whereas later methods measure the speed as it leaves the pitcher's hand). With primitive equipment, Feller was at one point measured at . Feller once mentioned that he was clocked at at Lincoln Park in Chicago. He also is credited with throwing the second fastest pitch ever officially recorded, at , in a game in 1946 at Griffith Stadium. Feller said a 1974 test involving Nolan Ryan would be evaluated when he threw the ball rather than when it reached home plate, and as columnist Milton Richman wrote, Feller said "Sandy Koufax had the best live fast ball he ever saw."


title: Bob Feller

text: Although subjective, an extremely telling assessment of just how hard Feller was to hit – even for a left-handed hitter, who had an advantage compared to right-handers – was the tribute from Ted Williams, regarded by many as the greatest hitter in baseball history. He confessed, "Three days before he pitched I would start thinking about Robert Feller, Bob Feller. I'd sit in my room thinking about him all the time. God I loved it ... Allie Reynolds of the Yankees was tough, and I might think about him for 24 hours before a game, but Robert Feller: I'd think about him for three days." Feller was ranked 36th on "Sporting News"'s list of the 100 Greatest Baseball Players and also the publication's "greatest pitcher of his time" as well as a finalist for the Major League Baseball All-Century Team in 1999. Each year, American Legion Baseball presents the "Bob Feller Pitching Award" to the pitcher "with the most strikeouts in regional and national competition."


title: Bob Feller

text: Feller was elected the inaugural president of the Major League Baseball Players' Association in 1956. As president, he appeared before Congress to speak about baseball's reserve clause. Feller was the first player to get a franchise to agree to a share of game receipts when he was the starting pitcher for Indians' games. He was also the earliest player to incorporate himself (as Ro-Fel, Inc.). He was also one of the first players to work for the right of a player to enter free agency.


title: Bob Feller

text: Feller and his wife, Virginia Winther, had three sons, Steve, Martin, and Bruce. The couple divorced in 1971; from the divorce settlement, Virginia received the house she and Feller had built. Virginia died on May 6, 1981, in her home in Shaker Heights, Ohio. In retirement, Feller lived with his second wife, Anne Feller, in Gates Mills, a suburb of Cleveland.


title: Bob Feller

text: Feller is credited with being the first baseball star to sign autographs at baseball memorabilia conventions, and was such a frequent guest at such events that one ESPN writer speculated that he had signed more autographs than any other person.


title: Bob Feller

text: In 1990, Feller received the Golden Plate Award of the American Academy of Achievement. In June 2009, at the age of 90, Feller was one of the starting pitchers at the inaugural Baseball Hall of Fame Classic, which replaced the Hall of Fame Game at Cooperstown, New York. Feller was treated for leukemia in August 2010. By October, Feller was fitted with a pacemaker and was diagnosed with pneumonia and thrush, an infection of the mucous membrane lining the mouth and throat. He was transferred on December 8 from the Cleveland Clinic to hospice care. On December 15, Feller died of complications from leukemia at 92.


title: Bob Feller

text: Of Feller's death, Mike Hegan, Indians broadcaster and son of former Feller teammate and battery mate Jim Hegan, stated, "The Indians of the 40s and 50s were the face of the city of Cleveland and Bob was the face of the Indians. But, Bob transcended more than that era. In this day of free agency and switching teams, Bob Feller remained loyal to the city and the team for over 70 years. You will likely not see that kind of mutual loyalty and admiration ever again." In 2010, the "Cleveland Indians Man of the Year Award" was renamed the "Bob Feller Man of the Year Award".


title: Bob Feller

text: On Opening Day of the 2011 season, the Indians invited Feller's widow, Anne, to present a silent first pitch. During pregame introductions, Cleveland players wore a No. 19 jersey in honor of Feller. For the entire 2011 season the players' uniforms were outfitted with an outline of Feller's pitching motion. The organization also made a permanent memorial of the press-box seat that Feller used in later life.


title: Bob Feller

text: The Bob Feller Museum opened in Feller's birthplace, Van Meter, Iowa, on June 10, 1995. Designed by Feller's son Stephen, on land donated by Brenton Banks, the museum had two rooms that contained Feller memorabilia and items from his own collection. The Feller bat used by Babe Ruth when he made his last public appearance at Yankee Stadium is at the museum. Feller said a teammate had stolen the bat and eventually it was purchased by the Upper Deck sports card company for $107,000. Feller later offered the company $95,000 in return for the bat. Following Feller's death in 2010, the museum faced serious funding issues. In 2015, with family approval, the Bob Feller Museum was donated to the city of Van Meter for use as the city hall. Some artifacts remain on permanent exhibit and can be viewed free of charge.


title: Bob Feller

text: In 2013, the Bob Feller Act of Valor Award was created to honor the life of Feller. The award recognizes "individuals that possess the values, integrity, and dedication to serving our country that Bob Feller himself displayed."


title: Copulation (zoology)

text: In zoology, copulation is animal sexual behavior in which a male introduces sperm into the female's body, especially directly into her reproductive tract. This is an aspect of mating. Many animals that live in water use external fertilization, whereas internal fertilization may have developed from a need to maintain gametes in a liquid medium in the Late Ordovician epoch. Internal fertilization with many vertebrates (such as all reptiles, some fish, and most birds) occurs via cloacal copulation, known as cloacal kiss (see also hemipenis), while mammals copulate vaginally, and many basal vertebrates reproduce sexually with external fertilization.


title: Copulation (zoology)

text: Spiders are often confused with insects, but they are not insects; instead, they are arachnids. Spiders have separate male and female sexes. Before mating and copulation, the male spider spins a small web and ejaculates on to it. He then stores the sperm in reservoirs on his large pedipalps, from which he transfers sperm to the female's genitals. The females can store sperm indefinitely.


title: Copulation (zoology)

text: For primitive insects, the male deposits spermatozoa on the substrate, sometimes stored within a special structure; courtship involves inducing the female to take up the sperm package into her genital opening, but there is no actual copulation. In groups that have reproduction similar to spiders, such as dragonflies, males extrude sperm into secondary copulatory structures removed from their genital opening, which are then used to inseminate the female. In dragonflies, it is a set of modified sternites on the second abdominal segment. In advanced groups of insects, the male uses its aedeagus, a structure formed from the terminal segments of the abdomen, to deposit sperm directly (though sometimes in a capsule called a "spermatophore") into the female's reproductive tract.


title: Copulation (zoology)

text: Sexual behavior can be classified into behavioral states associated with reward motivation ("wanting"), reward consummation aka pleasure ("liking"), and satiety ("inhibition"); these behavioral states are regulated in mammals by reward-based sexual learning, fluctuations in various neurochemicals (i.e., dopamine − sexual desire aka "wanting"; norepinephrine − sexual arousal; oxytocin and melanocortins − sexual attraction), and gonadal hormone cycles and further influenced by sex pheromones and motor reflexes (i.e., lordosis behaviour) in some mammals. These behavioral states correlate with the phases of the human sexual response cycle: motivation − excitement; consummation − plateau and orgasm; satiety − refraction. Sexual learning (a form of associative learning) occurs when an animal starts to associate bodily features, personality, contextual cues, and other stimuli with genitally-induced sexual pleasure. Once formed, these associations in turn impinge upon both sexual wanting and sexual liking.


title: Copulation (zoology)

text: In most female mammals, the act of copulation is controlled by several innate neurobiological processes, including the motor sexual reflex of lordosis. In males, the act of copulation is more complex, because some learning is necessary, but the innate processes (retrocontrol of penis intromission in the vagina, rhythmic movement of the pelvis, detection of female pheromones) are specific to copulation. These innate processes direct heterosexual copulation. Female lordosis behaviour became secondary in hominidae and is non-functional in humans. Mammals usually copulate in a dorso-ventral posture, though there are some primate species that copulate in a ventro-vental posture.


title: Copulation (zoology)

text: Most mammals possess a vomeronasal organ that is involved in pheromone detection, including sex pheromones. Despite the fact that humans do not possess this organ, adult humans appear to be sensitive to certain mammalian pheromones that putative pheromone receptor proteins in the olfactory epithelium are capable of detecting. While sex pheromones clearly play a role in modifying sexual behavior in some mammals, the capacity for general pheromone detection and the involvement of pheromones in regulating human sexual behavior has not yet been determined.


title: Copulation (zoology)

text: The duration of copulation varies significantly between mammal species, and may be correlated with body mass, lasting longer in small mammals than in large mammals.


title: Naachiyaar

text: Naachiyaar is a 2018 Indian Tamil-language action crime film written, produced and directed by Bala. The film featured Jyothika in the titular role, with G. V. Prakash Kumar and Ivana in other leading roles. The film tells the tale of the policewoman working to uncover the truth after a young man is accused of sexually assaulting his minor girlfriend. Featuring music composed by Ilaiyaraaja and cinematography by Eashwar, the film began production during March 2017 and was released on 16 February 2018.The film was one of the most commercial successful film of that year and team had a success party, attended by the cast and crew members of the film.


title: Naachiyaar

text: Assistant Commissioner Naachiyaar (Jyothika) is a tough policewoman in Chennai who is put in charge of solving an underage rape case. She tracks down an 8-months pregnant Arasi (Ivana), the victim, on the run from her uncle and his goons who plan to get her an abortion. Although Naachiyaar saves Arasi, her uncle and his friends escape and go into hiding. Meanwhile, Naachiyaar's partner, Feroz arrests the suspect, Kaathu (G.V. Prakash Kumar). He is then sent to a juvenile home, where he tells his story to one of the wardens, who is soft-hearted towards him.


title: Naachiyaar

text: Through flashbacks, we see how Kaathu and Arasi first met. Both are still teenagers from the slums but they do not go to school but are forced to work to help support their respective families. Arasi works as a maid at wealthy families' homes while Kaathu does odd jobs for a living. One day, while her employers are away, Arasi invites Kaathu into the house where they (impulsively) make love. However, Arasi quickly regrets and pushes Kaathu away, who leaves upset.


title: Naachiyaar

text: Back in present day, Arasi gives birth to a healthy baby boy and Naachiyaar lets Arasi stay with her until the local government can ensure the mother and baby have a safe place to stay. However, DNA results show that Kaathu is not the father of Arasi's child. Naachiyaar decides to keep this a secret from Arasi until they can investigate this case even further.


title: Naachiyaar

text: Feroz arrests Arasi's uncle and manipulates him into leading them to a fake doctor who conducts illegal abortions. After Naachiyaar threatens him, the fake doctor reveals that one of his most powerful clients, a wealthy north-india based moneylender Thangamani Prabhu is the one who raped Arasi. One day, when Arasi was working alone at his home, the moneylender took advantage of her becoming unconscious as a result of falling in kitchen, raped her. The old moneylender, who holds a powerful position in the society immediately calls the fake doctor after he sexually assaulted Arasi to prevent any evidence leak, but the fake doctor lies about it being safe despite not using condom, planning to blackmail the moneylender once Arasi becomes pregnant.


title: Naachiyaar

text: Naachiyaar and Feroz go to the moneylender to arrest him but are summoned back to their superior's office since the culprit is very rich and well connected. After getting an information as to proposed suspension, Naachiyaar abducts the moneylender late night and castrates him. She then faces enquiry and gets transferred, because the police board is afraid of facing bad press if an action is taken against Naachiyaar, who gained immense popularity due to the case. She took initiative to reunite Kaathu with Arasi. Her husband tells Kaathu the truth but Naachiyaar refrains from telling the truth to Arasi to keep her safe.


title: Naachiyaar

text: Kaathu requests Naachiyaar not to reveal the truth to Arasi. As far as Kaathu is concerned, the baby boy is his and he plans to make sure Arasi never knows the truth. The couple with the baby happily board a bus.